Archives Scrapbooks

The image shows a program booklet for a concert and reception held at the First Unitarian Church of New Bedford on April 8, 1962. The program features a performance by E. Power Biggs, a well-known organist.

The left page contains a reprinted article from the New York Herald Tribune, dated February 1, 1961, titled "What is Good Music?" by E. Power Biggs. The article discusses the characteristics of modern organs and their sound quality, highlighting the differences between traditional and modern organs. It mentions that modern organs lack the clarity and focus of older instruments, attributing this to the application of electricity and modern voicing methods. The article also touches on the craftsmanship and design principles of organ building, emphasizing the importance of traditional methods.

The right page lists the program details:

• John M. Bullard is noted as the General Chairman.
• The concert program includes pieces by Henry Purcell, Johann Sebastian Bach, George Frederick Handel, Wolfgang Amadeus Mozart, César Franck, and Jehan Alain.
• The specific pieces performed are:
  • Henry Purcell: Chaconne in F major, Voluntary for Organ, Fanfare, Trumpet Tune "Bonduca"
  • Johann Sebastian Bach: Chorale Prelude "Sheep May Safely Graze," Chorale Prelude "A Voice is Calling"
  • George Frederick Handel: Variations in E major, Comment
  • Wolfgang Amadeus Mozart: Andante with Variations, K. 616
  • César Franck: Pastorale in E major
  • Jehan Alain: Litanies
• The concert also includes a performance of Columbia Records.
• Charles Drake is listed as the Organ Fund Director.
• Richard A. Kellaway is noted as the Minister.

The program was organized by Busch-Reisinger Museum, Cambridge, Massachusetts, and the event took place on April 8, 1962.

The image appears to be a page from a program or a booklet related to a concert event. Here’s a detailed summary:

Left Page:

• The left page contains a critique or commentary by E. Power Biggs on the state of modern organ music and instruments.
• The text discusses the loss of tonal clarity and the spark of great music in modern organs, attributing it to advancements in technology and the application of electricity, which have led to pipe tones lacking the articulation and clarity of previous centuries.
• Biggs mentions that modern organs have lost the ability to inflect the beginning speech of the pipe, which was a hallmark of older instruments.
• He concludes by noting that the best organ music is timeless and sounds best on true-classic organs, built perhaps 250 years ago, and that the best organ music remains pure musical logic.
• The text is taken from an article titled "What Is Good Music?" published in the New York Herald Tribune on February 5, 1961.

Right Page:

• The right page is a concert program for an event held at the First Unitarian Church of New Bedford on April 8, 1962.
• The concert is organized by John M. Bullard, General Chairman.
• The concert program includes several pieces by various composers:
  1. Henry Purcell: "Chaconne in E major" and "Ayre for Organ"
  2. E. Power Biggs: "Fanfare"
  3. Johann Sebastian Bach: "Choral Prelude" and "Sheep May Safely Graze"
  4. George Frederick Handel: "Variations in E major"
  5. Wolfgang Amadeus Mozart: "Andante with Variations, K. 616"
  6. César Franck: "Pastorale in E major"
  7. Jean Alain: "Litanies"
• The event was hosted by the Busch-Reisinger Museum in Cambridge, Massachusetts, and featured Charles Drake as the Organ Fund Director and Richard A. Kellaway as the Minister.

The handwritten note at the top of the right page indicates the date and location of the concert, "Concert and reception, First Unitarian Church of New Bedford, April 8, 1962."

The image shows a page from a program for a concert and reception held at the First Unitarian Church of New Bedford on April 8, 1962.

On the left side of the image, there is a handwritten note or article discussing the organ, authored by E. Power Biggs. The text critiques modern organ technology, suggesting that advancements in electricity and control mechanisms have compromised the tonal quality and expressiveness of pipe organs. It highlights that modern organs often have less tonal variety and less natural sound, due to the influence of electric and electro-pneumatic systems.

The right side of the image features a printed program for the concert. It lists the following:

• Concert Program:

  • Henry Purcell: Chaconne in E major, Ayre for Organ, Fantasia, Trumpet Tune "Bonduca"
  • Johann Sebastian Bach: Chorale Prelude, "Sleepers Wake! A Voice is Calling"
  • George Frederick Handel: Variations in E major
  • Wolfgang Amadeus Mozart: Andante with Variations, K. 616
  • César Franck: Pastorale in E major
  • Jean Alain: Litanies

• Organists and Directors:

  • John M. Bullard, General Chairman
  • E. Power Biggs, Concert Organist
  • Charles Drake, Organ Fund Director
  • Richard A. Kellaway, Minister

The concert took place at the Busch-Reisinger Museum, Cambridge, Massachusetts, on April 8, 1962. The program also includes Columbia Records references for some of the pieces listed. The concert was likely a performance of organ music, showcasing various composers' works on a traditional pipe organ.

