Category Archives: Music

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.







The Flora Myers Brady Gavit Memorial Organ

St. Paul’s worshiped in the building on Lancaster Street for a century, and we tend now to think of that building, through the haze of memory and legend, as our ideal church home. But even at its purchase in 1862, the building was considered a compromise. A few years before, in 1860 – 61, the congregation (then housed in a former theater on South Pearl Street) had decided to move into the newly-opened western part of the city. The vestry negotiated the purchase of property for a new church, hired an architect, and offered the old church for sale. Those plans were dashed by the bank failures of May 1861. William Rudder, St. Paul’s rector from 1859 until 1863, describes the crisis, and its solution:

But being now, as it were, without shelter, it was necessary at once to find some place of worship. It so happened that the authorities of a Dutch Reformed Congregation were engaged in building a house of worship at this time; but they, too, were brought to a stand by the financial problems of which I have spoken, and the unfinished building was offered for sale. Your vestry felt that, under the peculiar circumstances in which they were placed, they could not do better than purchase this building. They did so, and adding a chancel, endeavored to make it as churchlike in appearance as possible, and suitable to the requirements of our worship.[i]

William Rudder

William Rudder

John Henry Van Antwerp

John Henry Van Antwerp

The vestry’s and Rudder’s lack of enthusiasm is palpable. But the vestry purchased the Dudley Reformed Church on Lancaster Street in May 1862 with financing arranged by junior warden John H. Van Antwerp, cashier of the New York State Bank. The congregation held the first service there in September of that year.

St. Paul's, Late 19th century

St. Paul’s, Late 19th century

Yet only fifteen years later, at the congregation’s fiftieth anniversary celebration in 1877, Rudder asked if perhaps the congregation was ready to take up the 1861 vestry’s goal “to build a new church edifice in a better and more advantageous situation.” and to erect a building “worthy of the position and resources of the parish.” [ii] If they did so, he encouraged the 1877 vestry to “[s]how forth the largeness of your Christian zeal and love by the extent and richness, the trust and perfection of your work.”[iii]

The congregation chose not to take up Rudder’s challenge, but they could not ignore the Lancaster Street building’s deficiencies, chief among which was the design of the chancel. While Rudder and the 1861 vestry had attempted to make the nave “as churchlike in appearance as possible,” the chancel they had added was recognized as inadequate. In 1902, the year of the parish’s 75th anniversary, our rector William Prall suggested five improvements necessary for the survival of the parish, two of them related to problem with the chancel: to remodel the chancel and bring the choir to the east end of church “where it properly belongs.”[iv]

William Prall

William Prall

Prall was unable able to accomplish these goals during his term as rector from 1900 to 1905, but they were taken up by his successor, Roelif Hasbrouck Brooks, who arrived in the spring of 1906. As a start, Brooks recommended improvements to the church building including the chancel. That fall, he appealed “to the congregation, urging them to repair and beautify their church by memorial gifts.”[v]

Roelif Hasbrouck Brooks

Roelif Hasbrouck Brooks

By the parish’s 80th anniversary in November 1907, Brooks had already accomplished much of this beautification, including Prall’s recommendation to remodel the chancel:

Since then [the appeal of autumn 1906] two windows had been put in place, two were now being constructed, a baptistery had been erected, the chancel enlarged, the organ reconstructed, two tablets had been erected and the credence table rebuilt. Meantime the Sunday-school had doubled its offerings for missions, the parish had met its apportionment and had also made various gifts for charities.[vi]

St. Paul's Chancel before 1901

St. Paul’s Chancel before 1901

St. Paul's Chancel in 1911

St. Paul’s Chancel in 1911

We do not know how the organ was “reconstructed,” but whatever improvements were made could not hide that fact that it was 74 years old. Brooks must have hoped that the church could afford a new organ to complete the restoration. The organ in use in 1907 was only St. Paul’s second, purchased in 1841, shortly after the congregation moved to the Pearl Street theater. Originally built by Thomas Robjohn (under contract with Firth & Hall of New York City), the instrument was rebuilt in 1857 by William A. Johnson, with the upgraded instrument inaugurated on Christmas Day 1857. Johnson also moved the instrument to Lancaster Street in 1864. William J. Stuart of Albany made major enhancements in 1892, including a new manual, pedal, chest, couplers and combination pedals, but by 1907 it must have been a very old looking (and sounding) organ. Brooks had plans for major enhancements to the church’s liturgy and worship space, including the creation of a boys’ choir, and moving the organ to the renovated chancel. He had the new chancel: a new organ would fit with these plans very nicely!

