The Stevens-Moore Organ at Zion Lutheran Church in Iowa City, Iowa

The Stevens–Moore Organ Its enduring story from New England to the Heartland

Prepared by

Tim Meier

IOWA CITY, IOWA

The Stevens–Moore Organ A Summary of Its Story EAST CAMBRIDGE, MASSACHUSETTS 1852 George Stevens and Company built the organ for Central Congregational Church’s new meeting house, located in Bangor, Maine.

BANGOR, MAINE 1853 | January The Stevens organ for Central Church “was first used in public January third, 1853.” —Bangor Daily Whig and Courier, December 20, 1898.

1893 | May C. P. Graves, of Portland, Maine, finished “his work upon the organ of the Central church. A new key-board was put in, there is a new action and the organ has been put in the finest possible condition.” —Bangor Daily Whig and Courier, May 26, 1893.

1898 | December The Bangor Daily Whig and Courier published a series of articles about the replacement and history of the organ at Central Church. The lead story was the Stevens organ would be replaced by an organ from George S. Hutchings Company of Boston, Massachusetts.

1899 | April The new Hutchings organ for Central Church arrived in Bangor. A “crew of men from the makers of the instrument will arrive and the work of tearing down the old one and setting up the new...will commence.”

—Bangor Daily Whig and Courier, April 12, 1899.

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WOODSTOCK, VERMONT 1899 | June A new organ for the Christian Church in Woodstock, Vermont, was “set up this week and may be used at tomorrow’s services.” —Spirit of the Age, June 24, 1899.

1928 The organ’s hand pump was replaced by an electric blower.

1949 | May The Christian Church Society gave their land and buildings to the Masonic Fraternity, Woodstock Lodge No. 31.

1950 The former Christian Church became the Masonic Temple. The ceiling in the large room that housed the organ was lowered, thereby creating a first floor and a second floor. On the first floor, the organ’s console was dismantled to make space for a new closet, and new walls were built to conceal the organ’s casing. On the second floor, the façade pipes were visible but painted to color-match the walls.

NORTH POMFRET, VERMONT 1963 | fall–December The Stevens organ, neglected and damaged, was dismantled and moved out of the Masonic Temple and into a barn by two high-school seniors: A. David Moore and John “Nicky” Atwood.

1964 | winter–summer David and Nicky reassembled and rebuilt the organ in Moore’s family barn.

They graduated from high school in June.

1964 | August 30 Over 400 people attended an open house at Moore’s farm and heard Nicky and David play “a restored tracker organ...which filled the old barn with the fine tones and music for which this instrument has been noted.” —Vermont Standard, September 3, 1964.

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IOWA CITY, IOWA 1974–75 Committees at Zion Lutheran Church were appointed to assess new and used church organs and to select an instrument for their church. The used pipe organ in A. David Moore’s barn was chosen and purchased.

1975–76 Bob Moninger traveled to Vermont in 1975 for his first in-person meeting with A. David Moore and to check out the Stevens–Moore organ. Again in 1975, Bob made a second trip to Vermont and Rosalie Moninger joined him.

Bob’s third venture with A. David was in 1976, and he was put to work in Moore’s shop, rolling metal to make trumpet pipes for the Great division in the Stevens–Moore organ.

1977 | May 15–22 A. David Moore and his crew arrived in Iowa City to set up the Stevens– Moore organ in its new home, Zion Lutheran Church. Zion dedicated the historic instrument at the Sunday morning worship services and at an afternoon recital performed by William B. Kuhlman.

2006 | September David Moore and John Atwood returned to Iowa City. They refurbished the organ, installed three ranks of new reeds, and covered the manual keys with cow bone. Former senior organist Paul Tegels returned as well, and he performed with Zion’s Senior Choir and Brass a recital to commemorate the organ’s sesquicentennial. It was believed, at that time, that Stevens had built the organ in 1856.

2013 | September 2, Labor Day Tim Meier learned he could access a digital archive of the Bangor Daily Whig and Courier. Soon after typing “church organ” in the archive’s search, he was reading articles published in 1898 that reported the date the Stevens organ was first heard, the names of organists employed to play the instrument, and the reasons to replace the Stevens with a Hutchings. That day’s online victory was Tim’s boost to search, research, discover, and document a chronicle of the Stevens–Moore organ. Articles and photos were found, and recollections were recited again. Inside this book his discoveries are brought together to reveal an enduring story of an old New England church organ that remarkably found its home in the Heartland.

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GEORGE STEVENS Organbuilder in East Cambridge, Massachusetts 5

GROVE MUSIC ONLINE Published in print November 26, 2013 • Published online January 31, 2014

Stevens, George

by Barbara Owen (b Norway, ME, April 22, 1803; d East Cambridge, MA, Aug. 15, 1894).

American organ builder. He went to Boston as a young man, working first as a carpenter before entering the employ of organ builder William Goodrich as a journeyman. He soon became a valued employee, and upon Goodrich’s death in 1833, he took over his workshop, briefly in partnership with M.R. Gayetty (d 1839). His brother William (1808–96) worked with him for a time before establishing his own business, but on a smaller scale, operating in the 1850s under the name of Stevens & Jewett. Unlike some of his more innovative competitors, George Stevens was conservative, building during his long career a significant number of organs of solid construction and pleasing tone, housed in attractive casework, a number of which are still found in churches in smaller towns throughout New England, particularly in Maine. His first three-manual organ was built in 1849 for the Winthrop Congregational Church in Charlestown, a part of Boston; another of similar size was built in 1869 for the First Baptist Church of Beverly, Massachusetts. In addition to his organ business, Stevens was active in politics, serving as Mayor of Cambridge 1851–53, and was one of the founders of the Cambridge Savings Bank, serving as its president for 30 years. He retired in 1892, turning the organ factory over to two former employees, George Gilbert and James Butler, whose partnership lasted only a decade.

Bibliography R.O. Davison: “George Stevens, Organ Builder,” The American Organist, 25/1 (1942), 22.

B. Owen: The Organ in New England (Raleigh, NC, 1979).

E.L. Miller: “A Three-Manual Stevens,” The Tracker, 27/2 (1983) 22–25.

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American Congregational Year-book, for the year 1857

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CAMBRIDGE AND VICINITY Its Representative Business Men and Its Points of Interest.

By Geo. F. Bacon Mercantile Publishing Company • 1892 GEORGE STEVENS & CO., Organ Builders, Orders for Repairing and Tuning Promptly and Faithfully Executed, Corner of Otis and Fifth Streets, East Cambridge, Mass—We often hear of substitutes for pipe organs or “church" organs as they are popularly called, but those who are wellinformed in musical matters know that there is no efficient substitute for such instruments, and that from the very nature of things the pipe organ must always stand unique and alone among all musical instruments. It is true that the manufacture of reed organs has been highly developed, and that the results attained by the use of a first-class instrument of this kind are more pleasing than those attending the use of an inferior or badly injured pipe organ; but this no more argues that the reed organ is a satisfactory substitute for the pipe organ than does the fact that a race-horse will outrun an “accommodation” train for a short distance argue that travelling behind a horse is a satisfactory substitute for travelling behind a locomotive. Even a badly neglected or abused pipe organ can generally be put in good condition at comparatively small expense, if the work be entrusted to the proper hands, and this calls to mind the firm of George Stevens & Co., for this representative concern give special attention to repairing and tuning, and are prepared to fill orders at short notice and in the most skillful manner, although their charges are uniformly moderate. Mr. Stevens is a native of Norway [Maine] and is the oldest organ-builder in Cambridge if not in Massachusetts, he having founded his present business in 1833. Mr. Stevens was the third mayor of the city of Cambridge, having served in 1851 and 1852. In 1856 Mr. George A. Butler, a native of St. Stephen, N. B., was admitted to partnership under the present firm-name. The shop comprises two floors measuring 50 x 60 feet each, and is located at the corner of Otis and Fifth Streets. It is equipped with the most improved machinery and tools, and as employment is given to an adequate force of skilled assistants, the firm are prepared to fill all orders, large and small, at very short notice.

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Cambridge Chronical Saturday, August 18, 1894 • vol. 49, no. 33 • page 1

EX-MAYOR STEVENS. His Death Occurred Wednesday at the Ripe Old Age of 91 Ex-Mayor George Stevens, who died early Wednesday morning at his home 69 Thorndike street, had been a resident of this city for about seventy years.

For the past ten years Mr. Stevens had practically been an invalid from rheumatism, being unable to get around without the aid of crutches. He was a man of sterling character and in his business as well as his social relations with his fellowmen, had the respect and confidence of all. He served the city as mayor for two years and as alderman for four years.

Mr. Stevens was born in Norway, Me., April 22, 1803, and was therefore over 91 years of age. He came to East Cambridge when a young man and was first engaged as a carpenter. Later he was associated with William Goodrich, who owned the old organ factory on Fifth street, and upon the death of Mr. Goodrich he succeeded him in the business. He was one of the incorporators of the East Cambridge Savings bank and for over thirty years was its president, an office which he held at the time of his death. The only society of which he was a member was the masons. He was a member of Norfolk Union lodge, F. and A. M., of Randolph, which he joined in 1825.

He was an alderman 1848, 1849 and 1850. He was elected mayor in 1851 and re-elected in 1852. He then retired from office for a few years, and in 1855, was elected to the board of alderman again.

Mr. Stevens was the Whig candidate for mayor in 1851, and it required two elections before he was successful. The first election resulted as follows: Abraham Edwards, Citizen, 628; George Stevens, Whig, 525; William Parmenter, Democrat, 258. As 720 votes were needed for a choice another election, or trial, as it was called, had to be held. Mr. Parmenter then withdrew from the contest, and the Democrats threw their strength to Stevens, the second election resulting as follows: Stevens, 775; Edwards, 673.

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The Cambridge CHRONICLE of March 22, 1851, said in reference to the election: “The vote was the largest which has ever been given at a similar election in this city; and the result was rather unexpected to the successful candidate, as well as to many of our citizens. After the vote was declared, a large number of citizens repaired to the residence of the mayor-elect, and gave him a hearty cheer. He made his appearance, and in a few pertinent remarks expressed his surprise at the result of the election, thanked those present for the kind interest which they had manifested in that result, and gave assurances that he would impartially, and to the best of his ability discharge the duties of the office to which he had been elected. We are inclined to the opinion that hereafter, in our municipal elections, the political views of those selected to fill the offices will be of a secondary consideration—the best men in the community will be those sought without regard to their politics. This is as it should be.”

Mr. Stevens leaves a widow, two sons and a daughter. The funeral was held yesterday afternoon at two o’clock, Rev. W. H. Johnson officiating. The burial was at Mt. Auburn cemetery.

Cambridge Tribune Saturday, January 4, 1902 • vol. 24, no. 44 • page 10 One of the old landmarks in East Cambridge, the old Stevens organ factory at the corner of Fifth and Otis street, is being demolished. It was erected by ex-mayor George Stevens over 60 years ago, and he carried on an organ building business there for many years. After his death another firm conducted the business. Of late the building has been a menace, the small boys of the neighborhood making it a rendezvous. The guardian of the Stevens heirs finally decided to demolish it and the work is nearly complete.

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BANGOR, MAINE 1852–1899

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Central Congregational Church was also named Third Parish Church

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John Martin’s Journal Contributed by Maine Historical Society and Maine State Museum Coll. 1972; 1997.16.4 John Martin (1823–1904) • Journal from 1864 • pages 630–632

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Transcript of page 630 Thursday, April 1, 1897, the centennial 50 years old was celebrated at church this afternoon by a history of the Church by Rev. Mr. Field, & in the evening by the members coffee & cake. Mr. W. S. Dennett, the only surviving member, was present the only surviving member of the 121 original members. My wife was in his Sabbath school 50 years ago.

During the summer of 1865, this house was painted a very dark brown and the front steps were rebuilt and remodeled, abandoning the jogs and making one regular rising flight and a heavy banistered rail added in place of the small iron rods represented. In 1866, five horse stalls for horses & carriages were erected in the back yard.

South side and west end of the Third Parish Church situated on French Street opposite the Hammatt Block. Adjoining Thomas A. Whites’ garden.

Transcript of page 632: Exterior of the house 2 3 4 5

The vestry door Rollway to cellar Door to Furnace and wood room Gas post & light

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Transcript of page 631 Plan of vestry to the Third Parish Church.

Plan of the main floor to the Third Parish Church.

Plan of the gallery, vestibule, etc. to the Third Parish Church.

Pew and carpet in the body of the house.

Settee in the vestry.

Explanation on the next page to plans and building.

