Category Archives: Music

Captain John Cooke

It is Veterans’ Day again, and time to remember those of the St. Paul’s family who served in the military. We have mentioned veterans of two twentieth century wars. A year ago, we celebrated our one-time organist and choirmaster, T.F.H. Candlyn, who served in World War I. And we have mentioned those from St. Paul’s who died while fighting in the Second World War. Today, we reach back into the preceding century, to a man who fought with the United States army in two wars. But there are other reasons to remember this man, who contributed significantly to Albany’s entertainment and musical life in the middle third of the nineteenth century.

John Cooke was born in England about 1797. He came to the United States in 1820 as part of the circus band with the Page, Austin and Tufts Menagerie. By 1825, he was in Providence, Rhode Island, where he formed his first band.

National Band of New York, performing with the Menagerie of June, Titus, Angevine& Co., 1834

Shortly afterward, he moved to Albany, where his first job was again as a band musician, with a circus situated on North Pearl Street, now the site of the Capital Repertory Theater. Settled in Albany by 1830, John Cooke quickly established two institutions that formed an important part of the city’s entertainment: the Albany Brass Band and Castle Garden.

The Albany Brass Band (often referred to as Cooke’s Brass Band), was Albany first wind band, and during the antebellum period the only source of popular wind music here. Between 1830 and 1861, the band played at many public events, and sponsored concerts, military events, dances, cotillions and balls. The band was also associated with Albany’s Republican Artillery. The band drilled with the soldiers, and accompanied them on a formal visit to New York City.

In 1833, Cooke created Castle Garden, a pleasure garden located on State Street, near Dove “from whence a spacious view of the river and the surrounding countryside for several miles can be had.” But the view was hardly the only entertainment. Castle Garden was known for its fireworks, some designed by “Mons. T. Alesander, from Paris, an artist well known, and who has distinguished himself as a pyrotechnist.” Displays included such exotic and extravagant exhibitions as The Battle of Algiers, Bengola Lights, The Chinese Lychenaise, and Zannia Peruvia. There were also balloon ascents (one conducted by Louis Anselm Lauriat “the celebrated aeronaut”), and refreshments, including “ice cream, soda water and many other delicacies of the season.”

Neither the brass band nor Castle Garden produced much income. But their popularity, and the personal affection felt for Cooke, can be gauged by the numerous benefits for him, each attempting to cover the losses of the season.

Cooke volunteered for the army during the Mexican War of 1846-1848. He was appointed a First Lieutenant in the 2nd Regiment of the First New York Volunteers. Cooke ended that conflict as a captain of artillery, and used that title for the rest of his life.

Albany Morning Express 31 Jul 1857

During the 1850s, Cooke’s Brass Band continued its busy schedule of balls and cotillions. Castle Garden had closed as a pleasure garden in 1845, but for much of this period Cooke continued a smaller business as a bowling saloon at the same address. “Saloon” should not be understand to mean Captain Cooke was serving alcohol: advertisements make it clear that this was a soda parlor, serving ice cream during the summer months to quench the thirst of the bowlers.

With the advent of the Civil War in 1861, John Cooke joined those responding to President Lincoln’s call for 75,000 volunteers. When that three month enlistment expired, Cooke, now 64 years old, volunteered as a captain in Company F of New York’s 91st Infantry Regiment.

Two years later, in May 1863, while leading his men on an assault of a Confederate battery, Captain Cooke was injured at the siege of Port Hudson, Louisiana. A bullet struck his right shoulder and lodged against the bone, shattering the arm. Cooke was evacuated to St. James Hospital in New Orleans, where he spent 44 days. He was mustered out on June 22, 1863 and by August of that year had returned aboard ship to New York City, on his way home to Albany.

Captain Cooke wanted to return to military service, but his health would not allow it, nor it seems was he able to return to work with his band or his saloon. In 1867, a newspaper reported that he was “in the most indigent circumstances.” It had been hoped that the Constitutional Convention of 1867 might award him a pension, but that did not happen. Instead, his friends held yet another benefit, this time a concert at Tweddle Hall.

Tweddle Hall, northwest corner of State and Pearl Streets (image credit: Albany Institute of History and Art)

In 1870, Captain John Cooke was appointed a messenger in the Adjutant General’s Office, and he held that position until his death in December 1875. Cooke’s funeral was held at St. Paul’s church on Lancaster Street, the service read by our rector, J. Livingston Reese. The building was crowded with his many friends, and particularly the musical and military groups with which he had been associated. A contemporary newspaper praises the music, both choral and instrumental, which would have been led by our organist and choirmaster, Edward Savage.

