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Ernest M. Skinner Overview With a career spanning over sixty years, Ernest Martin Skinner (1866-1960) quickly became regarded as the "Cadillac of Organ Builders", and became the one organ designer that was most sought after by music enthusiasts, as well as audiences of the romantic influence - a core highlight in the overall persuasion of the Victorian and Edwardian era. Skinner's Work Skinner almost certainly regarded his masterpieces to be more organic in nature, not necessarily lending to the whims of what later reforms might be placed on strategic organ construction. Mr. Skinner was often quoted as being a staunch proponent of the orchestral desires that many classical musicians and organists required in a custom organ. However, as a near romanticist, Skinner was certain to keep his designs very much up to date, finally ending his career with patents including the freestanding American drawknob console, the electro-pneumatic swell engine, and adjustable combination actions. Perhaps Skinner's most enduring legacy to the pipe organ industry is his "Pitman" windchest. Skinner also claimed several "tonal inventions" such as the "Kleine Erzhler" the 32 foot Violone and a fine development of the English Horn stop. For each criticism, there always remains a truth: much like his own nature, Ernest Skinner constructed his instruments to be viewed as an individual, but also to provide the voice of a thousand. Life & Career Skinner's Spreckels Organ, on display at the California Palace of the Legion of Honor http://www.thinker.org/legion/about/subpage.asp?subpagekey=61, provides not only a gentle resonance for a seemingly sterile atmosphere, but also a package within a package: masterfully downplayed, but expertly presented. For instance, few realize that the Triumphal Arch at the exterior entrance to the Court of Honor, contains ten large chimes, concealed behind louvered doors that can be opened during outdoor performances. Of course design accoutrements such as these were left to the devices of the architect, however such thoughtful perfection is followed through with an additional set of pipes that are hidden behind a plaster frieze located above the main entry. Set in approximation to the overall lines of the court itself, the frieze is fixed on rails that allow the Organist to create a more expansive space in regards to the acoustics of the performance. Keeping in mind that California's Legion of Honor is only of three-quarter scale to Paris's Legion d'Honneurhttp://www.legiondhonneur.fr, it is important to note that exercises were taken to reconstruct the finest of detail, some measures were taken to accommodate the other works of art that were to be housed within the interior spaces. For example, after entering the main lobby, an interior dwelling is presented with three separate, but linked arcades, keeping in form with the allotment of space as seen at the Legion d'Honneur in Paris. Moving forward, the Skinner Organ is presented in a very plain setting. Similar to other Organs of Skinner design, it is simply there. In a rather upfront and non-confrontational manner, the Organ can be easily overlooked. The overall placement of Skinner's Organ suggests that Appelgarth was willing to withdrawing the importance of its inclusion in the design of the structure, therefore displaying it in a manner that simply placed the Organ like a chair, or a secondary item of furniture. The gallery itself is rather cavernous, and literally envelopes the organ. This odd placement is not very easily explained, nor understood. Interesting to note, that the use of space does in fact allow the organ to speak in a rather pronounced tone and pitch. Keeping in tradition to the commission of the Organ itself, although completed by The Skinner Organ Company in 1923 and dedicated by Ernest Skinner as Opus 455, placed on the right side of the console is a somber plaque that reads: "John D Spreckels has generously given the organ in this temple for the pleasure of those who, like himself, are lovers of music AD MCMXXIV." As any proper Roman temple might provide, it could be suggested that this instrument serves to perform a feat of luxury to those unaccustomed to being included in such a lavish space. As begifted to the City of San Francisco, the Spreckels certainly kept this in mind as many other artful treasures began to fill the gallery spaces. In tune with the overall majesty of the Legion of Honor, Skinner included other elements in the construction of this organ that were not in others. Features such as the use of rare woods incorporated into the working designs: ebony, mahogany, walnut and the use of ivory keys and stops, and three high pressure wind turbines totaling power of 48 horsepower to provide the main wind supply for the organ's pneumatic system. Boasting additional assets of pneumatically operated percussion instruments, a thunder pedal, a set of large tubular chimes, and the final cost of over $110,000.00 a scarce six years before the dawn of the Great Depression, the allotment for this instrument was the seen as the last word in modern entertainment. Important to note, that in the period 1917-1923, organ concerts were so highly regarded, that