Transcript of page 632: Vestry, Main Floor, and Gallery Vestry Main Floor 2 Entrance 2 Pulpit 3 Stairs to Main floor 3 Circle Sofa 4 Closet under Stairs 4 Gas Lights 5 Small Vestry 5 Deacons Chair 6 Prayer Meeting Vestry 6 Furnace grates, four of them 7 Ministers Desk 7 & 8 Stairs to Gallery 8 Main Vestry Room 9 Stairs from Entry to the Vestry 9 Entry 10 The sextons private closet 10 Passage 11 The rise in the pews 11 & 12 Doors 13 Folding doors & signature of posts Gallery 2 Singers Station 3 Students rows of seats 4 & 5 Stairs 18

John Martin’s Journal Contributed by Maine Historical Society and Maine State Museum Coll. 1972; 1997.16.4 John Martin (1823–1904) • Journal from 1864 • page 637

Transcript of page 637 The house now needed an organ and to get a cheap one would be nonsense; so, they purchased as good one as any other church had in the city. Price about four thousand dollars. Having the organ it now became necessary to have an organist and not a mean either; so, they sent to Boston & obtained the services of Solon Wilder who is still in the same position at a higher salary for four hundred dollars per anum, and he adopted the big Quor system and finally run it to an audience singing which completely overpowered the Quor and makes his task less as any jars or poor singing cannot be detected.

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“Three views of interior of Central Church, Bangor” 1914 donations to the Bangor Historical Society from Misses Elizabeth W., Leila H., and Mary H. Roberts; Bangor.

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BANGOR DAILY WHIG AND COURIER Thursday, April 9, 1891 • vol. 58, no. 85 • page 3

LOCAL MATTERS The Central Church Music.

The music at the Central church will in the future be furnished by a quartette choir, beginning with next Sunday, when the quartette will be composed of Miss Carrie E. Hodsdon, Miss Annie Hurley, Mr. A. C. Morton and Mr. James McGinty. This arrangement of singers is not a permanent one, however.

Beginning with next Sunday there will also be a change in the organist. This position will be filled by Mrs. Frank L. Tuck, Mrs. Jewell feeling that she cannot occupy the place any longer, much to the regret of her many friends, who have listened to her excellent playing for years with much pleasure.

Mrs. Tuck is well known throughout the city as a very skillful and talented organist and pianist, and she will without doubt meet the requirements of the position with complete satisfaction.

BANGOR DAILY WHIG AND COURIER Friday, May 26, 1893 • vol. 60, no. 123 • page 3

LOCAL MATTERS Mr. C. P. Graves, of Portland, the well known organ tuner and repairer, yesterday completed his work upon the organ of the Central church. A new key-board was put in, there is a new action and the organ has been put in the finest possible condition. It will be used next Sunday and will doubtless give good musical satisfaction.

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PORTLAND Its Representative Business Men and Its Points of Interest.

By Geo. F. Bacon Glenwood Publishing Company • 1891 • page 84 C. P. GRAVES, Tuner and Repairer of Pianos, Church and Parlor Organs.

Church Organ work a specialty. 144½ Exchange St., Portland, Me. Residence, 18 North St. There is no more satisfying or gratifying evidence of the general prosperity of the people of this country, than that afforded by the immense number of pianos and organs sold annually, for although of course some of these instruments find their way into the homes of the rich, the great majority of them are purchased by working people. By this expression we mean of course all those who support themselves by the labor of their hands, or brains, as distinguished from those who are in the receipt of an adequate income without necessity for personal exertion.

Charms of Music in the home, have been too often and too eloquently described to need mention here, and the demand existing for musical instruments shows that these charms are generally appreciated. We have no set advice to offer regarding the selection of a piano or organ other than “get the best.” Don’t buy an unreliable instrument at any price, for the best often require tuning and repairing, and when this is the case, we would most heartily recommend M. C. P. Graves, as he is a thoroughly practical Tuner and Repairer of Pianos, Church or Parlor Organs, and makes a specialty of Pipe Organs for Churches and Halls. Mr. Graves is a native of Farmington, Me. He has been engaged in his present business for the past 35 years. His business premises are located at 144½ Exchange Street, and his residence at 18 North Street, where orders may be left with the full assurance that they will receive immediate attention and be executed in the most satisfactory manner possible.

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BANGOR DAILY WHIG AND COURIER Monday, December 21, 1896 • vol. 63, no. 303 • page 4

CHRISTMAS SERVICES. Special Exercises and Concerts at a Number of the Churches on Sunday.

Christmas services and exercises of an appropriate and interesting character were held at several churches yesterday with large congregations present. The programmes were as follows:

Central Church At the morning service the sermon was by the pastor, Rev. J. S. Penman, and the musical programme was as follows: Voluntary—Offertoire ........................................................................Truette Mrs. H. L. Jewell.

Chorus—Sing, O Heavens..................................................... Berthold Tours Double quartette.

Chorus—Glory to God Most High ...............................................A. F. Loud Double quartette.

Solo—“Glory to Heaven’s Eternal King: ................. Erick Meyer–Helmund Mrs. W. A. Kirkpatrick.

Postlude—Allegro ............................................................................ Kroeger Mrs. H. L. Jewell.

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In the afternoon at 3 o’clock the Sunday school gave its annual Christmas concert. The programme was as follows: Prelude .................................................................................. String quartette Singing—“Blow Ye Golden Trumpets, Blow” .................................. School Prayer ..................................................................................... Rev. Dr. Field Response............................................................................................... Choir Song ............................................................................................. Infant class

Selection ............................................................................... String quartette Responsive Reading ......................................................................................

Solo—“The Golden Threshold” .................................................... Mr. Libby Violin obligato............................................................. Dr. Oscar E. Wasgatt Address ...........................................................................Miss Mary S. Snow Selection—“Behold I Bring You Good Tidings” ................................. Choir Violin duet—Selection .............. Benj. Goddard, Misses Weston and Clarke

Singing—“There’s a Song in the Air”................................................ School Benediction........................................................................ Rev. Mr. Penman Postlude .......................................................................................Mrs. Jewell

At the evening service the programme was as follows:

“Christmas Anthem”........................................................ J. C. Bartlett Mrs. E. H. Whittredge, choir and organ; violin obligato by Dr. Wasgatt.

Selection—Meditation...................................................................... F. Mans String Quartette.

Solo—Hark! What Celestial Notes We Hear .............................. F. D. Bates Mme. Daix–Despret.

Violoncello obligato by Mr. M. H. Andrews.

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BANGOR DAILY WHIG AND COURIER Tuesday, December 28, 1897 • vol. 64, no. 310 • page 4

"THE MESSIAH." Very Successfully Sung on Monday Evening at the Central Church.

Bangor's musical talent, both vocal and instrumental, scored another success last night, when the grand oratorio, "The Messiah," was sung at the Central church for charity. The audience was a large one and evidently appreciated and enjoyed the most commendable efforts of the singers and players to portray the grandeur of the work.

The soloists, orchestra and chorus of fifty voices occupied the organ gallery and, with the aid of the organ, it, was a noble volume of sound which came from that direction when singers and players were united in their work.

It was a few minutes before 8 when Director F. S. Davenport raised his baton and the oratorio was on, the overture then being given with excellent effect.

The soloists were Madame Despret, soprano; Miss Emily Merrill, soprano; Miss Faustina Curtis, soprano; Miss Margaret Walsh, soprano; Miss Gorham H. Wood, contralto; Mrs. William A. Nelson, contralto; Mrs. William A. Kirkpatrick, contralto; Mr. A. C. Morton, tenor; Mr. Walter Gordon, tenor; Mr. George T. Moody, basso; Mr. Byron W. Roberts, basso.

“The Messiah” is not by any means an easy work to sing and has many pitfalls and snares for the unwary vocalist, but it can truly be said that the above named soloists performed their tasks in a manner which won the approval and commendation of the audience. They again reflected much credit upon the musical resources, in solo work, of the Queen City.

The chorus singing was well toned, harmonious, strong in volume for the number of singers and in good time. It was marked by a good understanding of the requirements of the work and an intelligent method or interpretation.

The quartette numbers were finely sung by Miss Faustina Curtis, Mrs. W. A. Kirkpatrick, Mr. J. M. Bright and Mr. H. W. Libbey.

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The directing of Mr. Davenport has been a source of inspiration to all concerned in the presentation. His well known genius and experience were used to the great advantage in working up the oratorio to the point of excellence attained and no small share of the credit belongs to him.

It is needless to state that the organ playing of Mrs. H. L. Jewell was of the best for everybody in Bangor well knows the artistic skill and taste which she uses in all of her work. That of last night was of the usual high standard.

Pullen’s symphony orchestra rendered the instrumental score with a most musicianly spirit and power and furnished a splendid accompaniment for the singers, being extremely helpful in harmony and time.

FREDERIC S. DAVENPORT

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BANGOR DAILY WHIG AND COURIER Monday, December 19, 1898 • vol. 65, no. 313 • page 3

A NEW ORGAN. It Will Be Placed in the Third Parish Church.

Will Be One of Finest in the City—One Now in Use Has Seen Service Since 1853 and Has Become Almost Historic.

It will be most pleasant news for all the attendants at the Third Parish Congregational church and many others outside the parish that a new organ is to be replaced in that edifice in a short time to take the place of the instrument which has been in service for almost half a century. This change and improvement is made possible through the thoughtful generosity of a parishioner whose name will not be made public. The munificent gift will be thoroughly appreciated by all and greater enjoyment of the fine music rendered at this popular and influential church and a greater uplifting power will result.

The contract for the new organ has not yet been made. There has been some correspondence with manufacturers, but it has not yet been decided what make or style of organ shall be purchased. That it will be one of·the best is all that is definitely known. The matter of selection and awarding of contract has been placed in the hands of Mr. M. H. Andrews, whose experience and excellent judgment will be of great benefit to the church at this time.

Probably the new organ will be in place before Easter, as one manufacturing concern has offered to put up an organ for use in February next.

The third Parish church was completed in about 1850 and the organ now in use was secured in 1853. It is still a good instrument in some respects, but it can be improved upon materially. The new organ will be placed in the position at present used. It cannot be placed behind the pulpit for the good reason that there is no land in the rear of the church for an extension of the edifice to allow of placing the organ there.

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The old organ could tell some interesting history if it could speak.

Among the organists who have officiated there are Miss Annie Brown, Miss Clark, now Mrs. J. G. Clark; Miss Spofford, Mr. Shannon, Mr. Chase, Mrs. F. S. Davenport, Mrs. H. L. Jewell, the present talented organist, and Mrs. F. L. Tuck.

The church is one of the largest and strongest in the city and under the able pastorate of Rev. John S. Penman, who is held in high respect and regard by all his parishioners and many friends outside the limits of the parish, is constantly growing in influence for good and in strength.

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BANGOR DAILY WHIG AND COURIER Tuesday, December 20, 1898 • vol. 65, no. 314 • page 2

THE HISTORY Of the Present Organ at the Central Church.

During the Last Forty-five Years, Eight Organists Have Taken Their Turn at Its Keys—Their Names as Far as Can Be Learned.

The old organ at the Third Parish church which will be soon replaced by one of the finest instruments to be had, as exclusively announced in the Whig on Monday, has an interesting history and a Whig man spent a good deal of time consulting various gentlemen who were familiar with church history and looking over records. We are indebted to several gentlemen for courtesies and trouble.

The present organ was first used in public January third, 1853, and since then has seen continuous service.

Mr. Carlostin Jewett had charge of the music of that parish from 1847 to 1853 and was instrumental in the building of the organ, which was not donated by a single parishioner but formed part of the expense in the building of the edifice. As soon as services were held in the new structure which now stands on French street, T. G. Stickney, Esq., took charge of the music, leading the choir and having a general oversight of that part of the service.

The organists in order from 1853 to 1898 are as follows: Joseph Forbes, Miss Annie Brown, Miss Clark, Solon Wilder, T. G. Stickney, Charles Shannon, Mrs. Jewell, Mrs. F. S. Tuck, Mrs. Jewell. In all, Mrs. Jewell has played the organ about eighteen years.

Stevens and Company, a Boston firm, built the instrument at a cost of about $1800, and at the time it was erected it was considered one of the finest in the state, having thirty-six stops and two banks of keys. Power for its operation was furnished by pumping, and many men who are now prominent in the city remember well of having taken their turn at blowing the Central church organ.

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JOSEPH FORBES

SOLON WILDER

MRS. HELEN JEWELL

MRS. FRANK TUCK 30

BANGOR DAILY WHIG AND COURIER Friday, December 23, 1898 • vol. 65, no. 317 • page 2

ORDER PLACED For the New Organ at Third Parish Church.

One of The Finest Houses in Country Will Build It and It Will Be in Position Before Easter—Will Cost a Round Sum. The order for the new organ, to cost several thousand dollars, for the Third Parish church, was placed on Thursday, through Mr. M. H. Andrews, whose pre-eminent ability and judgment in musical matters has stood the church in good stead, with the famous house of George S. Hutchings. The new organ will be placed in position ready for use by Easter, which will be good news for the attendants of this prominent church, as the musical exercises at that time are always of a high order there and of an elaborate nature.