St. Paul’s Chancel before 1901

St. Paul’s, Late 19th century

The procession from St. Paul’s to Albany Rural Cemetery must have been very impressive, with uniformed enlisted men and officers of the Ninth Brigade, the 10th and 25th Regiments and the 91st Volunteers, as well as Albany’s Burgesses Corps. Klein’s Band was joined by 45 bandsmen of Doring’s Band and the Albany City and Tenth Regiment Bands. Veterans from Post 21 of the Grand Army of the Republic were represented as well. From St. Paul’s, the process moved west on Lancaster to Swan, north on Swan to State, east on State to Broadway, and thence to the Albany Rural Cemetery. We are told that “[a]ll along the route of the procession the streets were occupied by an immense concourse of people.” Cooke’s tombstone at Albany Rural reads simply “Capt. J. Cooke.”

Captain John Cooke’s tombstone, Albany Rural Cemetery

A final memorial was made to the old veteran the next year, with the publication of “Captain Johnny Cooke’s Grand March,” by James Haydn Waud, organist at Albany’s Cathedral of the Immaculate Conception. It is dedicated “to the surviving members of the Albany Brass Band.” The cover displays the only likeness of Captain Cooke that we have been able to find. It shows him late in life, heavily bearded, with his crippled right arm supported in a sling.

“Captain Johnny Cooke’s Grand March,” by J. Haydn Waud

St. Paul’s Presents: “Fat, Fat Jehoshaphat”

Today we turn from St. Paul’s long history to an event that many of us remember well: the performance of “Fat, Fat Jehoshaphat” on April 8, 1990.

“Fat Fat Jehoshaphat” Program Cover

This “musical that teaches the the power of prayer” required the efforts of several dozen parishioners of all ages, as well as our choirmaster, Albert Melton, and the rector, Bruce Rodgers.

“Fat Fat Jehoshaphat” Rehearsal

Our first photograph shows a rehearsal, with the choir and their director, Jennifer Johnston, on the left side of the altar. Left to right, they are:

  • Jennifer Johnston (Choir Director, with guitar)
  • Beth Mahony
  • Kirk Hauser
  • Judy Condo
  • Grace Dennis
  • Sarah Feedore (in front)

To the right of the altar are:

  • Chris Kleinman (Page)
  • Happy McPartlin (Chief Priest)
  • Julie McPartlin (High Priest)
  • Jon Bugler (King’s Guard, in front with head turned)

“Fat, Fat Jehoshaphat” set construction

Here we see part of the stage crew building the set. They are:

  • Martha Murphy
  • Andrew Murphy
  • Ann Jaquish

“Fat, Fat Jehoshaphat” Luncheon

And here is a photograph of the luncheon that followed the performance. On the left is Donna Williams, the only person we have been able to identify so far.

Finally, here is the complete cast listing for this performance.

“Fat, Fat Jehoshaphat” Cast List

“Fat, Fat Jehoshaphat” Cast List

 

The Albany Diocesan Choir Festival

A few weeks ago, St. Paul’s choir sang “Christ whose glory fills the skies,” one of the most popular works of T.Frederick H. Candlyn, our organist from 1915 until 1943.

T.F.H. Candlyn 25th Anniversary at St. Paul’s

As we finished singing the piece (one that we regularly perform with pleasure), I noticed the note on the last page: “Copyright 1942. Commissioned by the Eleventh Albany Diocesan Choir Festival, Albert F. Robinson, director,” and wondered (not for the first time) what the Festival was. Within the past ten years, the Cathedral of All Saints has hosted an Epiphany choir event, in which the choirs of Albany deanery parishes joined. Was the 1942 Festival similar to this more recent “Battle of the Choirs?” No one seemed to know, but the answer was to be found in newspapers of the time. And a very interesting story it was.

T. Frederick H. Candlyn at St. Paul’s organ.

The Albany Diocesan Choir Festival was begun in 1931 by J. William Jones, organist and choirmaster at All Saints Cathedral from 1929 until 1939. In the early years, these were small events, with just a few local choirs. But by the fourth annual Festival in 1935, with 22 choirs taking part, the festival had become a huge occasion, with (as a contemporary newspaper reported) “hundreds of voices” that was “attended each year by throngs.”

