Reed Organs and the culture of late 19th century America
This site is about the American Reed Organ, popularly known as the pump organ, sometimes called a Parlor/Cabinet organ, and in Europe, a Harmonium. I play music on reed organs, restore them, and study the composers and the culture of the time when reed organs were being built. To learn more about how I became interested in reed organs, click on the bar symbol on the left of the screen and choose “About.”
Today, my Putnam Style A7 celebrates its 100th Anniversary of its manufacture. It was built on February 15, 1917. The organ case is a chestnut/walnut stained quarter-sawn oak in the Arts & Crafts style. It has 23 stops.
Emma Louise [Hindle] Ashford was born on March 27, 1850 in Newark, Delaware to Elizabeth [Pickcasgill] and James Hindle. Both parents immigrated from England. Her family moved frequently. Her father James was a singing teacher and farm laborer. Her mother possessed a beautiful soprano voice. She was brought up in a musical atmosphere and her talents quickly developed. Emma could sing from childhood, even before she could speak plainly. At eight, she was singing alto in her Episcopal Church choir, and was acknowledged to be the best sight reader in it. When she was ten years old a guitar was presented to her, with which within a few weeks she could play the accompaniments to the songs she sang. By this time she was a good performer on the piano and organ. By the age of twelve, she was organist at St. John’s Episcopal Church in Kewanee, Illinois. When fourteen years of age, she moved with her parents to Ballard Vale/Plymouth, Massachusetts. Here her guitar playing created quite an interest; and she taught a class of young ladies, and also sang in a choir. She was mentored by composer James R. Murray.
The family moved two years later to Seymour, Connecticut, and Emma was engaged as organist at St. Peter’s Episcopal Church. This was her first experience in playing the pipe organ, and after a year’s service resigned to take a larger organ at an advanced salary. While in Seymour she studied the piano with Mrs. Street, and the pipe organ with Dr. Anderson of St. Paul’s Church. It was later at one of the musical events in Connecticut where she met John Ashford, a native of Bath, England, and a young Mechanical Engineer and accomplished amateur Tenor. Captivated by Emma’s musical genius, John encouraged and inspired her musical development and work.
On December 24, 1867, John Ashford married Emma Louise Hindle in St. Charles, Missouri. Initially, they moved to Chicago, and while there, Emma held the position of Alto in the solo quartet under the direction of Organist, Choirmaster, and composer, Professor Dudley Buck, at St. James Episcopal Church. He offered Emma the Alto part over twenty-seven other applicants. Emma considered the year she spent under the guidance of Professor Buck to be her most significant and influential for her musical development.
Not long after their marriage, they settled in Nashville, as John secured a faculty position in Vanderbilt University’s Engineering department. There they remained, living at their house on the Vanderbilt campus, and in their last years in a new home near the campus, at 2105 Dixie Place. John Ashford was connected with Vanderbilt University for 42 years. He also held the position of Superintendent of Grounds for Vanderbilt University. He submitted his resignation to the Board of Trustees at age 82, apparently much to their regret.
Never leaving his own passion for music behind, John was active as a choral director and singer. He was organizer and first director of the Vanderbilt Glee Club. Emma was also well regarded at Vanderbilt, having contributed a significant number of musical compositions honoring the university, and for its Glee Club. Dean Herbert Tolman said of her: “Of the women of our city, some have distinguished themselves in literature and some in art, but in the realm of musical composition, there is one name that stands pre-eminent. It is the name of Mrs. Emma L. Ashford.”
In 1900 the Vanderbilt University celebrated its twenty-fifth anniversary. For this occasion Mrs. Ashford was asked to compose an Ode whose words were written by Olin Dantzler Wannamaker. The performance of the Ode was rendered by a chorus of eighty voices and an orchestra of twenty-five performers. After another memorable performance of the Ode in 1926, Chancellor James Kirkland complimented Mrs. Ashford publicly with the following remarks: “As long as men love the beautiful in music, so long will your name live and be cherished by Vanderbilt men and women.”