When the new instrument is installed the boy who blows the organ will be “out of a job,” for the organ will be run by water power. Many a man can remember when he blew the organ at some church. It was great fun at first, a regular "snap," they used to think for a time. After a time the novelty wore off, and it seemed more like work than play. And it generally happened in a short time that the lead weight on the end of the string got above the danger point very often, There used to be a notch on the side which indicated that the organ must be stuffed with air sufficiently to cause the weight to stay above the mark. The boys found a horrid fascination many times in allowing the weight to get away up to the top, to see if the organ would run if there was no wind. Then there was generally trouble in the inside workings, groanings and horrible sounds as though some one were being tortured inside the organ. Then some of the notes gave out peculiar squeals and the soul of the organist was in torture most excruciating, for he or she knew what the trouble was—that the boy had either maliciously allowed the air to go out or that he had gone to sleep. In either case the boy received a scolding that raised his hair. The people in the congregation often blamed the organist for sounds fearful and wonderful when it was the fault of the blow boy entirely.

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The water motor has marked the passing of the boy who pumped and tormented. But the organists still have their troubles, for there is sometimes trouble with the motor.

The organ building house of G. S. Hutchings is known throughout the country as one of the best concerns in business, having placed organs of their manufacture in some of the largest churches in the United States. The result will be decidedly pleasing to Bangor church-goers without a doubt. At Easter time the two finest organs In Bangor will be in position in the Third church and St. John's Catholic church.

Hand pump

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BANGOR DAILY WHIG AND COURIER Saturday, January 14, 1899 • vol. 66, no. 12 • page 8

CHURCH FIRE. Flames, Water and Smoke Damage Central Church.

FURNACE CAUSE The Loss is Estimated at From $1200 to $1500.

It is Fully Covered By the Insurance.

At 4.20 P. M. on Friday an alarm of fire was rung from box 51 for a fire at the Central Congregational church on French street and the fire department was quickly on the scene of the blaze. The fire was mostly in the wall on the southernly side of the church and while the water from several lines of hose and the chemicals were in use it was found to be necessary to chop some holes in the wall in order·to reach and smother the fire.

The origin of the fire was just above one of the furnaces in the lower floor.

Sexton Peterson had fires in the furnaces in order to heat the vestry in preparation for the supper of the Central Church Men's Club which was to have taken place last evening, and in some way the woodwork caught fire from one of the furnaces. The flames spread along the timbers and got into the wall, up which it gradually climbed, going from the lower floor up through the vestry and into the wall of the auditorium. A portion of the plastering from the floor to the gallery had to be taken away and the floor removed about fifteen feet out from the wall in order to get at the fire. Some of the floor in the vestry was also cut out. The firemen worked hard and did the best possible execution, but it was over an hour before the two bells, “all out” signal, rang in at 5.50 o’clock.

One company remained some time after the fire was apparently extinguished, as a vapor which looked like smoke was rising from the place of the fire and it was deemed best not to take any chances, but it was found to be merely vapor.

The vestry received a soaking from water and a smoking, the library got a wetting and the furniture was damaged by water. Smoke and water also caused damage in the main auditorium. The vestry had but recently received 33

quite extensive repairs in the pastor’s study and the kitchen and the painting was only completed last week.

The Central church was constructed in 1851 and this is the first time that fire has ever been experienced there.

LOSS AND INSURANCE. The loss is roughly estimated at from $1200 to $1500 and it is fully covered by insurance in the agency of Pearl & Dennnett. The total amount of insurance is $12,500, $10,000 being on the church edifice, $2000 on the organ and $500 on the furniture. Each of the following companies has $2500 insurance: Northern, National, German-American, Imperial and London Assurance Corporation

SUPPER POSTPONED. The supper of the Central church Men’s Club and the address by Prof.

Emery of Bowdoin College, which were to have been given in the vestry Friday evening, had to be postponed on account of the fire and consequent damage to the vestry of the church. As yet no date has been decided upon for the event for which special preparations had been made by the members of the club. Prof. Emery arrived in the city on Friday afternoon and is the guest of Rev. J. S. Penman, the Central church pastor.

SERVICES IN Y. M. C. A. HALL On account of the damage to the church the Sunday services of the Central church tomorrow will be held at Y. M. C. A. hall at the usual time. The arrangements for the use of the hall by the society were made on Friday evening by the church officers, so that the members of the church and parish will have an attractive and commodious place in which to worship on Sunday.

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BANGOR DAILY WHIG AND COURIER Wednesday, April 12, 1899 • vol. 66, no. 87 • page 2

HAS ARRIVED New Organ For the Third Church Received by Mr. Andrews on Tuesday.

The new organ for the Third Congregational church was received in Bangor on Tuesday, and today a crew of men from the Geo. S. Hutchings Co. of Boston, the makers of the instrument, will arrive and the work of tearing down the old one and setting up the new, as well as remodeling the rear of the church, will commence.

Mr. M. H. Andrews, who ordered the instrument, was in Boston last week and a short concert·was given upon it for his benefit. He reports the organ as being capable of producing music of the first quality as well as being a very handsome one.

It is believed that the instrument will be ready for use in two weeks from Sunday next, that amount of time being necessary on account of the amount of carpentering that will have to be done to make room for it.

MELVILLE H. ANDREWS 35

BANGOR DAILY WHIG AND COURIER Tuesday, May 9, 1899 • vol. 66, no. 110 • page 3 (article abbreviated)

ORGAN RECITAL At the Central Church Next Thursday Evening.

The fine new organ, presented to the Central church by Hon. E. R. Burpee, will be heard next Thursday evening at a public recital to be given by Mr. J. Warren Andrews of Boston….The new instrument is from George S. Hutchings….The casing is of quartered oak, with display pipes treated in Roman gold, which harmonizes perfectly with the church decoration….As a matter of interest to organists and other musical people, its full contents are specified below: Compass of Manuals from C to C, 61 notes. Compass of Pedals from C to F, 30 notes.

GREAT ORGAN. 1. 8 ft. Open Diapason.

2. 8 ft. Dulciana.

3. 8 ft. Gross Floete.

4. 4 ft. Octave.

5. 2 ft. Super Octave.

6. 8 ft. Trumpet.

MECHANICAL REGISTERS. 20. Swell to Great.

21. Great to Pedal.

22. Swell to Pedal.

23. Blower’s Signal.

24. Wind Indicator.

SWELL ORGAN. 7. 8 ft. Open Diapason.

8. 8 ft. Salicional.

9. 8 ft. Vox Clestis.

10. 8 ft. Stopped Diapason.

11. 8 ft. Aeoline.

12. 4 ft. Flute Harmonique.

13. 2 ft. Flautino.

14. 8 ft. Oboe.

PEDAL MOVEMENTS. 1. Forte, Great Organ.

2. Piano, Great Organ.

3. Forte, Swell Organ.

4. Piano, Swell Organ.

5. Reversible Great to Pedal Coupler.

6. Tremolo.

7. Balance Swell Pedal.

PEDAL ORGAN. 15. 16 ft.

Open Diapason.

16. 16 ft.

Bourdon.

17. 10 2-3 ft. Quinte.

18. 8 ft.

Floete.

19. 8 ft.

Gedackt.

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GEORGE S. HUTCHINGS Organbuilder in Boston, Massachusetts

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GROVE MUSIC ONLINE Published in print January 20, 2001 • Published online 2001

Hutchings, George Sherburn

by Barbara Owen (b Salem, MA, Dec 9, 1835; d Cambridge, MA, June 1, 1913). American organ builder. Trained as a carpenter, Hutchings entered the Hook firm of Boston in 1857 as a case maker, and was soon appointed foreman of his department. In 1861 he took a two-year leave of absence to serve in the Union Army, and shortly after his return was appointed factory superintendent. In 1869, with fellow employees from Hook (Mark Plaisted, G.V. Nordstrom and C.H. Preston), he formed the J.H. Willcox Co., named after its chief financial backer, a prominent organist and design consultant.

A reorganization in 1872 resulted in a change of name to Hutchings, Plaisted & Co. Their first important commission was a large organ for Old South Church, Boston (1876). With Plaisted’s withdrawal in 1883 Hutchings carried on under his own name. He was an astute businessman, a good mechanic and a leader in the growing trend towards the Romantic style in organ building, with the result that by the 1890s the volume of his firm’s work vied with that of the older Hook & Hastings Company. In 1901, having purchased the organ interests of Edwin Scott Votey, the firm reorganized under the name of the Hutchings-Votey Organ Co., and a large new factory was built. Following this, various business difficulties caused a gradual decline, and the company failed entirely in 1919. Some of their large and important instruments include those in the Mission Church, Boston (1898), and Woolsey Hall, New Haven, Connecticut (1903).

Bibliography “George S. Hutchings,” The Organ, 2 (Boston, 1893–94), 221–222.

O. Ochse: The History of the Organ in the United States (Bloomington, IN, 1975).

B. Owen: The Organ in New England (Raleigh, NC, 1979).

E.T. Schmitt: “Letters: Geo. Hutchings & Pilgrim Congregational, St. Louis,” The Tracker, 33/1 (1989), 21–26.

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Cambridge Chronical Saturday, June 7, 1913 • vol. 68, no. 23 • page 16

GEORGE S. HUTCHINGS George S. Hutchings, known throughout the country as a church organ builder, died Sunday afternoon at his home, 75 Henry street, following an illness of several years.

Mr. Hutchings was born in Salem 77 years ago, and had made this city his home for forty years. He learned the organ manufacturing business with E. & G. G. Hook, of Boston, which later became Hook & Hastings. He was factory superintendent for the Hooks for ten years, up to about 1869, when he organized the firm of J. H. Wilcox & Co., and later several concerns with plants in Boston or this city. About five years ago the Hutchings Organ Co. moved its plant to Waltham, with a Boston office at 18 Tremont street.

While Mr. Hutchings retained the presidency of the company, he has for several years been unable to attend to business.

Mr. Hutchings gave great personal attention to the details of organ building, and was the inventor of many of the improvements for which organs bearing the Hutchings name were noted, including the pneumatic device that allows the keyboard to be located at a distance from the organ. In 1903 Yale conferred upon him the honorary degree of master of arts, in recognition of his work as the maker of an organ for the college, the gift of a graduate.

Organs of his manufacture have been installed at Vassar, Dartmouth, Brown, Wellesley, Williams and Wesleyan colleges, Chicago university and many other educational institutions, including the New England conservatory of Music. Among the churches possessing organs of the Hutchings make are the following: Trinity church. Church of the Advent, Mission church, Old South, St. Bartholomew's and First church of Christ, of New York, and other churches in the city, Boston, Philadelphia, Concord, N. H., etc. He also made the sweet-voiced instrument in Symphony hall.

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Mr. Hutchings was a member of Amicable lodge of Masons, a charter member of Franklin council, Royal Arcanum, and an Odd Follow. He was also a member of the Massachusetts Charitable Mechanics association, of which Paul Revere was the first president, and the Organists' guild, of Boston. Mr. Hutchings served two years in the Civil war, enlisting from Roxbury in Company E, 13th Massachusetts infantry, and was discharged for disability. He had never joined the G. A. R. Besides his widow he is survived by three daughters. Mrs. Charles W. Alden, of this city, Mrs. Albert Clapp, of North Attleboro, and Mrs. Harry Porter, New York.

The funeral was held at the house Tuesday afternoon at 5 o’clock. Rev. Edward M. Gushee officiating. The Lotus quartet, of Boston, sang. The burial was in the family lot in a Salem cemetery

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41

WOODSTOCK, VERMONT 1899–1963

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Spirit of the Age Saturday, June 24, 1899 • vol. 55, no. 47 • page 3 The new organ for the Christian church is being set up this week and may be used at tomorrow’s services. The instrument is 19 feet in height, 13 feet wide and 11 feet deep; has two manuals, 32 stops and 1221 pipes.

Spirit of the Age Saturday, April 2, 1904 • vol. 60, no. 36 • page 3

EASTER DAY SERVICES. CHRISTIAN. Easter will be observed in all the services at the Christian church tomorrow.

Following is the morning program: Organ voluntary.

Invocation.

Anthem, “Christ, Our Passover” ...................................................... McPhail Responsive reading, Psalm 16.

Gloria Patri.

First Scripture lesson, John, 20:1–18.

Hymn, “Telemann’s Chant” ............................................................... Zeuner Second Scripture lesson, I Cor. 15:1–11, 24–28.

Hymn, “Ascension”.............................................................................. Monk Prayer.

Lord’s Prayer, chant by choir.

Notices and offering.