The 1935 festival was the culmination of a six-day “Festival Week of Music” at the Cathedral, including a concert of Candlyn’s compositions, sung by St. Paul’s choir and Candlyn’s chorus from the State College for Teachers. The week’s schedule was:

  • Monday: recital by the Cathedral choir featuring works of Palestrina
  • Tuesday: organ recital by Ernest White of Trinity Church, Lenox, Massachusetts
  • Wednesday: recital by Major John A. Warner piano, Earle Hummel violin
  • Thursday: concert of works of T. Frederick H. Candlyn
  • Friday: a chorus of American Guild of Organist choirs, conducted by Dr. Russell Carter. The  massed choir was composed of choirs from Reformed, Methodist, Presbyterian, Baptist congregations in Capital District.
  • Saturday: Fourth Annual Diocesan Choir Festival, conducted by J. William Jones. Part of this service was broadcast on radio station WGY.

Candlyn was again involved in the 1936 event as accompanist. That year also he was also president of the Albany Diocesan Choirmasters’ Association, which was very active in promoting and organizing the festivals, but also in sponsoring recitals, conferences and in commissioning choral works. The Association even published a newsletter, “The Chorister.”

Cover of “The Chorister,” May 1941

Candlyn was also accompanist in 1937, when twenty massed choirs sang his work “Thee we adore,” which he dedicated to the Festival choir.

St. Paul’s Choir, with T.F.H. Candlyn, 1937

By 1938, the Festival had “grown to be of national importance,” and had become the model for other festivals across the United States. That year, the Albany Diocesan Choirmasters’ Association conducted district festivals in each of the diocese’s deaneries, preparing the parish choirs for the diocesan event in Albany. The Ogdensburg event, for example, gathered 200 choristers from 14 choirs to St. John’s, Ogdensburg for rehearsals and for a choral service presided over by Bishop G. AShton Oldham.

George Ashton Oldham, Bishop of Albany

1938 was also the first year that the Albany Diocesan Choirmasters’ Association commissioned new works to be performed at the festival. The composers and their works were:

  • Healey Willan (1880 – 1968) of Church of St. Mary Magdalene, Toronto: “Before the ending of the day”
  • Everett Titcomb (1884 – 1968) of Church of St. John the Evangelist, Boston, Massachusetts: “Benedictus es, Domine”
  • Gardner C. Evans (1897 – 1951) of Church of Our Savior, Brookline, Massachusetts: “Thy kingdom come”

The Association arranged for publication of these works (as well as “Magnificat and Nun Dimittis” by Titcomb) by Carl Fischer, Inc., in Series I of The Albany Diocesan Choir Festival Series.

Healey Willan, “Before the Ending of the Day” cover obverse

In 1939, the Choir Festival was again part of “Festival of Music Week.” That year, the schedule was:

  • Monday: Albany Federal Orchestra (an organization supported by the Works Project Administration)
  • Tuesday: Liszt Choristers, Booker T. Washington Choral Society, Schenectady NYA Choir
  • Wednesday: chamber music recital, again with pianist Major John A. Warner, as well as a violinist, a horn player and four cellists.
  • Thursday: J. Stanley Lansing, Dean of the Eastern New York Chapter of the American Guild of Organists conducted a massed choir from nine area congregations
  • Friday: organ recital by Thomas Mathews of St. Martin-in-the-Fields, Philadelphia
  • Saturday: Albany Diocesan Festival, with 50 choirs, Mr. Jones conducting

William Jones, whose energy had moved the festival from small beginning into a project that “has spread throughout the length and breadth of the Diocese of Albany, with a fine organization of choirmasters and clergy as its sponsor and its own magazine which now has a national circulation” resigned from the Cathedral staff effective December 1, 1939, his tenth anniversary at the cathedral.

“Cathedral of All Saints” by Earle L. Kempton

Jones’ place as director of the Festival was taken by Albert F. Robinson, organist and choirmaster at Trinity Church, Potsdam. Albert F. Robinson oversaw the district festivals that year. We have a record of the Albany deanery festival, which drew 10 choirs to St. Andrew’s Church in Albany.

