Today, in 1893, the Estey Organ company was putting the finishing touches on their organs to be shipped to the World’s Fair in Chicago. The Phoenix reported on it thusly:
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FOR THE WORLD’S FAIR
The Estey Organ Company’s Exhibit
A Description of the Beautiful Instruments Comprising their Display
Today the finishing touches are being put to the large and beautiful exhibit of instruments which the Estey Organ company are to send to the World’s Fair at Chicago, and it is the present plan of the company to have the organs en route to their place in the great exhibition to-morrow. Many workmen are very busy upon them, and our glance at the instruments was necessarily hasty and imperfect, but a short chapter of notes will be of general interest.
As has already been stated, the company were very fortunate in securing an advantageous location for their exhibit. Its place is on the right of Columbia avenue in the building of manufactures and liberal arts, as one enters by the south or main entrance.
Central in the Estey exhibit, and its piece de resistance, will be an immense two manual, pedal, cathedral organ, the largest, most complete, and powerful instrument ever built by the Estey company. Its case is of old English oak, is handsomely carved, and in design is a very massive treatment of the Italian renaissance. The entire height of the instrument is about 16 feet. Metal pipes are introduced in the upper case of the organ and the whole is crowned by a dome, surmounted by a winged cherub with a trumpet, of which, indeed, there are several introduced in various positions. The organ has six sets of reeds in each manual and two sets in the pedals, with 20 registers in all. Its effect, both in its outward appearance, and in its scope and tone when played, will be very impressive. The plan of this organ marks an era in the line of organ construction.
The next to attract our attention was a large two-manual organ, which, in its general plan, is an extension of the well-known conservatory style built by the Estey company. Its case of carved oak, in light antique finish, is almost severely plain in design, but its general effect is extremely satisfying to the artistic sense. Its action has four sets of reeds in each manual, one set in the pedals, and there are 13 registers. The instrument is built strictly on the lines of a pipe organ in all its positions and mechanical accessories.
The third organ in size is an instrument which the elegance and delicacy of its conception and design is the gem of the exhibit. Exquisite is, to our mind, the only adjective that can be applied to it. An artist might well call it a dream in beautiful carved oak and graceful lines. The case is an elaboration of the style of the 250,000th organ. At either side are classic Corinthian columns, decorated with beautiful festoons of fruit and flowers carved from the solid oak. The Romanesque frieze and the projecting front below the keyboard are also elaborately carved with elegant festooning. The front over the keyboard is made up wholly of small turned columns, beautifully carved and fluted. At the corners are semi-circles of golden pipes. As a specimen of rich hand carving, painstaking and perfect in every detail, this instrument has, we are confident, never been equalled in the company’s works. Its action has one manual containing six full sets of reeds, with a specially resonant sub-bass. There are 16 registers.
For an instrument of an entirely different size and scope from those described, there is next to be mentioned a beautiful chapel organ in the pure old English gothic of the 15th century, carved with the most patient care and finished in exact imitation of old English oak. The instrument has 17 stops. The general artistic effect is such as to attract immediate attention wherever the organ may be placed.
Another chapel organ is built with a case of quartered oak, Romanesque in design, and ornately carved. A special feature are heavy triple posts at either end supporting the projecting front, conveying the idea of great solidity of construction.
Another instrument in solid oak, much larger than those last named, has graceful Ionic columns and capitals at either end, with striking cherub’s heads and festoons of flowers. The wood is finished in natural color. The instrument has 16 stops.
Radically different from any other in the exhibit is a boudoir organ built after a charming antique upright design, closely copied after the celebrated Robert Adam style, which captivated England in the last century. Its decorations are in hand painting, and for quiet, restful, homelike effect it is unique in the collection.
Varying still from all the others, and each unlike the other in design, are two organs in beautiful black walnut cases, one in the Louis Seize and the other in the Italian renaissance, which are peculiarly graceful and pleasing. These also have fine hand carvings, with beveled mirror or panels of plate glass introduced as a minor effect.
Besides these special organs, built to illustrate in their outward design the best modern effects in drawing and wood carving, and the latest principles devised and developed by the Estey company for their trade.
The company have manifestly worked on very broad and generous lines, and with a real public spirit, in their purpose to do their full share toward the completeness and representative character of the exhibit of musical instruments at the World’s Fair. That the whole affair is not planned from a purely mercenary standpoint is evident from the varied designs and tasteful and elaborate adornments which are to so large an extent educational rather than directly remunerative.
The three larger organs, it may be added, represent the latest Philharmonic system of the Estey company, now for the first time presented to the musical public.
In connection with the organ exhibit the Estey Piano company of New York are to have a representative display of their instruments, as we understand, but we have no immediate knowledge of the details.
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TUNING FORKS EXHIBIT
Gov. Fuller is having prepared, by special request of the exhibition management, a very complete tuning-fork exhibit, showing the result of his study of this subject for many years.
The forks will be shown in groups, numbering several hundred in all, and the valuable exhibit, which if destroyed could not be replaced, will be conspicuously placed in a handsome case made for that purpose.
It is gratifying to know in this connection that the exhibition authorities have issued instructions to all exhibitors of organs to tune them to the international pitch, A 435. This is justly regarded as a very valuable testimonial to the labors of Gov. Fuller and his co-workers among the piano manufacturers in securing adoption of this standard pitch. This is all the more significant as Theodore Thomas is at the head of the musical department of the exhibition, so far as public exhibitions are concerned.