Anthem, “An Easter Hallelujah” .............................................................Post Sermon, “The Way of the Cross, the Way to the Crown,” Col. 3:3, 4.

Doxology.

Benediction.

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A History of the Christian Church Woodstock, Vermont Complied by Edward H. Williams, III; Secretary Woodstock Lodge #31 Page 12 Music for the services was, at first, wholly furnished by the choir; and a good sized choir, too, with many excellent singers composing the group.

Just when orchestral instruments were introduced is not definitely known; but it would seem as though they were used from about the time Rev. Moses Kidder became connected with the church [1842–1892]. The instruments chiefly used were the double bass, bass viol, flute and clarinets.

Pages 12–13 Probably about 1888 or 1889, the Ladies Society, which had financed the first organ, again raised funds for the installation of a chapel reed organ made by Estey. And, to complete this subject here, it is added that during the summer of 1899 the present pipe organ was presented to the church by Mr. Charles Hutchins as a memorial to Mr. Hazen and Mr. Kidder. It is regrettable that the memorial tablet was never put in place—then or since. A notation in the Society records shows that the addition at the northeast corner of the building to house the organ and organ chamber cost $254.46; and in the year 1928, an electric blower was installed on the organ at a cost of some $400.00, thereby eliminating the old hand-pumped mechanism. As happened at times in other local churches, the man-power may have fallen asleep at an inopportune time to the Hand detriment of the music. pump

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Page 14 In the five year period beginning in the fall of 1895, the building underwent its last great change and rearrangement, chiefly in the front (north) of the church. A smaller pulpit was installed to allow space for a baptistery on the left of the minister, which was used for the first time in February 1896. For several years past, the organ was on the right of the minister, with the choir of twelve seated along the west wall. When the present organ was installed in 1899, the choir moved over to seats along the east wall. At one time, probably after 1876, the ceiling was in the form of an arc, more accurate1y described as “flat barrel.” In 1898, however, it was made perfectly flat.

Pages 20–21 It is tragic that a church which had been so influential, so large and flourishing, should be compelled to close its doors. But when business shuts down, a community will lose its young people; and these very persons are the ones who should become the backbone and mainstay of the church.

Many other reasons also contributed to the final decision of the Officers and members of the Christian Church Society, on May 4, 1949, to close their books by legally transferring all their rights in the land and buildings as a memorial gift to the Masonic Fraternity, it being an organization most closely founded on thought and principle comparable with their church doctrine….It is needless to say that the Lodge unanimously accepted this most generous gift….Now, in 1950, this famous old building is being called the Masonic Temple. But while the Supreme Master of the Universe grants life to most of the people in this vicinity, it still will be fondly remembered as the Christian Church.

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Correspondence with Masonic Lodge #31 Message from R.O. Moninger, emailed September 16, 2013 Good afternoon.

A pipe organ that once stood in Woodstock’s Masonic Hall from 1949 to 1963 now stands in Iowa City’s Zion Lutheran Church. A. David Moore of Pomfret, Vermont, removed the organ from the Masonic Hall in December of 1963, and he reassembled and restored the instrument in his barn in 1964.

We purchased the instrument from David in the ‘70s. The attached photograph shows David and the organ—and a cow!—in Moore’s Vermont barn in 1964 and the 160-year-old organ in Zion Lutheran in 2013.

We are researching the organ’s history and are seeking documents for the years it stood in the Christian Church that later became the Masonic Hall.

Have you seen photographs of the organ in the Masonic Hall? The oral history we have obtained is the lower half of the organ would have been behind a first-floor wall and that the organ pipes would have been visible on the second floor. We would be very interested and appreciative in obtaining photographs and recollections that document the organ’s story in Woodstock.

Robert O. Moninger P.M. Iowa City Lodge #4 AF &AM Choir Dir. Zion Lutheran Church – Iowa City, Iowa

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Response from John M. Blake, received September 17, 2013 Bro Robert, I have some pictures of the interior of the 'CHURCH' when the lodge members were in the process of removing the pews. I also have a history of the church written by P.M. Ned Williams at about the same time. I will send this information to you. It may not be this week as our District Meeting is coming right up plus too many other things on my schedule.

Fraternally John M Blake Secretary, Masonic Lodge #31, Woodstock VT

Message from Tim Meier, emailed October 11, 2013

Mr. Blake, I am the associate organist for Iowa City’s Zion Lutheran Church, and my colleague R.O. Moninger forwarded your reply to me. I want to thank you in advance for your generous time to help us document the history of Zion’s organ. I was very excited to learn that you might have photographs and a history of the church. I’m including a mailing address for us with this message. Please let me know if I may reimburse you for any charges that might come from finding, copying, scanning, and sending or mailing materials.

Our best wishes to you, and thanks so much.

Tim Meier Zion Lutheran Church

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Letter from John Blake—enclosed with two photographs and a copy of A History of the Christian Church—received at Zion Lutheran Church on November 1, 2013 Mr. Tim Meier, I apologize for not having sent this to you sooner. I thought I knew where everything was. There is one more photo that seems to be missing.

The door that you see on the L.H. front leads to our kitchen, the organ as you see it is on the north wall. The ceiling was lowered, the pews removed and this became our dining room. The lodge room is upstairs. The stained glass windows are seen in the dining room and also from the lodge room. A very nice effect. There was a balcony on the south side facing north. This was torn down.

If you have any questions let me know. When I locate the missing photo I will forward a copy.

Sincerely, John Blake

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NORTH POMFRET, VERMONT 1963–1977

Baron Herbert Schei

Nicky Atwood 52

David Moore

VERMONT STANDARD Thursday, September 3, 1964

400 Attend Open House For Demonstration Of Pipe Organ

photo by Dryden David Moore, left, and Nicky Atwood, right, stand beside the console of the old Christian Church organ which they dismantled last winter, moved to a barn on the Sherburne farm in North Pomfret, and set up.

Last Sunday, 400 visitors attended a demonstration of the organ.

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Last Sunday afternoon, more than 400 people attended an open house at the Sherburne Farm in North Pomfret to witness the demonstration of the former Woodstock Christian Church organ.

This organ was made by the Stevens Organ Company around 1850.

It first went to Bangor, ME. In 1898 [sic] the organ was set up in the Christian Church in Woodstock.

A few years ago the Christian Church was disbanded and the building turned over to the Masonic Lodge.

After some consideration, it was decided to give the organ, a tracker type, to two young men who wished to restore and preserve it. Max Spaulding was one of the Lodge members who helped promote the project.

The young men were David Moore, son of Mr. and Mrs. Hewitt Moore of North Pomfret, and Nicky Atwood, son of Mr. and Mrs. John Atwood of North Bridgewater.

These two young men, both 1964 graduates of Woodstock Union High School and much interested in music, started moving the organ to the barn on the Sherburne farm last November.

How many parts, how many complications, how many hours of labor were involved in the project only Dave and Nicky know. There were 1270 pipes all the way from peawee size to 10 feet high.

There must have been hundreds of tubes, pedals, stops and other things which go to make a pipe organ function.

But these two young men carefully took them apart, cleaned and reconditioned them, whittled out some missing parts—and presented a restored tracker organ last Sunday which filled the old barn with the fine tones and music for which this instrument has been noted.

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VERMONT LIFE 1965 Summer • vol. 19, no. 4 • pages 31–35

Years of dust, misuse and neglect, plus a field mouse, a red squirrel, a nervous heifer and an inquisitive bull were just a few of the handicaps encountered when two young musicians set up an old

organ in a Pomfret hay barn!

by Rockwell Stephens Photographs by Sherman Howe, Jr. THE PARAGRAPH in an early September copy of Woodstock's weekly VERMONT STANDARD read:

“Last Sunday afternoon more than 400 people attended an open house at the Sherburne Farm in North Pomfret to witness the demonstration of the former Woodstock Christian Church organ.”

And thereby hangs a tale of a fine old instrument transplanted to the hay loft of a big Vermont barn, rebuilt by the musical and mechanical inspiration and skill of a pair of 17 and 18-year old boys, and finally speaking in full throated response to their touch, to the amazed delight of all who shared the experience.

The story begins when David Moore and Nick Atwood (Albert David Moore, North Pomfret, and John Talmadge Atwood, North Bridgewater on the Woodstock Union High School senior class list) heard that a fine old pipe organ, a tracker organ to be exact, in the onetime Woodstock Christian Church was to be disposed of. The Church had closed in 1949 and the edifice, built to seat a congregation of 600, had become the 55

Masonic Temple. Built some time between 1848 and 1852 by the Stevens Organ Company of Cambridge, Massachusetts, the organ had been acquired by the Church in 1899, when it was brought to Woodstock.

The boys' suggestion that the organ be given to them aroused some skepticism. What could a couple of teenagers with no special knowledge of organ construction do with a fine old instrument? The fact that both boys were excellent students, both seriously studying the piano, and that Nick had won prizes and scholarships for musical ability every year in high school led to the decision to give them the organ.

Another consideration may have been the desire to keep an heirloom of high musical and artistic integrity in this community, which boasts four Paul Revere church bells—more than any other area, anywhere.

The boys were not, in fact, wholly inexperienced. Between them they had gathered a stable of five pianos, including a classic Aeolian mechanical player piano, and a reed organ, all of which they had tuned and tinkered.

“They are not concert instruments,” says Nick, “but they work.”

They began to dismantle the organ in the fall of 1963, promising to get it out of the building by May. But by mid-December they had it in pieces and moved in the Moore's farm truck to the hayloft of the big Sherburne barn.

They started by removing the big display pipes, labeling each as it came out of the framework, and making sketches of the structure and details of the instrument as the work progressed.

“Our drawings weren't much help,” David confessed, when asked how under the sun they managed to put things together again. “We just had to use common sense.”

Fifteen years of dust-covered neglect had not improved the instrument, nor had free-wheeling use of saws and axes during building alterations in the old church. Various supports and a portion of the front of the structure had been hacked out and thrown away.

Many of the “trackers,” wooden strips connecting the keys to the valves admitting air to the pipes, were damaged or broken. Leather to rebuild the air chest or reservoir, “bellows” to the layman, had to be found, as well as 56

felt for washers and innumerable other items. David's grandmother produced a bag of felt scraps adequate to the need; Nick's grandfather, an amateur wood craftsman, cut and sanded strips of Ponderosa pine for the trackers, which ranged from seven feet to mere inches in length. Tiny Lshaped brass adjusting rods with an infinitely fine thread were located at a Pennsylvania organ supply house. A Boston leather merchant could supply soft tanned horsehide for the bellows, but when asked for 103-inch strips replied that no horse known to him had a hide that long. Glued splices were the answer to that one. Found, too, were some spare pipes made by William Nutting, a famous Vermont organ builder of the 1850's. Local farm supply and hardware stores had wire, punches, and other less specialized needs.

The boys spent a busy winter tinkering and planning, keeping up their work and their piano studies at school and fitting in, somehow, lessons from Fred Metcalf, organist at the Norwich Congregational Church. Nick found time, too, to practice and frequently play as organist at the Woodstock Universalist Church.

Not the least of their planning problems was locating the organ in the big Sherburne loft. Twenty feet tall, fourteen wide and thirteen deep, it was finally set up at the far end against the wall, where a harness room below was ready for the turbine blower and its aged (circa 1918) but willing electric motor.

After graduation in June (when Nick received two more music scholarships) the boys set to work assembling their collection of some 1250 pipes, to be set into 26 ranks, 31 stops, 25 foot pedals, and uncounted pieces of tracker strips to be mounted in a lattice work of controls.

Planks were leveled on the loft floor; parts of the framework that had been damaged or destroyed were remade and replaced. Blower and air chest were solidly mounted, but a hitch arose over the problem of making an airtight connection between the two. A section of big truck tire inner tube solved this one.

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Racks to hold the pipes had been scrubbed clean and laid out to dry, propped against the shafts of an ox cart in the lower barn. A reluctant heifer which the boys were helping lead into a truck, reared and fell on most of these, which then had to be rebuilt laboriously from seasoned basswood. “That was a pretty bleak day,” says Nick, describing the wreckage.

On another occasion thirteen young cattle led by an inquisitive Angus bull found an open door and got at the hay piled in one end of the loft, which the boys had not yet thoroughly cleaned and swept. The herd spent the night among tables of ranked and sorted pipes and other parts laid out in proper pattern on the floor.

“Took a while to get straightened out,” says David. “They stepped on some replacement pipes, but we straightened them out with a pitchfork handle. A mandrel would have been handy, but we didn't have one.”

A field mouse who liked to play among the latticed controls (“he made us a lot of clean up work”), and a red squirrel who fell into a pipe and gnawed his way out, were some of the other handicaps.