Years passed, and Brooks must have thought about who was capable of buying the church a new organ. His leading candidate would have been the wealthiest member of the congregation, Marcia Ann Myers Brady, who was already a major donor. Mrs. Brady had been a member of the congregation since 1872, and she raised their six children in the church. Her daughter Flora was baptized at St. Paul’s in 1879, attended our Sunday School and was married to E. Palmer Gavit by Dr. Prall, in 1901. Mrs. Brady’s other daughter, Marcia, was married to Carll Tucker at St. Paul’s in 1908.

Marcia Ann Myers Brady

Marcia Ann Myers Brady

Marcia Ann Myers Brady’s husband, Anthony N. Brady, was a practicing Roman Catholic who may never have seen the interior of St. Paul’s. Mr. Brady had started as a small businessman in Troy and Albany, but by the first decade of the twentieth century he had accumulated an immense fortune by investing in utilities and public transportation across the country. The firms he founded are the direct predecessors of such corporate giants as Consolidated Edison and Union Carbide, among others.

Tragedy struck Marcia Ann Myers Brady’s family in October 1912, when her daughter Flora died at age 35 in a fiery train wreck that also killed her sister-in-law and sister-in-law’s sister. Then a year later, Marcia Brady’s husband died, leaving an estate of over $72 million dollars, which in that period in New York was second only to that of John Jacob Astor.

Flora Myers Brady Gavit

Flora Myers Brady Gavit

This enormous fortune was divided between Marcia, her surviving children, and her namesake, Flora’s daughter Marcia Ann Gavit, age 6. Responding to Brooks’ desire for a new organ, Mrs. Brady chose to make a double gift to the church: $14,000 to cover the entire cost of a new organ, and $20,000 to the Flora Myers Brady Gavit Memorial Organ Endowment Fund,  its “[i]ncome to be used, one-half for the maintenance of [the] organ, and one-half to create a fund for the installation of a new organ when such shall be required.”

The new instrument was dedicated on Palm Sunday, March 28, 1915. Built by the Hutchings Organ Company of Boston, it was a three-manual electric organ, with thirty-five speaking stops, nine couplers, two tremolos and a set of chimes.

Program, Service of Dedication for Gavit Memorial Organ

Program, Service of Dedication for Gavit Memorial Organ

The Flora Myers Brady Gavit Memorial Organ

The Flora Myers Brady Gavit Memorial Organ

Plaque for Gavit Memorial Organ

Plaque for Gavit Memorial Organ

This was not the end of the Brady family’s generosity. After Marcia Ann Myers Brady’s death in 1921, her children, son-in-law (E. Palmer Gavit) and granddaughter (Marcia Ann Gavit) established a $60,000 trust in her name, with “the income to be used as the result of an expressed wish of Mrs. Brady to perpetuate the gifts she was accustomed to make during her lifetime for the support of the Parish.”