The 1941 Festival may have been the grandest of them all, with 50 choirs and 500 voices joined. Two new anthems were commissioned for the service:

  • Alfred Whitehead (1887 – 1974) of Christ Church Cathedral, Montreal: “Come Thou Almighty King”
  • Gardner C. Evans (1897 – 1951) of Church of Our Savior, Brookline, Massachusetts: “O Saving Victim”

These, along with the following piece (probably commissioned for the 1940 Festival) were published by the Diocesan Choirmasters’ Association in Series II of Fischer’s The Albany Diocesan Choir Festival Series:

  • Charles O’Neill (1882-1964), professor at the State Teachers’ College at Potsdam, New York (now the Crane School of Music): “I will extol Thee”

As mentioned above, Candlyn’s work “Christ whose glory fills the skies” was commissioned for the 1942 festival. It also was published in Series II of the Fischer series. With the war on, this was a smaller event, held in conjunction with the Diocesan convention “to aid in conservation necessitated for war measures.” We assume that this refers to gasoline rationing, which would have made it very difficult to transport 50 choirs for a separate event. This year was to be Candlyn’s last at the Festival: in 1943 he resigned from St. Paul’s to become organist and choirmaster at St. Thomas Church in Manhatttan.

Healey Willan, “Before the Ending of the Day” cover reverse

The Diocesan Choir Festivals for 1943 and 1944 were again held in conjunction with the diocesan convention. There seems to have been a break during the last years of World War II.

The first Festival after the war was in 1947, when 500 singers from all parts of the diocese were directed by Duncan Trotter Gillespie, of St. George’s, Schenectady, and accompanied by organ and a brass choir from Albany High School. In 1950, in a sign that the festival had returned to its former glory, the regional festivals were held once again: the Albany deanery met at St. Andrew’s, and other events were held in Cohoes, Staatsville, Morris and Ogdensburg.

1951 was a slightly smaller event, with 25 choirs attending, but scheduling the festival with the newly-organized Tulip Festival helped with attendance: the audience, we are told, filled the cathedral to overflowing.

All Saints Cathedral (credit: Albany Group Archive)

Starting in the 1954, when the Choir Festival was again held in conjunction with the Tulip Festival, the director was W. Judson Rand Jr., organist and choirmaster of St. Peter’s church, who had been the festival’s organist back in 1941. The Diocesan Choirmasters’ Association continued to organize the event, which attracted 200 singer in 1955.

The last reference to the Festival that I’ve been able to find is an advertisement from 1965. It is a pity that we have lost this element of diocesan life. With smaller congregations and smaller choirs in many Episcopal churches, it would be difficult to organize such a festival today. But think of the benefits of bringing together musicians from across the diocese to meet, to form friendships, and to join together in song.

 

From St. Paul’s Church to San Quentin: the Life of William Henry Hill

William Ingraham Kip (portrait attributed to Asa Weston Twitchell )

In his first decade as rector of St. Paul’s, William Ingraham Kip saw three young man enter the ministry from the congregation. We have already spoken of Sylvanus Reed, but the first of these three was William Henry Hill, who was not only an active member of the congregation, but also followed Kip to California. How Hill came to serve eight years at San Quentin Prison is only one of the fascinating things about this son of St. Paul’s Church.

William H. Hill was born in Connecticut in 1816, and came to Albany at age 15. He became a communicant of St. Paul’s in 1839, shortly after Kip arrived here as rector. Hill was soon busy in the life of the parish, particularly as “chorister” (then used to mean the leader of the church choir) intermittently from 1841 until 1845, while the organist was composer Oliver J. Shaw. He also represented the congregation at diocesan conventions in 1844 (during the contentious discussion of the fate of disgraced Bishop Benjamin T. Onderdonk) and again in 1846. During this period, he worked as a reporter and assistant editor for the Albany Evening Journal, owned and edited by the powerful Whig politician Thurlow Weed.

William Henry Hill

William H. Hill became a candidate for ordination in 1844, and was ordained deacon in 1846 and priest the next year. His first pastoral assignment was St. Paul’s, Brownville (Jefferson County, New York), where he served from 1846 until 1851. Interestingly, the Brownville church’s first rector was William Linn Keese, who was also the second rector of St. Paul’s, Albany. William H. Hill was then rector at Zion Church, Morris (Otsego County, New York) from 1851 until 1855.

California Clipper advertisement (image credit: Wikimedia Commons)

William Ingraham Kip was elected Missionary Bishop of California in late 1853. A year later, William H. Hill followed him to the far distant west, which was still in the throes of the Gold Rush of 1849—1855.

Nevada City, California about 1856 (image credit: Wikimedia Commons)

Initially he served the church in Nevada City, and next was rector of Grace Church, Sacramento (where he also served several terms as superintendent of the city schools) from 1856 until 1871. His final parish assignment was at St. Athanasius, Los Angeles from approximately 1871 until 1878.