Most of the metal pipes took a rough and ready bath in the watering trough, but the big display pipes ranked above the console were another matter. “They had three coats of hard white paint, but we soaked them for a week in the pond and spent another week scrubbing them,” says David. “We'd lay them out on a rack by the pond to dry, but we had to keep moving them out of sight when tourists came by and asked us to move them so they could take pictures of the pond and barn.”

The boys could manhandle most of the pipes into position unaided, but the biggest bass, an 18 by 24-inch rectangle of inch-and-three-quarter pine plank 16 feet long—plus other heavy members, needed more than two-boy muscle.

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“We rigged tackle from the hay track along the peak of the roof and had no trouble,” says David.

Eight weeks of steady work, and their organ was at last assembled. “But we did work pretty late some nights,” the boys admit.

“Tuning was tricky, though,” Nick says. “We learned that the heat of a hand or even your shadow across a pipe would make it go sharp or flat, and of course temperatures would change so that what we might tune near noon wouldn't be right with what we tried to do after dark.”

But the day finally came when, though not completely finished, the organ was ready. With first one, then the other of the boys at the console, they could demonstrate their thanks for the gift, as the instrument once again spoke in full voice to the music of the master composers. For the “more than four hundred” who walked through the barnyard foyer into this hay loft auditorium it was a unique experience, and one surely worthy of a place in the long history of the American organ.

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A. DAVID MOORE Organbuilder in North Pomfret, Vermont 60

A. David Moore established his firm in 1973 after a three-year apprenticeship with the distinguished American organ builder, C. B. Fisk.

He lives and has his workshop on the large rural Vermont farm where he grew up. Here, with his associates, he designs and builds historically informed mechanical action organs. This unique builder has traveled extensively and studied some of the finest old (and some new) organs of Germany, France, the Netherlands, Denmark, Italy, and England. He has a working knowledge of the treatises of Cliquot and Dom Bédos. Living and working in New England, he has acquired a knowledge, both intimate and scholarly, of the eighteenth-century and nineteenth-century New England builders. His association with the likes of John Fesperman, Barbara Owen, Fenner Douglass, John and Mark Brombaugh, Kevin Birch, and many organ building firms, has contributed to his understanding of the organ and its music. Indeed, David himself is a quite respectable organist.

AP NEWS Tuesday, December 24, 2013 • Dave Gram, reporter

Sounds that fill churches start on Vermont farm POMFRET, Vt. (AP) — Part metal worker, part carpenter, part maker of fine furniture, part musician, A. David Moore works in a converted Vermont barn to build and rebuild pipe organs.

He and his team of six employees are members of a tiny fraternity of a few hundred people nationally who supply the massive instruments to churches, concert halls and, in some cases, homes of the wealthy, or who renovate historic organs that have fallen into disrepair.

Organs that Moore has built or worked on in his 40-year career have their homes in such places as Boston’s Old North Church, site of the lanterns that told of British troop movements at the start of the American Revolution, Grace Episcopal Church in Washington and a private home in San Francisco.

In recent weeks, Moore, 67, has been building an organ that will have new keyboards—or manuals, as organists call them—as well as stops, frame and casing—everything but the pipes.

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Tubes as long as 16 feet that date from the 1860s and will end up leafed in the traditional gold have been shipped to Moore’s workshop from a closed Roman Catholic church in the Charlestown section of Boston. The organ is being constructed—for a price Moore estimates will end up in the high hundreds of thousands—for a Catholic church in Pensacola, Fla. A piano player as a boy, Moore was a teenager in the early 1960s when a high school music teacher encouraged him to play the organ. He and friend John Atwood, who still works with Moore today, were given an old organ by the Masonic lodge in nearby Woodstock.

“It wasn’t working and they didn’t want it,” Moore said. “We brought it home on a farm truck and set it up in a barn.”

They got it fixed up, and soon organ music was blending with the sounds of cows lowing. Today that organ, built in Boston in the 1850s, is still in use at the Zion Lutheran Church in Iowa City. The church’s website says it’s the oldest organ in Iowa.

Days after offering a tour of his workshop to a reporter and photographer, Moore sent an email saying he had come across a 1900 Hook and Hastings organ in Littleton, N.H. “The church is being sold and we are getting the organ for rebuilding and will find a new home for it,” Moore wrote. “Often these organs can be 15 feet wide and 12 feet deep or more, and it is difficult to find as big enough space for them. In this one, everything is all original, and it could easily go in a museum, but better to have it in a church and be used all the time.”

The organ bound for Pensacola’s St. Paul Church was a 10-foot-high skeleton in Moore’s workshop on a recent Monday, with the first of three keyboards attached at one end. The frame was built from maple cut from the wood lot on the Moore family farm. Moore had to plug some of the holes left from when the trees were tapped decades ago for maple syrup.

Moore builds his organs in a 19th-century style and frequently uses parts from organs of that era that are beyond repair themselves. He said he prefers to avoid most of the electronic technology introduced into many organs in the 20th century—the one exception being in the blower that provides the air that produces the sound. In earlier days, teenage boys were brought in to operate bellows, he said.

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JOHN ATWOOD North Bridgewater, Vermont 63

At least a sixth generation Vermonter, John Atwood was born and raised on a dairy farm in North Bridgewater, Vermont, where he learned to play the piano at age three and later studied with local piano teachers, including Helen Hathorn, Hilda Robinson, and Beverley Newton (Wells), and won several awards in piano while in high school. John played the organ from the age of nine when he received an Estey reed organ.

John went on to get a B.A. degree in music in 1968 at the University of Vermont with David Kinsey, then apprenticed for three years with the organ builder Charles Fisk of Gloucester, Massachusetts. While at the Fisk shop, John studied organ with noted organ historian Barbara Owen and with Frank Taylor who was a teacher at Wellsley College and a student of Melville Smith. Also during this time, John substituted at the Episcopal Church in Ipswich, Massachusetts, under Thomas Forrest Kelly, then teacher at Wellsley College specializing in early music.

During an interim 29-year period, John studied tropical floristics with John H. Beaman at Michigan State University where he received his M.A. in botany. He went on to work with Norris H. Williams of Florida State University, studying the orchid family, and he received his Ph.D. in biological science in 1981. He went on to serve the Marie Selby Botanical Gardens in Sarasota, Florida, for 21 years, working off-site in Vermont for the last three years. During this time in Vermont, he organized two recitals for the rainforest featuring the famous Hutchings-Plaisted organ at the Unitarian Church in Woodstock, Vermont. He also organized the “Whitney Organ Recital Series” featuring this organ, an annual event that commemorates Woodstock-born organist and choir master to the Church of the Advent in Boston and who was one of the founding members of the American Guild of Organists.

John joined A.D. Moore, Inc. organ builders in 2004, while serving as substitute organist for several years. During this time, he studied approximately half of the 45 pieces in J. S. Bach’s Orgelbuechlein with Donald Kerr.

John is currently on the Executive Committee of the Vermont Chapter of American Guild of Organists. He was named organist/choir director at the Bradford Congregational Church, United Church of Christ, where he has remained since 2011.

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Correspondence with John Atwood Message from Tim Meier, emailed February 23, 2015, at 3:52 pm Good afternoon, John. You too, Bob Moninger.

John, we met in Iowa City’s Zion Lutheran Church in late summer of 2006, when you and David Moore restored the Stevens–Moore organ. I was Zion’s associate organist.

Bob and I have been working together on the history of the Stevens–Moore organ. We have made great progress since 2013, collecting photos, articles, books, and more, all documenting the organ’s story in Bangor, Woodstock, North Pomfret, and Iowa City. The collection is kept as an archive at the church.

If you wish, you may view some of the archives in an album on my Faceboook page. [Link to the album not provided here.] Look at the photos and read descriptions included with each photo. And be sure to watch the video of a TV segment that includes you speaking to and playing for the Iowa Traveler. The link to the video is included with the description of the organ photographed in Zion.

There are missing pieces in the research/archives. I’m hoping you can help.

Do you have photos of the Stevens organ from 1963 (or before) when it was located inside the Masonic Hall? We’d really like to see the situation of the instrument that, as we’ve been told, was partially encased by a wall and divided by a “lowered ceiling.” It’s an important tale of the organ’s story, one that should be documented. If you have any photos, any information, we’d be very interested in hearing from you.

I don’t want to bother you, giving you more things to do. But, I hope you will see the significance of this project and will contribute to it, even more than you already have.

Thanks so much, John.

Cordially, Tim 65

Response from John Atwood, received February 23, 2015, at 8:00 pm Hello Tim, and Bob, It was wonderful to see the Stevens updated to something really useful, and to see it really loved, and what acoustics! You have had the organ nearly 40 years and you still cherish it! I have seen a photo of it when the current Masonic Hall was still the “Christian Church” and David might be able to help you with the source. If not, Ed Boadway probably can. What impressed me is how stark the Christian Church setting was. There has got to be a photo of the organ after the church was divided into two stories, but that would take some research. I’m pretty sure we did not take pictures before removing the organ. I will look at your archives to determine if I might have some photos taken in the barn to add.

John

Response from John Atwood, received February 23, 2015, at 8:12 pm

Tim, you have done your research well! You have the photos I saw, and I can’t find any photos I took in the barn that would add anything to your collection. You have pretty much the whole story.

John

Response from Tim Meier, emailed February 24, 2015

John, thank you so much for an excellent reply and for the compliment. I believe, as you do, there must be one photo out there of the interior of the Masonic Hall between the years 1950 and 1963. Yep. I’m going to continue the quest. Perhaps the Woodstock Historical Society can help.

Your recollection of the Stevens organ in the Masonic Hall would be most helpful and an important addition to the archives. Would you be willing to write it and send it to us? Or I’d gladly call and interview you.

The following account is printed in Zion’s booklet about the organ. “The Woodstock Church…became the Masonic Hall. The building was divided into two floors; the console of the organ and the pedalboard were sawed off 66

and the new floor joists were nailed into the organ case. The front pipes were left visible in the upstairs lodge room; the lower part of the organ was walled over.”

Was the console really sawed off? Or is the statement accurate. Do you have anything to add?

Thanks again, John. I promise I won’t bother you…well…too much.

Tim

Response from John Atwood, received February 25, 2015 Hello Tim, What I recall is that the stop trundles were sawn below the knobs so that the console could be dismantled which would have been in the way of the new wall. The space created was used as a closet. We were able to reassemble the console in the barn. The only missing parts, as I recall, was one or both panels below the impost, and many of the stop knobs were missing, and only a couple of the ivory stop caps were still present. Ed Boadway once said that when he first saw the organ he grabbed what he could, but he returned them to us. We found a chimney flute dropped down one of the wood pedal pipes, and the bass chest (Stopped Diapason [8’] and Principal [4’], each with 12 pipes) had come fallening below. Although it appeared seriously damaged, in reality is took little effort to straighten a few of the metal pipes and return the chest to its rightful position and rebuild the action. David rebuilt the swell such that you no longer have, or need that bass chest. Yes, I plan to visit the Historical Society to see if they have interior photos, but I have little faith that they can be found because of organizational needs. The only thing I could add is that the upper case and front pipes were painted the same color as the walls.

John

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A. David Moore and John Atwood Friday, October 11, 2019 • The Masonic Temple’s parking lot in Woodstock, VT

John Atwood and A. David Moore met a group of 15 people from Iowa City’s Zion Lutheran Church at Woodstock’s Masonic Temple on Friday morning, October 11, 2019. While we waited for John Sterling—the secretary of Woodstock’s Masonic Lodge #31—to arrive and let us inside the building, John and A. David spoke to the group, taking us back to 1963 when they were teenagers and wanting to rescue the Stevens organ from the Masonic Temple. Sarah Jones Krumm started video recording John’s and A. David’s informal presentation, and the following is a transcript of the recording.

JOHN ATWOOD: …We were part of a chorus and they had an electronic organ for the poor organist that was there. Of course, there was never a three -manual tracker, and there never has been one since. We were transported by Bob Newton, whom you may know of, at least. He’s noted for rebuilding Hook organs.

A. DAVID MOORE: The Andover Organ…

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JOHN: He’s with the Andover Organ Company. And we had a ride back to Woodstock with him, and he was interested in this [Stevens] organ. He told us they wanted to use it for parts. Well, we stopped by the cemetery by West Brookfield. He got out of the car to take a leak, and David looked back at me and said, “We’re going to get that organ.” I would not have had that fortitude.

A. DAVID: Yeah, but, neither one of us, alone, would have ever gone through with it, you know. It kind of took both of us. Isn’t that right?

JOHN: Spurred each other on. I wouldn’t have even suggested it. But, I had it in my mind that I wanted to save this organ, because it was the second largest tracker in Vermont. Well, that [the size of the organ] didn’t stop us. I think I wrote a letter to the Masons…Max Spaulding was his name. And then, I gave him a phone call and asked him what they had decided. And I just remember him saying to us, “And we decided to give you boys the organ.”