The image displays an open book with two visible pages. The left page contains an article titled "Some music lovers are indifferent to the organ," authored by E. Power Biggs, which discusses the history and evolution of church organs, contrasting traditional pipe organs with modern electric and electro-pneumatic instruments. The article critiques the loss of tonal spark and articulation in modern organs and emphasizes the importance of good design and voicing to achieve better sound quality.

The right page is a program for a concert held on April 8, 1962, at the First Unitarian Church in New Bedford. The program lists the following pieces to be performed:

1. "Chaconne in E major" by Henry Purcell, arranged for organ by E. Power Biggs
2. "Toccata in D minor" by Johann Sebastian Bach
3. "Prelude and Fugue in G major" by Johann Sebastian Bach
4. "Variations in E major" by George Frederick Handel
5. "Andante with Variations, K. 616" by Wolfgang Amadeus Mozart
6. "Pastorale in E major" by César Franck
7. "Litanies" by Jehan Alain

The program also lists Charles Drake as the Organ Fund Director and Richard A. Kellaway as the Minister. The concert is noted to be a benefit for the Busch–Reisinger Museum in Cambridge, Massachusetts.

The image depicts a concert program and an accompanying article about organ music from a First Unitarian Church event held in New Bedford on April 8, 1962.

Article Summary:

The article, titled "Concert and Reception, First Unitarian Church of New Bedford, April 8, 1962," discusses the qualities and evolution of the organ as a musical instrument.

Key points include:

1. Indifference to the Organ: Some music enthusiasts do not appreciate the organ, possibly because they haven't heard a high-quality instrument.
2. Historical Improvements: Innovations over the past century, especially the application of electricity, have enhanced the organ's sound and control.
3. Modern Organ Characteristics: Modern organs have various tonal qualities due to advancements, though some of these changes can make tones either strong, silky, or barish.
4. Organ Builders and Sound: Divisions of the organ are now housed in chambers, affecting the sound output. Modern playing actions, while more complex, have lost some of the immediacy of older tracker actions.
5. Musical Quality: The article argues that good organ music, regardless of its era, is defined by its pure musical logic and adherence to basic principles of organ design and voicing.
6. E. Power Biggs: The article is reprinted from a piece by E. Power Biggs, taken from "What Is Good Music?" published in the New York Herald Tribune on February 5, 1961.

Concert Program:

The concert features organ performances by E. Power Biggs at Busch-Reisinger Museum in Cambridge, Massachusetts, on April 8, 1962.

The program lists the following pieces:

1. Henry Purcell:

   • Chaconne in F major
   • Ayre for Organ

2. Johann Sebastian Bach:

   • Chorale Prelude "Sleepers Wake! A Voice is Calling"

3. George Frideric Handel:

   • Enfants (from the "Water Music")
   • Variations in E major

4. Comment by Wolfgang Amadeus Mozart:

   • Andante with Variations, K. 616

5. Cesar Franck:

   • Pastorale in E major

6. Jehan Alain:

   • Litanie

Columbia Records:

• Charles Drake as Organ Fund Director

Personnel:

• John M. Bullard, General Chairman
• Richard A. Kellaway, Minister

The concert was held in conjunction with an event at the First Unitarian Church in New Bedford. The program also notes Leonard Ellsworth as the local contact for the event.

The image shows an open book with two distinct sections visible. The left page contains an article by E. Power Biggs titled "Some music lovers are indifferent to the organ." The text discusses the evolution of the organ and the changes in sound quality over time.

Key points from the article include:

• Modern organs have lost some of the tonal spark and clarity found in earlier instruments.
• Electricity and electro-pneumatic systems have introduced issues such as spongy, gulpy, or harsh tones, and have complicated the control and articulation of the organ.
• The playing actions of modern organs can be less responsive, with a slower and woody feel compared to traditional tracker actions.
• The best organ music relies on pure musical logic and attention to detail, regardless of the era or type of organ.
• The article concludes by emphasizing the enduring quality of well-designed and voiced organs, even if they are built with older technology.

The right page lists details of a concert and reception held at the First Unitarian Church of New Bedford on April 8, 1962. It includes:

• The concert was chaired by John M. Bullard, the General Chairman.
• The concert program features works by Henry Purcell, Johann Sebastian Bach, George Frideric Handel, Wolfgang Amadeus Mozart, Cesar Franck, and Jean Alain.
• Charles Drake is listed as the Organ Fund Director, and Richard A. Kellaway as the Minister.
• The concert took place at the Busch-Reisinger Museum in Cambridge, Massachusetts.
• The event is noted as a Columbia Records concert.

The concert program includes specific pieces and composers, such as Purcell's "Chaconne in E Major" and Bach's "Choral Prelude."