 

 

 

 

William H. Hill (San Francisco Chronicle 28 Oct 1896)

Have you been worrying about how Hill came to serve time at San Quentin? Well, you can relax, because he was definitely on the right side of the bars. William H. Hill was chaplain at San Quentin from 1878 until 1885. After a few years as a traveling missionary, he retired to Berkeley, where he died in 1896.

San Quentin Prison (image credit: Wikimedia Commons)

 

 

 

The Windows of St. Paul’s: Advent

As the first in a series of St. Pau’l’s Church windows for the liturgical year, here is the lower panel of the chapel window donated by Donald Shore Candlyn, showing the Annunciation. This window, like all those in the chapel, is the work of Wilbur H. Burnham Studios, in Boston.

The Annunciation: lower panel of the Donald Shore Candlyn window

The Annunciation: lower panel of the Donald Shore Candlyn window

 

 

All Saints 2016 – a Centennial

It’s All Saints, and this year we mark the centennial of two objects donated to the parish, both of which were dedicated on All Saints Day 1916.

Knabe Grand Piano

Knabe Grand Piano

The first is a grand piano “for use in the upper room of the Parish House” on Jay Street, but now placed in the south aisle of the Hackett Boulevard church. It was “a gift as a thank offering to the parish by Marcia Brady Tucker, daughter of Mrs. Anthony N. Brady.” We’ve written recently about the generosity of the mother, Mrs. Marcia Ann Myers Brady, particularly the Flora Myers Brady Gavit Memorial Organ that she endowed in 1915. The younger Marcia grew up at St. Paul’s and was married to Carll Tucker here on February 27, 1908. The piano, in an ebony case, was built that same year (as confirmed by the serial number) by the Knabe Company in Baltimore Maryland.

The second object dedicated that All Saints Day 100 years ago was the tall clock that continues to keep watch over our coffee hours in the Blue Room. It was given by more than one hundred members of the congregation in memory of three parishioners associated with our Sunday School.

Elliott Tall Clock

Elliott Tall Clock

You might be surprised that such a lavish gift would be offered for Sunday School volunteers, but in those years St. Paul’s Sunday School was an important part of our corporate life. Total enrollment on November 1, 1915 had been 286, with average Sunday attendance that year of 203. Classes were divided in five departments (Beginners, Primary, Junior, Intermediate and Senior) with 30 teachers, all overseen by 12 officers.

The clock, a “[t]all English chiming clock, encased in mahogany, made by Elliott of London, England,” honored “the long and faithful service” of three individuals:

 

  • Frederick W. Ridgway, Jr. (15 Sep 1896 – 14 Jun 1916), the Assistant Secretary of the Church School, was the son of Frederick W. Ridgway Sr. (St. Paul’s vestryman from 1901 until his death in 1915), and the brother of Dorothy Ridgway, who the next year (1917) would marry our organist and choirmaster, T.F.H. Candlyn.
  • Anna Jaykill Phelps (22 Jan 1857 – 8 Jul 1916), “teacher with a record of nearly 25 years of perfect attendance.” Anna was married to Marcus E. Phelps and had two sons, Charles and Edward.
  • Ira Porter Jr. (12 Jan 1838 – 21 Nov 1914), Librarian of the Church School for 45 years
Ira Porter Jr.

Ira Porter Jr.

By far the longest serving was the last of these. Ira Porter Jr. had retired as Sunday School librarian about 1905, so his tenure with the Sunday School, went all the way back to almost 1860. He served in the period when St. Paul’s Sunday School was the largest in the city, and when attendance far surpassed even the levels in the early 20th century. The glory years were the 1870s and 1880s, when total enrollment was 600, and average attendance was about 400, with almost fifty teachers.

Sunday School Song Book 56th Anniversary (1883)

Sunday School Song Book 56th Anniversary (1883)

Ira Porter Jr., a member of St. Paul’s for fifty years, had not only served as Sunday School librarian, he was also clerk of the vestry for thirteen years. He was the son of Ira Porter Sr. (1811 – 1892) and Jane Eliza Rice Porter (1818 – 1894). The elder Ira Porter was a St. Paul’s vestryman from 1859 until 1871. Ira Jr. worked at the Albany Customs House for fifty years, ending his career in 1907 as a Special Deputy Surveyor of Customs.

Ira Porter Sr.

Ira Porter Sr.

Dr. Candlyn Marches in the Armistice Day Parade

It’s Veterans’ Day, or Armistice Day as it was known until 1954. St. Paul’s has many veterans whom we honor, but this year let us remember T. Frederick H. Candlyn, our organist and choirmaster from 1915 until 1943, who fought in the trenches during World War I. Candlyn marched in every Armistice Day parade here beginning with his discharge in 1919 until he left this city in 1943.