Well, my grades suffered, and so did David’s that fall; because, every night we were transporting this organ up to North Pomfret. There again, David had the truck, he had the spare barn, and the tools to work with.

So, I ended going into botany, actually. But I did follow David to the Fisk Organ Company. And Fisk set me up with very good people. A teacher at Wellesley, who was a fine teacher. And, also, I became assistant organist to a guy who became the head of the music department at Harvard, whose name is Thomas Forrest Kelly. I have since reconnected a bit with him. He is an expert in early music, and that’s what my interest is becoming, to play some early music. But, I was going into botany at that point. I knew I wanted to do that. So, that came to an end after three years. Then, I went to Michigan State and got a master’s degree, then went to Florida. And then I returned to Vermont for family reasons. And then David hired me for a while. Actually 12 years.

A. DAVID: Yeah.

JOHN: And also, you had me help you out at Iowa once.

A. DAVID: Right. You came out there.

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JOHN: It was interesting to hear that [Stevens–Moore] organ, because, that organ is kind of the result, in my opinion, of listening to those Helmut Walcha recordings back in college.

A. DAVID: Yeah.

JOHN: Because he [David], basically, Schnitger-ized it. Which is a very good use of it.

A. DAVID: Yeah, somewhat. But there are still a lot of original stops there.

Which is pretty uncommon, you know, for that time. People would take and throw out the original stops. Nearly all of them. And the ones they did not throw out, they would rework into something else. So, there’s a lot of untouched stuff in there, you know. Quite a bit.

JOHN: Well, I think we pushed the pipework more than…

A. DAVID: Well…

JOHN: This is not the Stevens it originally had been. The original Stevens…Listening to other Stevens’s of that period…There is one that Jeremy Adams had rebuilt in Boston, where the old Sesquialtera…They were the most lugubrious sounding things that you can image. So, I think that what was done with your organ was the most useful for the long-term.

BOB MONINGER: You mentioned Walcha. He was blind, wasn’t he?

JOHN: What’s that?...

TIM MEIER: ….you got the last piece of the organ from this building?

A. DAVID: Well, I dunno. I think it was under two weeks.

JOHN: Oh, no. David. It was much longer than that. Of course, President Kennedy was shot at that time. And most of the people would stay at home and revere Kennedy. We took the time that was given to us, from taking off time from school, to take out the organ. We utilized the time, I think, well.

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TIM: The Vermont Life article suggests that you got it out before the people [the Masons] thought it would be out. So, they were impressed with how quickly you got it out.

JOHN: Yeah, we did get it out. But I think it took all of six weeks.

A. DAVID: Did just the two of us get that big molding out, that big top cornice thing.

JOHN: I think just the two of us got that top!

A. DAVID: It was a beast.

MARLYS BOOTE: You were maybe just a little stronger back then, I dunno…

A. DAVID: Stupid as hell!

Laughter JOHN: And those chests were so, they seemed so heavy to me.

A. DAVID: Yeah, but they…

JOHN: I don’t think they would now. They seemed very heavy, but you were bigger than I. You were almost a year older.

A. DAVID: There were two Great chests. Yeah. It wasn’t like….I’ve seen heavier chests.

JOHN: Yeah, I have, too. But, for a sixteen-year-old kid, David, those chests were plenty heavy.

TIM: What did you, um, were you taking notes as you were taking things out? Were you taking photographs?

JOHN: Some rough sketches where things went. And you’ll notice on the pipework there will be a ballpoint pen mark. 1A, 2A, 3A, or maybe A1, A2, A3, whatever.

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A. DAVID: That’s an amateurish way of doing it, you know, labeling each pipe.

JOHN: We really didn’t understand.

A. DAVID: The pipes up in the Hook & Hastings [in the Hammond Street Congregational Church in Bangor, Maine] are labeled that way when they were taken out.

JOHN: So, row1 got 1A…or A1, A2, A3. Row 2 got B1, B2, B3, but it was part of the Open Diapason. It was all one rank. We didn’t know any better.

TIM: Well, you were working under a very tight deadline, plus trying to go to school.

KEVIN HOYLAND: Plus, learning everything about it, too.

The Stevens–Moore Tour group, October 11, 2019.

Front row: Donna Grundstad, Kevin Hoyland, Christy Curry Hoyland, Tom Moninger, Bruce Teigland, Tim Meier, Sarah Jones Krumm.

Back row: Tim Krumm, R.O. Moninger, Al Grundstad, Marlys Boote, Barbara Lueder, Karen Teigland, Sarah Meehan, Rosalie Moninger.

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Correspondence with John Atwood Email from John Atwood, received October 19, 2020, at 6:05 pm Hi Tim. Do you have the stop list as we received the organ in 1963? I think I could reconstruct it. I'll never forget it, although most of the names actually on the stop knobs were missing and I would have to reconstruct them using known names from other Stevens organs.

John

Response from Tim Meier, emailed February 19, 2020, at 8:12 pm Oh, John, thank you for your help.

If you are willing to reconstruct and provide the stop list from 1963, by all means please do. It would be a welcomed addition in the booklet and a helpful historic record for the organ! The closest information I have is from the January 1970 issue of the Boston Organ Club Newsletter. “Boadway– Loris–Laufman list of old and new tracker organs in Vermont….North Pomfret / Sherburne Farm / Geo. Stevens & Co. (?) / c1853 / 2 [manuals], 26 [ranks].” I have attached a scanned copy of the Stevens–Moore booklet from 1977. The descriptions of some of the stops/pipes might help in reconstructing the 1963 stop list.

I can’t thank you enough, John.

Cordially, Tim

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Email from John Atwood, received October 20, 2020, at 8:48 pm Hello Tim, Here is the stop list of the [now] Stevens–Moore organ as it was in 1963. I recall that we visited the Stevens organ in First Mariner's Church, Boston, in the late 1960s, also built in 1852, the same year as your organ. I remember noting how similar these organs are. Since the Woodstock organ had at most six extant stop labels, I am using the Boston organ as a name source, since both organs probably used the same name for a particular stop. My information source is Owen, B. 1979, The Organ in New England, Raleigh, The Sunbury Press, p.437.

There are a few differences from the Boston organ list. The Great compound stop is listed as “Mixture” while the pipes of the Woodstock organ distinctly used the name (usually abbreviated) Sesquialtera (Stevens may have deleted the “a” at the end). The swell bass was a separate chest outside the swell box with two stops as listed below. When we dismantled the organ, we found the swell bass chest had fallen smashing some of the principals thus providing us our first experience at straightening pipes! The Boston organ also had three additional stops: Clarinet 8' (Great), Violino 4' (Swell), and Trumpet 8' (swell). The Woodstock organ lacked the Swell to Great octave coupler listed by Owen. Otherwise, the two organs are nearly twins.

Barbara Owen indicates that the Boston organ was moved to LaSalette Shrine, Ipswich, Mass., but it may have been moved, again. The stop labels of the Woodstock Stevens lacked foot designations (added below), and Barbara Owen probably inserted such in her published list of the Boston organ. Here is the reconstructed list. There may be a list published in a Bangor newspaper.

You might run this by David to see if he has any additions or corrections.

John Continued

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THE 1963 STOP LIST OF THE STEVENS ORGAN

GREAT Tenoroon Open Diapason Stopped Diapason Stopped Diapason Clarabella Dulciana Keraulophon Principal Flute Twelfth Fifteenth Sesquialtera Trumpet

16' 8' 8' 8' 8' 8' 8' 4' 4' 2 2 /3' 2' [III] 8'

SWELL Stopped Diapason Bass Principal Bass The following supplied the remaining 44 notes.

Bourdon Open Diapason Stopped Diapason Viol de Amour Viol da Gamba Principal Piccolo Cornet Oboe

(TC) (Bass, CC to TF# for the following 4 stops) (Treble, TG) (TG) (TG) (TG)

(divided between F#o and Go; the bass stop was probably labeled Bassoon.)

8' (12 notes) 4' (12 notes)

16' 8' 8' 8' (very narrow scaled string) 8' (a bell gamba) 4' 2' III (12-15-17 with Dulciana scale) 8'

PEDAL (25 notes) Double Open Diapason 16'

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Other stops Swell Tremulant Swell to Great Swell to Pedal Great to Pedal Pedal Check Two combination pedals (which Atwood & Moore discarded) Soft Loud The Sesquialtera had the following composition.

The tierce (1-3/5') probably ended at C3.

CC–BB Co–G3

17.

12.

19.

15.

22.

17.

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From New England to the Heartland

IOWA CITY, IOWA

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History of Zion Lutheran Church in Iowa City Chapter 6: Zion’s Second Century Begins (1960–2010) • page 63 Zion’s Bicentennial Project in 1976 was the purchase of the Stevens–Moore tracker organ built in 1852 in East Cambridge, Mass., by George Stevens.

The project had its origin at a congregational meeting called during the winter of 1974–75 to refinance the church debt. A two-part organ committee was appointed to look into acquiring a pipe organ to replace the electric machine then in use. Part of the committee was to look at new instruments; the others, at used instruments. Acting on a tip from UI organ student, Rick Hass, “used” committee member Bob Moninger made a trip to New England and discovered the George Stevens organ we now have, sitting usable in the haymow of David Moore's barn in North Pomfret, Vermont.

After due investigation and negotiation, the congregation contracted with Mr. Moore to restore and revise the instrument for us.

Zion’s 1977 Stevens–Moore Booklet Excerpts from the first page and the inside back page The congregation and organ committees of Zion Lutheran Church studied, investigated, and thought over many proposals for an organ. We were fortunate to locate this old New England organ, its New England owner, and organ builder.

ORGAN COMMITTEES 1964–1977 Committee I Margaret Alton Fred Ebbs Edward Hall Colleen Lewis Joan Luhman Carleton Nordschow Dorothy Powell William Rieke

Committee II Edward Hall Joan Luhman Dorothy Powell

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Committee III Warren Boe Edward Hall Harvey Huiner Dick Lewis Joan Luhman Robert Moninger Doris Turnquist, ex officio

Recollections from Bob and Rosalie Moninger Rick Hass handed Bob Moninger a newsletter from Organ Clearing House and recommended Bob look at the used organs listed for sale in the newsletter. Bob browsed and chose the largest instrument listed in the newsletter, an old organ located in a small town in Vermont.

1975 | March—April Bob flew to New England in March for his first in-person meeting with A. David. The initial meeting took place at New Hampshire’s Lebanon Municipal Airport, where A. David and his wife, Susan, greeted Bob and drove him to Moore’s family farm in North Pomfret. Zion Lutheran Church hired Barbara Owen—author and historian of New England organs and organ builders—to be a consultant for Bob’s assessment of the Stevens– Moore organ. During the course of one day, the organ was seen, heard, evaluated, and admired, and A. David, Barbara, and Bob drafted changes and additions to the organ’s specifications, making the instrument a suitable and dynamic church organ. Bob flew out the following day. In April, Zion purchased the organ from A. David Moore & Co.

1975 | July In conjunction with a family vacation in Connecticut, Bob and Rosalie drove up to North Pomfret. It was Rosalie’s turn to see, hear, and play Zion’s recently purchased pipe organ, still standing in Moore’s barn. A cassette tape recording of A. David demonstrating the organ for Rosalie and Bob might be found somewhere in the Moninger’s household!

1976 | July Bob stayed an entire week at A. David’s for his third venture to North Pomfret. Bob was promptly put to work in the shop alongside A. David’s employees, and together they worked to rebuild the organ for Zion Lutheran Church. Bob was assigned, among other things, to roll and shape sheets of tin into organ pipes. Bob’s pipework became trumpets for the Stevens– Moore’s Great division.

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A. David and Susan Moore • March 1975

A. David Moore and Rosalie Moninger • July 1975 81

In the Moore family’s barn, Rosalie plays the recently purchased organ for Zion Lutheran Church.

July 1975 82

In A. David’s shop, Bob Moninger makes trumpet pipes for the organ’s Great division.

July 1976 83

Wayne Bates • July 1976

A. David Moore and Byron “Bucky” Cole • July 1976 84

Recollections from Bob Moninger On October 13, 2013, Bob and Pastor Richard Trost recalled the organ's arrival in Iowa City and its dedication services and recital.

1977 | May 15–22 A. David Moore, Byron "Bucky" Cole, and Wayne Bates arrived in Iowa City probably Sunday night, May 15, 1977. Moore and his crew worked the entire week to set up the organ. They laid out organ pipes and parts everywhere in the nave.

For Sunday’s services on May 22, 1977, Doris Turnquist played the prelude on the church’s old electronic organ—the congregation would have to wait awhile to hear the church’s new, but old, pipe organ. For the dedication, Doris was seated at the Stevens–Moore organ, poised and ready to play the service’s opening hymn. Pastor Trost concluded the dedication by rapping on the pipe organ’s keydesk three times and saying “Blest and dedicate.”