The Flora Myers Brady Gavit Memorial Organ Endowment Fund  continued to fund repairs and enhancements the Flora Myers Brady Gavit organ over the next fifty years. The 1915 instrument was first rebuilt in 1940 by Ernest M. Skinner & Son of Methuen MA, with guidance from our organist and choirmaster, T. Frederik H. Candlyn. The official opening of the “rebuilt and enlarged Flora Myers Brady Gavit Memorial Organ” was held on September 15, 1940. The enhancements included a new console with “modern electrical mechanism,” new stops (4 on the great, 5 on the swell, 4 on the choir and 5 on the pedal) and a new organ loft. “Many readjustments have likewise been made in the older organ to improve its speaking quality and tone.”[vii]

Program, Reopening of Rebuilt and Enlarge Gavit Organ 1940

Program, Reopening of Rebuilt and Enlarge Gavit Organ 1940

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

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

The organ was again rebuilt “with tonal changes” by the M.P. Möller company in 1952. At that time, the organ was described as having 3 manuals, 4 divisions. 46 stops, 35 registers, 38 ranks and 2,521 pipes.[viii]

Only a dozen years later, New York State took the Lancaster Street building as part of the 98 acres needed to build the South Mall, now known as the Empire State Plaza. Any items not removed by the congregation before they left the building became State property The people of St. Paul’s had to make some difficult decisions about what could be taken and used in their new building, and the organ was one of those items left behind.

By early 1964, the vestry decided to purchase an organ by Casavant Frères for the new church on Hackett Boulevard, and to allow the State to sell the 1915 organ. Clarence Hollister (St. Paul’s organist and choirmaster from 1955 until 1967) estimated the old organ’s value at $60,000, but said that St. Paul’s had received an estimate of $32,000 to recondition it. Hollister’s opinion was that “I can’t see putting $32,000 into an old organ, which I’m not particularly fond of anyway.”[ix] One wonders how the organ could have deteriorated that much in the twelve years since the 1952 M.P. Möller revisions. It seems more likely that its deficiencies were a matter of changing styles in organ sound rather than actual deterioration.

Clarence Hollister at St. Paul's Organ

Clarence Hollister at St. Paul’s Organ

On June 3, 1964 the State issued a “Prospectus for the sale of organ at St. Paul’s church,” containing specification #CB639 for a “Three manual Hook & Hastings Organ with additions by Ernest M. Skinner.”[x] In July 1964, it was purchased by Christ Church (Episcopal) in Schenectady for the sum of $2,060.[xi]

More than a century after it was founded, the Flora Myers Brady Gavit Memorial Organ Funds continue to pay for maintenance of the Casavant organ. The funds, now known as the Gavit Organ Replacement and Gavit Organ Maintenance Fund, paid for a major repair only a few years ago, when organ pipes were beginning to lean precariously over the tenors and basses in the choir’s back row. We hope that Mrs. Brady would have approved.

Pipework for St. Paul's Casavant Frères Organ

Pipework for St. Paul’s Casavant Frères Organ (photo credit: Amy van den Broek)

[i] “Sermon of the Rev. William Rudder, D.D.,” in The Semi-centennial  Services of St. Paul’s Church, Albany, N.Y. (Albany: The Argus Company, 1877), 37.

[ii] “Sermon of the Rev. William Rudder, D.D.,” 36.

[iii] “Sermon of the Rev. William Rudder, D.D.,” 40-41.

[iv] “Past, Present and Future: a Sermon Preached January 26, 1902 in Commemoration of the Seventy-Fifth Anniversary of the Founding of the Parish of St. Paul’s, Albany, N.Y. by the Rev. William Prall, D.D., Ph.D. Rector” (Albany: Weed-Parsons Printing Co., n.d.), page 17.

[v] “Tablet Unveiled in St. Paul’s, Albany N.Y.,” The Churchman 26 Oct 1907, volume 96, number 16, page 649.

[vi] “Tablet Unveiled in St. Paul’s, Albany N.Y.”.

[vii] “Service of Dedication: Flory Myers Brady Gavit Memorial Organ in in Saint Paul’s Church, Albany, New York” Archives of St. Paul’s Church.

[viii] OHS Database retrieved 31 Oct 2016.

[ix] Albany Times-Union 21 Jun 1964.

[x] Office of General Services, Office of South Mall, South Mall Project Site Acquisition and Clearance Files. New York State Archives, 16209-91, folder “Demolition – St. Paul’s Church.”

[xi] Schenectady Gazette 09 Jul 1964.