John and Emma worked together leading choirs of several of the largest churches in Nashville. Their relationship was characterized as “an inspiring musical companionship.” For ten years they had charge of the music in the First Cumberland Presbyterian Church and the Jewish Temple Ohabai Sholom simultaneously. She was well-known as a consummate organist. For several years she filled the place of organist at various churches, including the First Baptist, Tulip Street (Methodist), and Christ Church (Episcopal). For twenty years, Emma taught piano, organ, and harmony. Her health giving way and the increasing work of composition and editing compelled her to give up all organ and choir work, and eventually teaching, much to the regret of her friends and admirers. On all accounts, Emma was described as being a petite and somewhat frail person.
John fully supported and encouraged his wife to develop musically. Emma studied advanced harmony, counterpoint, canon and fugue, with Henri Weber and Dr. R. H. Peters, Mus.D. Dr. Peters held Emma in high regard, having this to say about her: “It was my pleasure to become associated with Mrs. Ashford several years ago in the capacity of instructor of the theoretical side of music. The first lesson she presented to me revealed the fact that here was a student quite beyond the average, a student with clear and deep insight into things musical, who was calculated to make good use of all knowledge acquired; while to her instructor she was not only a pleasure to teach, but soon became a positive source of inspiration. In the course of time Mrs. Ashford studied harmony, counterpoint (simple and double), canon, and fugue most successfully. Her work was excellent in every respect, and showed unmistakably that behind it all there existed brains as well as intense musical temperament and appreciation. For Mrs. Ashford’s ability in matters musical I entertain a respect that borders on the profound.”
As to Emma the person, here is how those her knew her best characterized her: “She is widely acquainted with literature and philosophy. A brilliant conversationalist, full of spontaneous wit, tactful, and cheerily kind, she is a welcome guest everywhere; and the coterie who frequently gather about her hospitable board or in her sunny music room are most proud to claim as friend and comrade this unassuming little woman who now has an international reputation in her chosen line of work.”
Emma made three trips abroad, in 1894, 1897, and in 1904, studying in England with the leading masters of the era. During the 1894 trip, she devoted the greater part of her time studying the higher forms of ecclesiastical music. She heard the best music offered in London, Paris, and other European cities to which her travels led her. On one of these occasions, Emma was offered a place on the programme of the National Convention of Music Teachers, held in Manchester, England. She regrettably declined because it occurred after the date fixed for sailing to America. In 1904, Emma returned on the White Star Line’s S.S. Cretic, leaving Liverpool on September 8, 1904 and arriving in Boston September 16.
In the later years of her life, her time was taken up entirely by composition. Emma first began publishing her compositions with the John Church Company, of which her work were mainly songs, quartets, and trios. Her best-known work of this period is her popular sacred song, “Abide With Me.” Later she began writing for E. O. Excell, where her most significant body of work was seventeen anthems which she contributed to that company’s Book of Anthems. She won numerous composition contests.
At around 1894, Emma began writing for E. S. Lorenz & Company, having won an anthem contest which the company conducted. Mr. Lorenz encouraged her to write more, suggesting that she write her first sacred cantata: “The Prince of Peace.” Also at this time, Emma became Editor of “The Organist,” and Associate Editor of “The Choir Leader” – both journals belonging to Lorenz. By 1897 she became Chief Editor of both journals. The professional relationship blossomed, and Emma spoke highly of her appreciation of the unvarying kindness and encouragement which Lorenz gave her in her musical work.
Emma became well known as a composer in Great Britain, and her fame spread as far as Japan, China, and India. Emma wrote between 600 to 700 compositions. She wrote several hundred anthems, sacred and secular cantatas, songs and duets, graded pieces for the piano, and song cycles. Seven Christmas Cantatas. Among the collections:
Throughout her life, Mrs. Ashford’s character was known for wit, humor, and kindliness. At the same time, she gave serious consideration to the value of a well-rounded education and mentorship in music, with the genuine support of parents or guardians. She emphasized how critical it was, especially for young women, to be taught and mentored through a solid foundational series of music theory and part-writing courses.
Even though her focus changed to composition, she often continued to write advice and coaching articles and editorials on a multitude of musical subjects and notable people, with many based on the requests and questions from a delighted public.
On December 24, 1927, John and Emma celebrated their 60th wedding anniversary. By that time, Emma was a preeminent, world-renown composer. The local newspaper, on the occasion of their anniversary wrote: “The occasion centers the interest not only of their many personal friends in Nashville, but throughout the entire country, where Mrs. Ashford’s musical compositions are widely known.”