The loud raps startled Doris so much that she had to collect herself before she could play an introduction to the opening hymn.

Pastor Trost was in tears upon hearing, at long last, a pipe organ in Zion's church.

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History of Zion Lutheran Church in Iowa City Chapter 6: Zion’s Second Century Begins (1960–2010) • page 63 [The Stevens–Moore organ] was delivered in the spring of 1977. Probably the oldest tracker organ in Iowa, it is “housed in a majestic case of 19th Century Greek Revival design, and is ornamented with basswood carvings in Rococo style,” wrote Robert Moninger in the Dedication Program, May 22, 1977. The organ has genuine ivory stop-knob labels, hand-carved inscript by Noel Mander of London, England. It is a true Zion treasure.

The Act of Dedication stated: Blest and dedicate be this Organ to the praise, honor and glory of Almighty God, and to the edification of his holy people: In the Name of the Father, and of the Son, and of the Holy Ghost. Amen.

After Trost said “Blest and dedicate” he rapped smartly on the left side of the key deck with a gavel—so startling organist Doris Turnquist that she was unable to play for the better part of a minute.

Also quoted in the program is the following by Martin Luther: Music is a gift of God, not of men. It drives away the Devil and makes the people happy…After theology, music has the next place of honor. And you note how David and all the Saints have bequeathed to us their blessed thought in verse, rhyme and song. QUIA PACIS TEMPORE REGNAT MUSICA (For music reigns in times of peace).

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DES MOINES REGISTER Sunday, May 29, 1977 • page 26

OLD, MELLOW

By Larry Eckholt, Register Staff Writer IOWA CITY, IA – The sound of music is shaking the plaster loose in Zion Lutheran Church here.

The rich resonant music that has loosened bits of cracked plaster around the exposed wooden beams in the modernesque Zion sanctuary is coming from the church’s “new” 130-year-old pipe organ that was formally dedicated recently.

Called the Stevens–Moore organ, the Zion instrument is steeped in early American history. Church officials here say it is probably the oldest in Iowa.

The Zion congregation had a pipe organ in its century-old former church, but had to persevere for 13 years with an electric console organ—some would call it an appliance rather than an instrument—when it moved into the new building.

Patience paid off. The church now has an instrument that sounds even more impressive than it looks.

Already Zion’s pastor has noticed considerable improvement in his congregation’s singing, which he attributes to the new organ.

“The organ builds up a current of sound waves in the room that you can feel in the pews,” said the Rev. Richard Trost—a quality that he says “gives a better base for congregational singing.”

The organ was acquired in 1963 by A. David Moore, an expert organ builder, who housed it in the haymow of a barn of the Moore family farm near North Pomfret, Vt. The organ could be played until last year, when Moore took it apart in order to begin the meticulous process of rebuilding the old instrument.

Moore, in his late 20s, has studied with organ builders in Europe and North America The organ committee searching for a new organ for the Zion 87

church learned about the Stevens–Moore organ through a national newsletter that lists old instruments in need of preservation.

The Zion congregation commissioned Moore to rebuild the organ as the church’s bicentennial project.

Zion bought the organ for $37,000. Experts have told church officials a new organ of the same quality would cost $150,000 to build today.

Moore rebuilt the organ in his shop in the mountains of Vermont. He hauled the organ to Iowa City in a rental truck in mid-April and reassembled the instrument, pipe by pipe, pedal by pedal, in less than three weeks.

About 40% of the 1,900 pipes are originals built by Stevens in the mid1800s. The rest are either old pipes from other organs or new ones made

by Moore.

The two keyboards date from the 1890s. The peddle board was built by Moore of native Vermont white ash and cherry wood. The organ has 27 stops, 38 ranks and a mechanical (“tracker”) action system.

This means the organist has direct control over the speech of the organ pipe. No electricity is used to activate the pipes because the keys are connected to the pipe valves by direct mechanical linkage.

Zion has financed the cost of the organ by selling the 1,900 pipes as memorials for $18.73 apiece. The price is the same for the longest pipe, a 16-foot pedal pipe, and the shortest, a half-inch whistle.

The organ is housed in a case of nineteenth-century Greek Revival design ornamented with Rococo-style wood carvings. The stop knobs are genuine ivory inscribed with hand-carved script.

Pastor Trost, Zion music director Robert Moninger and church organist Doris Turnquist all marvel at what they call the “mellow, warm and reedy” tone quality of the organ.

The rich tone can be attributed in part to the aged wood of the case and inner structure of the organ. But more importantly, the organ was designed under the influence of French master organ builders, which accounts for the mellow quality—a more “listenable” quality than from some organs influenced by North German and Dutch builders, Trost noted.

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THE DAILY IOWAN Zion Lutheran Church sponsored five organ recitals to commemorate the Stevens–Moore organ. The recitals were also opportunities for the church, Iowa City, and university communities to see and hear the town’s new historic instrument presented in performances. The following are advertisements for the five recitals, each placed in an issue of The Daily Iowan the Friday before the Sunday recital.

Friday, June 10, 1977 page 3

Friday, July 8, 1977 page 6

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Friday, October 14, 1977 page 6

Friday, November 11, 1977 page 2

Friday, January 13, 1978 page 2

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THE ORGANISTS Zion Lutheran Church has employed a host of professional church musicians to play the Stevens–Moore organ for worship services.

Their photos (when available), names, and tenure follow.

DORIS TURNQUIST

DELORES BRUCH

Organist, 1970–84

Organist, 1985–93

JOSEPH ADAM MARLYS BOOTE PHILIP SPENCER

Assistant Organist, 1985–86 Assistant Organist, 1986–87 Assistant Organist, 1987–88

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BARB BULLOCK Assistant Organist, 1988–89 KEVIN BIRCH Assistant Organist, 1989–90 PAUL TEGELS Assistant Organist, 1990–93 • Senior Organist, 1993–97

CATHRYN WILKINSON MARLYS BOOTE ADRIENNE COX OLSON

Assistant Organist, 1993–94 Senior Organist, 1997–present Assistant Organist, 1997–2000

MELISSA MOLL TIM MEIER MELANIE SIGAFOOSE

Assistant Organist, 2001–01 Associate Organist, 2001–13 Associate Organist, 2014–present

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The 1977 name plate for the Stevens–Moore organ

A photo of the current plate will be added here.

In 2016, A. David Moore revised the existing name plate, changing the year Stevens built the organ and the year Moore set up the Stevens –Moore organ in Zion Lutheran Church.

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George Stevens—A. David Moore Organ The number of stops, pipes, manuals, and ranks recorded from 1898 to 1977

36 stops Bangor Daily Whig and Courier

• December 20, 1898

Central Congregational Church in Bangor, Maine

32 stops & 1221 pipes Spirit of the Age

• June 24, 1899

Christian Church in Woodstock, Vermont

2 manuals & 26 ranks Boston Club Newsletter • January 1970 “Boadway–Loris–Laufman list of old and new tracker organs in Vermont” David Moore’s family barn in North Pomfret, Vermont

27 stops & 38 ranks From the organ’s console • 1977 Zion Lutheran Church in Iowa City, Iowa 94

1963 ORGAN SPECIFICATIONS The Stevens Organ · The Masonic Temple in Woodstock, VT GREAT Tenoroon Open Diapason Stopped Diapason Stopped Diapason Clarabella Dulciana Keraulophon Principal Flute Twelfth Fifteenth Sesquialtera Trumpet

16' 8' 8' (bass) 8' (treble) 8' 8' 8' 4' 4' 22/3' 2' III 8'

SWELL Stopped Diapason Bass 8' (12 notes) Principal Bass 4' (12 notes) Bourdon 16' Open Diapason 8' Stopped Diapason 8' Viol de Amour 8' Viol da Gamba 8' Principal 4' Piccolo 2' Cornet III Oboe 8' PEDAL (25 notes) Double Open Diapason 16' OTHER STOPS Swell Tremulant Swell to Great Swell to Pedal Great to Pedal Pedal Check

TWO COMBINATION PEDALS Soft Loud 95

1977 ORGAN SPECIFICATIONS The Stevens–Moore Organ · Zion Lutheran Church in Iowa City, IA *Original pipework, primarily, from the 1852 Stevens organ GREAT * Open Diapason Open Diapason * Melodia * Chimney Flute * Dulciana * Principal * Chimney Flute * Twelfth * Fifteenth Tierce Mixture Cymbal Trumpet Vox Humana

16' 8' 8' 8' 8' 4' 4' 22/3' 2' 3 1 /5' III–V II–III 8' 8'

SWELL Bourdon * Open Diapason * Stopped Diapason * Principal * Picolo Sesquialtera Mixture Oboe PEDAL Double Open Diapason Gemshorn Choral Bass Trombone Trumpet COUPLERS Swell to Great Swell to Pedal Great to Pedal

16' 8' 8' 4' 2' III IV 8' 16' 8' 4' 16' 8' Tremelo / Zimbelstern Key Action: Mechanical (floating) Stop Action: Mechanical Wind pressure at 68mm (2 11/16'') 96

GREAT ____________________________________________________ 16' Open Diapason Lowest 11 pipes are “Haskel basses” made by William E. Haskell (1865– 1927) of the Estey Organ Co. Additional six low open pipes from Sharon, VT, c1900. Positioned on offset tubular pneumatic chests elevated on each side of the case. Pneumatics are outside the chests connected by tube to toeboard. Remaining pipes from original and labeled Tenoroon—one is in the façade, second from left (f#1)—probably Belgian zinc. Roman mouths (Moore's term) in façade.

8' Open Diapason CC to F are original. Moore chose to replace F# upward with his pipework because he did not care for the originals (“Lightly nicked.” “Bold, assertive.” —Moore). Moore’s pipes are 80% tin.

8' Melodia Original throughout. English-style stopped diapason pipes without stoppers, with inverted lip; metal tuning shades. CC to G are stopped wood.

8' Chimney Flute Original throughout with exception of two lost pipes: E and c 1. The present E and c1 were taken from an 1842 William Nutting, Jr. (1815–1869), organ in Randolph, VT. CC to G are common with the 8' Melodia.

8' Dulciana Original throughout and labeled Keraulophon. Some revoicing by Moore to minimize horn-like sound.

4' Principal Almost all original with very little revoicing by Moore (opened toes, squared cut-ups slightly). Pipes were too short for tuning to A440; so, Moore moved all up half-step, cut off, and made a new DD pipe. The CC and CC# pipes are original and placed in the façade; CC on the far left, CC# on the far right.

4' Chimney Flute Stopped wood base (one octave); Two Nutting pipes near c1, remainder are original; c3 to a3 are open flutes of large scale.

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2 2/3' Twelfth Original throughout, made of common metal. Cut-ups slightly squared.

Moore opened toes slightly.

2' Fifteenth Original throughout, made of common metal. Moore opened toes slightly.

Cut-ups slightly squared.

1 3/5' Tierce Tapered; old Bell Gamba from Swell with bells cut off. d#3 to g3 break back one octave.

III–V Mixture, all new, made by Moore CC GG TC c1 f#1 c2

19.

15.

12.

8.

1.

5.

22.

19.

15.

12.

8.

1.

26.

22.

19.

15.

12.

8.

19.

15.

12.

19.

15.

II–III Cymbal, all new, made by Moore CC GG TC c1 d#1 f#2 c#3

29.

26.

22.

19.

15.

12.

12.

33.

29.

26.

22.

19.

15.

15.

22.

19.

8' Trumpet A# upwards were made in 1976 by R.O. Moninger and Moore to Dom Bedos scales, 80% tin. In 2006, Moore designed and made new wood resonators and shallots; installed by him and John Atwood in September 2006.

8' Vox Humana All new and made to Dom Bedos scales by Moore. The present 8' Vox Humana replaced a 4' Clarion in the 1977 organ.

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SWELL ____________________________________________________ 16' Bourdon Moore made the CC to BB pipes of Butternut and with English-style mouths (straight languid); positioned on tubular pneumatic chests outside the swellbox. Remainder pipes are an 1880s flute d'amour and were probably made by William A. Johnson (1816–1901).

8' Open Diapason CC to BB pipes are from an organ in Hardwick, VT; CC to GG mitered open zinc. Remaining pipes are original with cut-ups slightly squared.

8' Stopped Diapason Moore suspects these were used pipes acquired by Stevens, perhaps from Thomas Appleton (1785–1872) or William M. Goodrich (1777–1833).

4' Principal Original throughout. Slight squaring of cut-ups. The CC is inscribed “Bangor, Maine.” The DD# is inscribed “Geo. Stevens.”

2' Picolo Moore acquired the CC to BB pipes from Fred “Butcher” Johnson, of Norwich, VT. Remainder are original.

III Sesquialtera, All new, made by Moore. Full compass.

CC TC

15.

12.