The image shows an open booklet or program on a flat surface. On the left page, there is a section of text that appears to be from an article or a book, discussing the organ as a musical instrument. The first paragraph emphasizes that some music lovers are indifferent to the organ, mentioning that organs have not had a "real fair national census" and makes a reference to a work by Virgil Fox, which implies the text may be about classical music or music appreciation.

On the right page, the top of the page has handwritten notes that say "Concert and reception, First Unitarian Church of New Bedford, April 8, 1962." Below this is a printed section titled "CONCERT" followed by the name "E. POWER BIGGS" which suggests that E. Power Biggs was the performer at this event (further information about their identity cannot be disclosed). Below the performer's name is a list of musical works from various composers such as Henry Purcell, Johann Sebastian Bach, and others, that were likely performed at the concert. The right page also lists individuals involved in the event including JOHN N. BULLARD as the General Chairman, CHARLES DRAKE as Organ Fund Director, and RICHARD A. KELLAWAY as Minster.

At the bottom right there is details of "PROGRAM" and the place and date of the event, which is "Busch-Reisinger Museum, Cambridge, Massachusetts, April 8, 1962".

The text extract on the left page is credited at the bottom to E. Power Biggs, from "WHAT IS GOOD MUSIC?" New York Herald Tribune, February 5, 1961.

The image shows an open book displaying two pages side by side.

Left Page:

• Content: The left page contains a printed text discussing the organ as a musical instrument. The text is written in a formal, essay-like style and explores the evolution of organ design, its historical context, and the challenges faced by modern organ builders.
• Key Points:
  • It critiques the modern organ, noting that it often lacks the clarity, beauty, and ease of sound found in historical instruments.
  • The text highlights the limitations of modern organ designs, such as the use of electric and electro-pneumatic systems, which can lead to a loss of tonal purity and responsiveness.
  • It contrasts modern organs with historical ones, suggesting that builders of Bach’s era achieved better sound quality by adhering to basic acoustic principles.
  • The passage is attributed to E. Power Biggs, and it is noted as being reprinted from WHAT IS GOOD MUSIC? in the New York Herald Tribune, dated February 5, 1961.

Right Page:

• Content: The right page is a printed program for a concert held at the First Unitarian Church of New Bedford on April 8, 1962.
• Details:
  • Title: "Concert and Reception, First Unitarian Church of New Bedford, April 8, 1962" is handwritten at the top in blue ink.
  • Program Listing: The program lists the performers and pieces to be played:
    • E. Power Biggs (the performer) is listed as the main artist.
    • The repertoire includes works by several composers:
      • Henry Purcell: Chaconne in E major, Ayre for Organ, Trumpet Tune "Boniface"
      • Johann Sebastian Bach: Gloria Prelude, "Sleepers Wake! A Voice is Calling"
      • George Frideric Handel: Variations in B major
      • Wolfgang Amadeus Mozart: Andante with Variations, K. 616
      • Cesàr Franck: Pièce in E major
      • Johan Albrechtsberger: Litaniae
  • Organists and Officials:
    • John M. Bullard is listed as the General Chairman.
    • Charles Drake is noted as the Organ Fund Director.
    • Richard A. Kellaway is listed as the Minister.
  • Venue and Date: The concert was held at the Bach Reisinger Museum, Cambridge, Massachusetts, on April 8, 1962.
  • Columbia Records is mentioned, indicating possible recording or sponsorship.

Overall Context:

The image juxtaposes a critical essay about the organ (left page) with a concert program featuring the same performer, E. Power Biggs, who is known for his advocacy of organ music and historical performance practices. The essay likely reflects Biggs’ perspective on the organ, which aligns with the concert’s focus on classical and baroque repertoire, emphasizing the importance of historical authenticity in organ performance. The handwritten note at the top of the right page suggests this is a personal or archival copy, possibly used for planning or documentation purposes.

The image is a close-up of a book's pages. The left page is open to a paragraph discussing the organ and its sound quality, mentioning the challenges of modern organ design and the lack of brightness and eloquence in pipe tones. The right page is a program for a concert and reception at the First Unitarian Church of New Bedford on April 8, 1962. The program lists the names of the performers, including E. Power Biggs, Henry Purcell, Johann Sebastian Bach, George Frederick Handel, Wolfgang Amadeus Mozart, Cesar Franck, and Jehan Alain. The program also includes the titles of the pieces to be performed, such as "Chaconne in F major," "Ayre for Organ," "Fanfare," "Trumpet Tune 'Bonduca'," "Chorale-Prelude 'Sleepers Wake! A Voice is Calling'," "Variations in E major," "Andante with Variations, K. 616," "Pastorale in F major," "Litanies," and "Columbia Records." The program is printed in blue ink on a white background.

An open book is placed on a gray surface. The book is opened to two pages. The left page has some text, and the right page has a blue background with some text. The book's cover is green, and the title is written on it. The title is "Concert and Reception, First Unitarian Church of New Bedford, April 8, 1962." The book is placed on a gray surface.