Emma Louise Ashford passed away on September 22, 1930, at age 80, in her home. She was survived by her husband John, who passed away a month later, at age 93. Emma was also survived by her son, Henry Stephen Ashford, her daughter-in-law, Gertrude Fleenor Ashford, her grandson, John Winthrop Ashford, and her granddaughters Louise Winthrop Ashford, Marjorie F. Ashford, and Lois Louise Ashford.
Emma Louise Ashford said that the thing which touched her most, which gave her strength and inspiration to labor, was the loyalty of her musical friends.
Here is arguably the most special instrument in my collection: a Mason & Hamlin Liszt Organ, Style 522. It was built in May, 1901. There is a signature from Burditt, with a date of May 27, 1901. This was one of the company’s flagship instruments. The quality is impeccable. This is the finest original example I’ve ever seen. There is of course, some wear and damage, but it’s 113 years old! Click on the pictures for larger, detailed views.
Since this Estey cottage organ had serious moisture damage, much of the cabinet needs a more serious restoration. Someone had also sanded the finish off of some of the cabinet pieces, especially the top and the keyboard/music rack lid. I don’t have any original finish to salvage here, so I decided to sand, re-stain, and finish the cabinet completely. I selected an English Walnut stain and I’m glad I did. The back of the organ, which had moisture damage, severe gouges, and a haphazard original finish, now looks like it was originally a finished back. This instrument never had a finished back and the wood used for the back is of inferior quality to the rest of the cabinet. I am pleased with the way it looks.
This is the way the back originally looked:
And here is the same back, sanded, new stain applied, and finish coats applied:
You can see the reflection of the garden pergola in the finish. I have a final sanding and finish coat to apply and then it’s done!
Now, on to reassembling the reed pan…
Today, my Putnam Style A7 celebrates its 97th Anniversary of its manufacture. It was built on February 15, 1917. The organ case is a chestnut/walnut stained quarter-sawn oak in the Arts & Crafts style. It has 23 stops. Here it is in its prior home right before I acquired it.
William Wallace Putnam started the company in 1894, in a back room with two employees. Putnam, a native of Brattleboro, VT, previously worked for Estey, then spent nine years with Bell Organ & Piano Co. in Guelph, Ontario.
The company made conventional parlor organs such as the Ideal, Putnam and Staunton, as well as the Little Giant folding organ. Later the company was renamed the W. W. Putnam Co., Inc., and between 1920 and 1925 was absorbed by the Basic Furniture Co. of Waynesboro, VA
My instrument was made late in the history of the company.
Here is a photo of the staff of the W. W. Putnam Company. Perhaps these are the very people who built my instrument?
I am in the process of rebuilding and restoring the organ. I am very grateful that I have it. The organ has the potential to have a formidable and stunning concert instrument. The build quality is exceptionally high.
Unfortunately some of the stop faces are no longer present. Through research, I believe that this is the specification of the instrument:
1) Sub Bass 16′
2) Bass Coupler
3) Viol Etheria 8′
4) Aeoline 8′
5) Violetta 4′
6) Harp Aeoline 2′
7) Open Diapason 8′
8) Stopped Diapason 8′
9) Viola 4′
10) Dolce 4′
11) Forte I
12) Forte II
13) Piccolo 2′
14) Flute 4′
15) Clarion 8′
16) Trumpet 8′
17) Stopped Diapason 8′
18) Open Diapason 8′
19) Cello 16′
20) Aeoline 8′
21) Viol Etheria 8′
22) Treble Coupler
23) Vox Humana (tremulant)
The reed pan was in worse shape than I expected. It had a lot of moisture damage, with mold and dis-coloration everywhere, in addition to several cracks.
I patched the cracks, cutting a v-groove with a file and splicing in some new hardwood. All of the screws were heavily corroded and were cleaned up by using a rotating wire brush.
The reed pan had also warped and was partially coming apart.
I sanded the entire reed pan, reset all of the joints, glued and clamped around all sides.
After I made the repairs, the reed pan joints are now tight and square. Once the sanding was finished, I applied the first coat of shellac. Actually, instead of shellac, I used a special type of violin varnish, whose primary component is shellac. We will see whether the violin varnish is an improvement over regular shellac. It is supposed to have greater elastic properties that allow the wood to move with the vibrations created by the reeds. I’m hoping that it will improve the “soundboard” qualities of the reed pan.
Here is the reed pan, all cleaned up.