17.

15.

19.

17.

IV Mixture, All new, made by Moore CC TC c1 F#1 c2 f#2

22.

19.

15.

12.

8.

5.

26.

22.

19.

15.

12.

8.

29.

26.

22.

19.

15.

12.

33.

29.

26.

22.

19.

15.

8' Oboe The present 8' Oboe replaced a 8' Cremona in the 1977 organ.

99

Photos of the two inscribed pipes from Swell will be placed on this page.

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PEDAL ____________________________________________________ 16' Open Diapason CC to TB are open woods from the 1919 Harry Hall organ, First Congregational Church, West Haven, CT. Lowered minor third; DD# became CC. CC to FF are positioned on offset tubular pneumatic chests, three on each side. Scale narrowed by lengthening. c1 to f1 are made of zinc and were taken from the façade of an 1842 William Nutting, Jr., organ; open diapasons with bay leaf mouths.

8' Gemshorn All old pipes that Moore acquired from Fred “Butcher” Johnson. Ears removed. CC to TF# are made of zinc; remainder, spotted metal.

4' Choral Bass Taken from an organ in Hardwick, VT, originally part of 8' Open Diapason.

Original length, ears removed. CC to EE are made of zinc; remainder, common metal, toes opened.

16' Trombone All new, designed and made by Moore in 2006. Pipes, shallots, and blocks are made of wood. Installed by Moore and John Atwood in September 2006.

The 1977 organ had a 16' trombone; CC to TE were made by Moore, and TF to f1 were old pipes.

8' Trumpet All new, designed and made by Moore in 2006. Pipes, shallots, and blocks are made of wood. Installed by Moore and John Atwood in September 2006.

For the 1977 organ, Moore acquired an 8' trumpet from Fred “Butcher” Johnson, with resonators made of common metal and spotted metal; stamped Tuba.

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•

All Stevens or Hutchings trackers replaced by Moore, cut from CC, CC#, and DD wood pedal pipes in a 1919 Harry Hall organ.

•

Manual compass is 56 notes. In the ‘70s, it was thought the manual keyboards were Hutchings’s work from 1899. The accuracy of that thought is now in question, because a “new key-board was put in” by C. P. Graves in 1893. (See page 21 in this book.)

•

Pedal compass is 30 notes. Flat pedalboard built by Moore and of Vermont white ash and cherry.

•

Swell to Great coupler by Hutchings. Pedal couplers by Moore.

•

Ivory stop knobs were carved in script by Noel Mander of London, England. Stop names are those used in the English and French traditions.

•

In September 2006, Moore removed the white celluloid tops from the manual keyboards and replaced them with tops honed from cow bone.

•

Tremolo made by Wicks Organ Company. Zimbelstern newly acquired, inside Swell.

•

Haskell/Estey pipes in 16' Open Diapason in the pedal taken from organ in Sharon, VT; bottom octave marked Violone.

During 1975–77, the Stevens–Moore organ was rebuilt and revised by Moore, assisted by his wife, Susan; Byron “Bucky” Cole; and Wayne Bates.

Consultants for Zion’s acquisition of the Stevens–Moore organ were Gerhard Krapf (1924–2008), Barbara Owen, and Carroll Hanson. Krapf was then Professor of Organ at the University of Iowa. Owen is a noted organ historian, the author of several books and articles, and long associated with the C.B. Fisk firm. Hanson, an outstanding organ technician, lives in Iowa City and represents the organ firm Casavant Frères of Québec, Canada.

The Stevens–Moore organ is a unique creation of two master builders based on historic principles. It shows tonal inspiration of French builders such as François-Henri Clicquot (1732–1790) and Aristide Cavaillé-Coll (1811–1899).

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SOURCES Grove Music Online, oxfordmusiconline.com .................................... pages 6 & 38 Access to University of Iowa employees granted through UI Libraries.

American Congregational Year-book, for the year 1857 ............................... page 7 Volume Fourth, Calkins & Stiles Publishers, New York, 1857. Digital source: HathiTrust Digital Library, hathitrust.org.

Cambridge and Vicinity: ................................................................................. page 8 Its Representative Business Men and Its Points of Interest. George F. Bacon, Mercantile Publishing Company, Newark NJ, 1892. Digital source: HathiTrust Digital Library, https://www.hathitrust.org.

Cambridge Chronicle ...................................................................................... page 9 Cambridge Tribune ....................................................................................... page 10 Digital source: Cambridge Public Library (cambridgema.gov/cpl), Historic Cambridge Newspaper Collection, cambridge.dlconsulting.com.

John Martin’s Journal ...........................................................................pages 15–19 Digital source: Maine Memory Network, a project of the Maine Historical Society: johnmartin.mainememory.net/page/4057/display.html. Martin’s drawings of Third Parish Church’s exterior and of the church’s interior plans are from the collections of the Maine Historical Society: VintageMaineImages.com. Images purchased by Meier in 2018; order 60993297073.

Reference for the “Three views” ..........................................................................20 Proceedings of the Bangor Historical Society, 1914–1915. Bangor Co-operative Printing Company, 1916. Donations 1914, page 71: “Roberts, Misses Elizabeth W., Leila H. and Mary H., Bangor. Three views of interior of Central Church, Bangor.”

Digital source: Internet Archive, archive.org/details/proceedings1914100bang.

Contributor: Allen County Public Library Genealogy Center.

Bangor Daily Whig and Courier ......................................... pages 21, 23–29, 31–36 Digital source: Gale Primary Sources: Nineteenth Century U.S. Newspapers, gale.com/c/nineteenth-century-us-newspapers. Access to University of Iowa employees granted through UI Libraries.

Portland: Its Representative Business Men and Its Points of Interest ........ page 22 George F. Bacon, Glenwood Publishing Company, Newark NJ, 1891. Digital source: HathiTrust Digital Library, hathitrust.org.

Spirit of the Age ............................................................................................. page 44 Digital source: Chronicling America: Historic American Newspapers, sponsored by the Library of Congress and the National Endowment of the Humanities, chroniclingamerica.loc.gov.

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A History of the Christian Church, Woodstock, VT ............................. pages 45–46 Donation in 2013: John M. Blake, Secretary of Masonic Lodge #31 in Woodstock, VT. Digital source: Leahy Library, Vermont Historical Society in Barre, VT, vermonthistory.org/documents/digital/HistoryChristianChurch.pdf.

Vermont Standard .................................................................................. pages 53–54 Archived in binding at the Woodstock History Center, woodstockhistorycenter.org.

Jennie Shurtleff, Director of Public Engagement at the Woodstock History Center, searched, found, photographed, and emailed the 1964 article “400 Attend Open House Demonstration Of Pipe Organ” to Meier in October 2019. Phil Camp, President of The Vermont Standard (thevermontstandard.com) granted permission to reproduce 15 copies.

Vermont Life .......................................................................................... pages 55–59 Thanks to Jim and Barb Reck, members of Zion Lutheran Church, for showing and donating their 1965 Summer issue of Vermont Life. On June 30, 2004, Vermont Life granted to Zion Lutheran Church permission to reprint “Organ in a Pomfret Hay Barn” on an as-needed basis. Digital source: Vermont’s Middlebury College, archive.org/details/vermontlifemagazine?sort=titleSorter. 1965 Summer issue: archive.org/details/rbmsbk_ap2-v4_1965_V19N4.

Bio for A. David Moore ............................................................................... page 61 Provided by A. David.

AP News ................................................................................................. pages 61–62 “Sounds that fill churches start on Vermont farm,” by Dave Gram, apnews.com/ article/0b429c500e7d4ffe8a3b9d2e1a8aff0f.

Bio for John Atwood .................................................................................... page 64 From Bradford Congregational United Church of Christ, bradforducc.org/music.

History of Zion Lutheran Church in Iowa City ................................. pages 79 & 86 Digital source: Website for Zion Lutheran Church in Iowa City, Iowa, zionlutheranic.360unite.com/story. PDF of Chapter 6, Zion’s Second Century Begins (1960–2010): https://unite-production.s3.amazonaws.com/tenants/ zionlutheranic/attachments/245187/Chapter_6.pdf.

Des Moines Register............................................................................... pages 87–88 “Old, mellow,” by Larry Eckholt, transcribed by Meier.

The Daily Iowan ..................................................................................... pages 89–90 Digital source: Iowa Digital Library: The Daily Iowan: Archive covering 1868– present, dailyiowan.lib.uiowa.edu.

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PHOTOGRAPHS & DRAWINGS Stevens–Moore organ in Zion Lutheran Church ........................................ page 1 Tim Meier, photographer.

George Stevens ............................................................................................... page 5 Found online by Meier.

Central Congregational Church ...................................................... pages 13 & 14 Pg 13. From History of Central Congregational Church, Bangor, Maine, 1847– 1912. Historical address delivered January 24, 1912, by Edward Mitchell Blanding, Clerk, 1896–1912. Printed by vote of Central Conregational Church. Pg 14.

Stereoviews purchased on eBay by Meier.

John Martin’s Journal ...........................................................................pages 15–19 Digital source: Maine Memory Network, a project of the Maine Historical Society, johnmartin.mainememory.net/page/4057/display.html. Martin’s drawings of Third Parish Church’s exterior and of the church’s interior plans are from the collections of the Maine Historical Society, VintageMaineImages.com. Images purchased in 2018; order 60993297073.

Three views of interior of Central Church, Bangor ...........................................20 Scans from Bangor Historical Society, bangorhistoricalsociety.org, Matt Bishop, Curator/Operations Manager. On Tuesday, October 8, 2019, some in the Stevens– Moore Tour group met Matt Bishop at BHS and viewed the three original views.

Frederic S. Davenport.................................................................................. page 26 Mrs. Frank Tuck .......................................................................................... page 30 Melville H. Andrews .................................................................................... page 35 From Music and musicians of Maine: Being a history of the progress of music in the territory which has come to be known as the State of Maine, from 1604 to 1928.

George Thornton Edwards, 1928 edition, AMS Press, New York. Digital source: Internet Archive, archive.org/details/musicandmusician001596mbp/mode/2up.

Contributor: Universal Digital Library.

Joseph Forbes ............................................................................................... page 30 Digital source: MyHeritage, myheritage.com. Photo of Joseph Forbes (1808–1874), husband of Sarah Ann Gilpatrick, from Francis W. Foster records.

Solon Wilder ................................................................................................. page 30 Digital source: Heirlooms Reunited, Illustrated Album of Boquets [sic]: 1858–1863 autograph album that belonged to Amanda A. Higgins of Bangor, Maine, and Gray, Maine. heirloomsreunited.com/2015/01/1858-1863-autograph-album-thatbelonged.html

Mrs. Helen Jewell ......................................................................................... page 30 From Official Programme: First Annual [Music] Festival, Bangor, October 14, 15, 16; Portland, October 18, 19, 20, 1897. Purchased on eBay and scanned by Meier.

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George S. Hutchings .................................................................................... page 37 Christian Church in Woodstock, VT ......................................................... page 43 Postcard purchased on eBay and scanned by Meier.

Plaque for the Masonic Temple in Woodstock, VT .................................. page 46 Digital source: Walk Boston History, walkbostonhistory.com/revere-bellswoodstock-vt.html Stevens organ in Woodstock’s Masonic Temple (1949–50) ............... pages 49–50 Donation in 2013: John M. Blake, Secretary of Masonic Lodge #31 in Woodstock, VT. Photographer: unknown.

David Moore and Nicky Atwood (1964) .............................................................. 53 O. Denton Dryden, photographer, Vermont Standard.

“Organ in a Pomfret hay barn!” ................................................... pages 52, 55–59 Sherman Howe, Jr., photographer (1925–2019). Vermont Life granted to Zion Lutheran Church permission to reprint on an as-needed basis.

A. David Moore (2012) ................................................................................ page 60

John Atwood.......................................................................................... pages 63–64 From Bradford Congregational United Church of Christ, bradforducc.org/music.

A. David Moore and John Atwood (2019) ................................................. page 68 Tom Moninger, photographer.

Stevens–Moore Tour group (2019) .............................................................. page 72 Photo provided by Sarah Jones Krumm; taken by gentleman at Cloudland Farm.

Drawings of the Stevens–Moore organ (1977) ................................. pages 78 & 96 J. Waterman Moore’s barn and shop (1975–76) ....................................................... pages 81–84 Originals from Rosalie Moninger and scanned by Meier.

Stevens–Moore name plates (1977 & 2016)................................................ page 89 Tim Meier, photographer.

Zion’s organists ..................................................................................... pages 91–92 Found mostly online by Meier.

Inscribed organ pipes (2020) ..................................................................... page 100 ????, photographer.

Ruth and Rachel Meehan ....................................................................... back cover From Rosalie Moninger and scanned by Meier.

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RUTH AND RACHEL MEEHAN