Candlyn arrived at St. Paul’s in May 1915, having recently immigrated from his birthplace in Davenham, Cheshire, England. While he filed first papers for naturalization in July 1916, Candlyn was still a British citizen in May 1917 when the Selective Service Act of 1917 was passed, requiring all men age 21 to 30 to register for the draft. In his native land, Candlyn (then age 24) would have been exempt, as the only son of a widowed mother, but not in the United States. He registered for the draft on June 5, 1917, and entered the army on September 21, 1917, leaving Albany with the first contingent of draftees for training at Fort Devens, Massachusetts.

Candlyn had a brief break from what he described as “a stiff bit of training” at Fort Devens when he returned to Albany to marry Dorothy Ridgway on December 29, 1917. She was a member of St. Paul’s, and the daughter of longtime St. Paul’s vestryman Frederick W. Ridgway. The newlyweds had a brief honeymoon trip, and then Candlyn returned to training. He became a United States citizen on June 25, 1918 at Fort Devens, and must have been shipped overseas soon afterward, assigned to the medical service.

Candlyn was discharged as corporal on  April 25, 1919. Every year thereafter, until he left Albany in 1943, Candlyn marched proudly in the Armistice Day parade, wearing the same olive drab uniform he had worn “over there.”

T.F.H. Candlyn in uniform (Albany Evening Journal 31 Dec 1917)

T.F.H. Candlyn in uniform (Albany Evening Journal 31 Dec 1917)

We have a description of one of these parades, and some details of his military service thanks to an article by columnist Edgar S. Van Olinda in the Albany Times-Union for November 17, 1941.

Those who witnessed the Armistice Day parade last Tuesday probably noted the Governor marching at the head of the column and the lone Civil war veteran, Colonel Hayes, of Brookview riding in the Governor’s open car. But unless you are a consistent curbstone fan or the collector of useless information, you probably missed another very important personage. Once again Dr. T. Frederick H. Candlyn, head of the music department of State College for Teachers, organist and choirmaster of St. Paul’s Episcopal church, paraded in the Legion division.

Dr. Candlyn does it every year; not that the stunt is very remarkable, as there are many who do the same thing. The important part is that he wears the same uniform he used overseas, and it is an enlisted man’s uniform at that.

Dr. Candlyn arrived at City hall just as Grand Marshal “Gil” Sharp and Carilloneur Floyd Walter were synchronizing watches, preparatory to the tolling of the big bell on the dot of 11, followed by the moment of silence, and “taps.” Both of these gentlemen took time out to congratulate the Doctor on his appearance and to ask, “How do you do it?” Most of the O.D. outfits have long since been carried away by the moths and those which are still in the clothes press are so small that most veterans would need the help of a shoehorn.

So, each year, T. Frederick H., on November 11, puts away the tuning fork and baton and dresses himself in the olive drab blouse, breeches and wrapped leggings and does his stuff.

After a brief aside about other Albany musicians who served in the war, Van Olinda continues with some insights into Candlyn’s wartime experience”

What could be more incongruous than our good friend, squatting on the firestep of a trench with a pad of score sheets on his knee, composing a Christmas cantata or a musical setting of the Magnificat with the shells and machine gun bullets whistling overhead?

He has written a delightful organ voluntary entitled “An Indian Legend,” which, while not too difficult to play, exhibits the possibilities of the organ stops. We can’t help but wonder if this, too, is a “front-line” composition.

In an earlier piece, published in the Times-Union for November 18, 1939, Van Olinda also describes Candlyn’s marching in the Armistice Day parade, and a few additional details of his wartime activities.

Dr. Candlyn had an interest in the outcome of the war beyond many Americans, for many of his close relatives still live in England. He stood on the parapet during his trick on watch, slipped on the wet duckboards in the trenches as he lugged rations to his platoon and learned the mechanism of machine gun and hand grenade. But during his rest periods, he jotted down little melodies on paper and when there was entertainment in the “Y” hut, Private Candlyn would be at the piano.

1938 Choir Boy Reunion with T.F.H. Candlyn

1938 Choir Boy Reunion with T.F.H. Candlyn

T.F.H. Candlyn gave much for his country with this wartime service. But he and his wife were to give once more to his adopted country. One year after that last Armistice Day parade in Albany, the Candlyns’ son Donald Shore Candlyn was killed by a sniper during the the Battle of the Bulge.