The repairs to the cracks are not perfect but hopefully it will be good enough.
Here’s another look at the cleaned up reed pan.
Working on the reed pan, I removed the reeds. Someone had placed wooden shims under at least four of them:
Having carefully removed the reeds, I then removed the supports for the keyboard. Now I am down to the one old rusty screw that just would not budge:
After carefully working on it for a while, I finally got it. Now only the non-removable portion of the reedpan remains:
There are several cracks in the reedpan that require repair:
At this point I start the cleaning and light sanding. However, I guess it wasn’t my day for sanding. Shortly into the process, I got a nasty splinter off the side of the reedpan. It went deep enough to where I couldn’t remove it myself (my doctor couldn’t remove it either the next day). It hurt like @#$%! So much for sanding and cleaning that day…
Next is removing the lower action. Taking a look at the foundation board, I notice that there is a huge crack:
This must be fixed or the foundation board replaced. After removing that, I move on to the bellows mechanism: the main reservoir and the exhausters. These are really tiny compared to what I’ve usually seen in an instrument, but that’s part of the fun of restoring a small instrument!
But uhoh, look at this inept repair:
The reservoir isn’t any better. The cloth is brittle:
The connectors to the treadles are really different. Instead of woven tape, they are made of wood:
and fastened at the wood block:
Also interesting is that the safety spill valve is mounted on the front of the reservoir and not on the back:
They had to use every bit of space on this organ! After removing the bellows from the organ, I remove the treadles. Someone created a kludgy “solution” to mounting the treadles. Kitchen hinges!
All the screws were different. After removing the treadles, the cabinet is now empty.
Continuing on with the disassembly, I documented everything about each piece that I removed: the order of removal, labeling, etc. Eventually all of the labeled components were stored in tidy storage boxes. I started with removing the drawknob linkages:
There’s a lot more corrosion than I anticipated. Moving on after removing the drawknobs, their linkages, and nameboard, I get to the keyboard…
and then remove it:
Now, I label all of the individual pitmans.
Next, I remove the reed pan itself:
There are a lot of moisture problems here. Every screw was rusted and many were seized. There was evidence of mouse pee. I see a few cracks in the reed pan itself. I kept going and removed the outer and inner mutes:
The mute hinges are brittle:
and there is hardly any felt left:
and look at the difference in color between a pallet valve and the reed pan:
I’ve never seen shims under reeds before. There is one reed missing: the lowest C on the 4′ Flute.
Uhoh, the reed pan is separating at the front:
I don’t see cracks here, however:
So I hope it won’t be difficult to square it back up:
It’s amazing to compare the protected copper-covered linkage with the exposed corroded parts.
Someone had a creative “repair” for this linkage:
and here, is a “B”
Now I am down to the lower action:
After reviewing my ever-increasing queue of reed organs to be restored, I asked the Reed Organ Restoration forum for advice on what to restore first. The answer was: “none of your current instruments!” The rationale was that the reed organs I have are unique, large, or have special actions that would be difficult for someone just learning how to complete a restoration. They suggested getting a small, simple instrument to start building the skills required later for the more challenging and complex instruments.
I took their advice and as fate would have it, found a nice little Estey Cottage organ. It has two ranks of reeds: an 8′ Diapason and a 4′ Flute. It has two Forte controls for each rank and no sub-bass or couplers. Perfect for a first-timer! It’s small, about 34 inches wide by 36 inches tall and 16 inches deep. Here it is (click on any of the pictures for a larger view):
The case is solid mahogany. It has a 49 note, C-C compass keyboard. Taking the two top pieces off reveals the action:
Simple, but uh oh! Looks like moisture damage here. The metal linkages and screws are all corroded. The wood is too dark and portions have significant staining. Fortunately the serial number label is in relatively good condition. Serial number 124832, completed September 9, 1882! Earlier than I thought. Here is a close-up of the label:
The stop faces and manufacturer decals are good, as is the back. The keyboard will require leveling. The top three or four keys are sticking – I think it is likely due to the pitmans, but we’ll see.
I love the handles on the sides of the organ. They appear to be brass. This instrument is small enough that I can pick it up and carry it myself, with some effort.
Here is a video that provides an example of the sound before restoration. The bellows are in great need of rebuilding, as it takes a lot of fast pumping to get the organ to play.
Next: further disassembly.
Reed Organs 