public community performances usually numbered attendance nearing 1,000. By the time Ernest Skinner came to build the Spreckels organ, he was already highly regarded within the industry. For many, the possession of a Skinner organ signified that its ownership was suggestive of regal nature. For a time in which much of America's population were still utilizing the outdoor privy, a space not intended as a house of worship to include a Skinner organ, was nearly unheard of. Of course, the era of the silent movie was in full swing, but still novel the idea to provide the public with entertainment was respected and well received- most usually, only shopping centers or department stores on the East Coast featured such accoutrements. Rarely did such culture come to the West Coast, and certainly not in the form of a Roman temple overlooking the Pacific Ocean! None the less, the California Palace of the Legion of Honor spared little expense insuring that the finest of entertainment would be provided for its patrons. In the overall intrinsic quality of the instrument, Skinner crafted the final piece to include a four manual, one hundred and seven stop, sixty-three rank and four-thousand five hundred and fourty-two pipes organ. All together, the organ comprises of one Great Organ, a Swell Organ, a Choir Organ featuring a 16 foot Contra Dulciana, Choir Organ Echo, a Solo Organ, Solo Organ Echo, an Arch Organ outfitted with 8 foot Arch Clarion, a 64 foot Gravissima and a 32 foot Bourdon Profunda, in addition to the final Traps that were enclosed in the Choir: Bass Drum, Castanets, Chinese Block, Crash Cymbal, Gong Snare Drum (f), Snare Drum (ff), and a Tambourine Triangle. Obviously, an instrument that is capable of producing these sounds, (similar to that of an Orchestra), is a work of art, no matter its outright visual appeal. The only other organs of such construction can be matched by the Chateau de Cand- of which later played an important role in the marriage of the Duke and Duchess of Windsor. This organ features an additional base drum, typhani, chimes, and an automatic roll box (to perform functions as provided by a piano roll for automatic player purposes). Other famous clients included the widower of Mary Frances Sherwood Hopkins Searles, of San Francisco's Big Four fame; almost certainly a reference for the Spreckels organ commision, of which many of the Spreckels were of close kin to the Hopkins family and their interests that lay in art acquisition and collecting . The only main difference in relation to the Spreckels organ and the Hopkins-Searles organ is that its inauguration was based off of construction provided by E.F. Walcker and Company Ludwigsburg, Wurttember, Germany, in 1863. In addition to several complete ranks installed, including Great chorus reeds, as well as metal pass pipes of several ranks removed by The Ernest M. Skinner and Son Company, Methuen, Massachusetts, 1931 - 1943. All in all, such organs either installed or modified by Skinner (and associates) were organs of multiple ranks, and the highest of craftsmanship. Throughout Skinner's career, all serviceable organs were attended with such detail that even today; it is difficult to match the skill and master of his hand. Additionally, Skinner's construction of St. John the Divine's Great Organ is thought of in regards to supreme craftsmanship. Contract signed in 1906 and completed in 1911, this commission was certainly one that provided the stepping stone in Skinner's later career. As Skinner approached his 57th year, certainly thoughts of retirement may have persuaded him to enjoy the fruits of his labor. Never the less, the master builder forged ahead, reflecting in his past achievements, they were great and most often dramatic. At the age of twenty-seven, Ernest was credited with devising a windchest with a singular pocket for each note of each stop. This particular invention made its debut at Saint Bartholomew's Church in New York City in 1893, but wasn't patented until 1895. Following his successes in New York City, Skinner followed through in a tour de force that included multiple trips to England. Within these trips, Ernest perfected his designs for the American versions of tone and pitch, by carefully studying the work of lifelong mentor and short-lived business partner, Robert Hope-Jones. This fascination with the English design would prove both fruitful and eventful in Skinner's later life as the premiere master builder. Finally, in 1905 Ernest M. Skinner & Company was founded in Dorchester, Massachusetts- setting the stage for arguably the finest organ design and construction in the Edwardian era. By 1906, Skinner had successfully launched into his defining role. By capturing a contract with the cathedral campus of St. John the Divine in New York City, his most recent conquests of four manual organs for other notable parties and diocese, were viewed in contrast as David approaching the mounting Goliath. In comparison to the Spreckels organ of 1923, affectionately referred to as his Bolton period- in which cast iron reeds and darker schemes emerged, provides an excellent timeline in the crescendo of Skinner's work. External Links & Resources
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