George Wm. Warren’s “fanciful and somewhat comic style”

In an earlier post, we mentioned a characterization of George William Warren’s performance on the organ: “Mr. Geo. Wm. Warren organist of St Paul’s Albany next extemporised in his usual fanciful and somewhat comic style.” This assessment was contained in a review of a concert celebrating a new Hook organ at St Paul’s Church in Troy, New York. The letter, signed only “Philomel,” was published on page 102 of the October 28, 1854 issue of  Musical World.

George William Warren

George William Warren

But we have recently found that there is more to this story. Warren responded the same month in a letter  to the Musical World’s editor published in the December 2, 1854  of the journal (page 166).  After describing  the European opera career of former St. Paul’s soloist Henry Squires, Warren reacted with good humor to Philomel’s characterization, and suggested why the reviewer might have found his performance comical:

One thing more and I am done. Your correspondent “Philomel” writes from Troy about the Organ exhibition at St Paul’s, and dubs me a Comic Organist; and as it is not so desirable to have that reputation, as some other, will you allow me to justify myself in the Musical World. When I played that evening it was a prima volta and in a certain passage when I used the CC pedal expecting that I had drawn the register “pedals and choir” lo! it was “pedals and great” and nothing out but “trumpet” which of course snarled astonishingly; as I was in for it, I proceeded up the scale and finally got out of the scrape. I explained this to Mr. Philomel who was in the Organ loft; but it is a very good joke and if he has said it, of course I am a Comic Organist and if Christy will get an organ to use at his concerts, maybe he will give me an engagement. Again I would say to you, how much I am charmed with your paper and I wish it was a dally instead of a weekly: and if I can be of use to it in any way command.

As Warren prepared to show off his footwork, he pulled the wrong coupler, and instead of bringing a pleasant mixture of sounds to the instrument’s pedals, he brought only a blaring trumpet. When he played the lowest note on the pedal board, the audience heard a loud, nasty blast. By moving up the pedals, the ugly effect was reduced, and Warren was able to continue. This, then, was Warren’s guess as to what Philomel found fanciful and comic.

The “Christy” from whom Warren jokingly suggests he might receive an engagement, was Edwin Pearce Christy, entertainer and producer, whose minstrels shows included an early version of vaudeville.

But this jovial conversation was not over!  In the December 23, 1854 issue of Musical World (page 206), Philomel replied to Warren’s explanation of his error in registration, and expresses affectionate regard for the young organist’s energetic style and character:

I regret that any remark of mine should cause even that degree of uneasiness in Mr. George Wm. Warren’s mind sufficient to call for a “comical” letter. Mr. Warren is, incontestably, a wit; and I do not desire, either by accident or design, to incur the consequences of his ridicule. Lest, however, he should deem the last observation more “comical” than true, I beg to state, that my remark “Mr. Warren extemporised in his usual fanciful and somewhat comic style” referred not to the mistake in the pedal playing, for this is common enough, and I did not notice it; but simply to his off-hand, dashing, sprightly, operatic, and in view of his unmistakably volatile temperament, occasionally comic style. Indeed a man cannot break away from the general current of his thoughts, and Mr. Warren’s musical expressions are the natural outbursts of a heart, (to all outward appearance at least) free from care, and overflowing in its excess of joy.


George Wm. Warren at Albany’s Second Presbyterian Church

In previous posts, we have outlined George William Warren’s engagements as St. Paul’s organist and choirmaster, showing from contemporary sources that he was at St. Paul’s from late 1848 until August 1, 1860, the “nearly thirteen years” at St. Paul’s that he mentions in his letter of resignation[i].

During this period, we know that Warren left St. Paul’s during late 1856 and some part of 1857 when he was organist and choirmaster at Albany’s Second Presbyterian Church. Until recently, however, it has not been possible to say exactly how long he was there. Our only source of this information that he had gone to Second Presbyterian was a November 1856 article in a Boston music journal,[ii] which does not tell us exactly when he left St. Paul’s, or when he returned.

Second Presbyterian Church (source: Albany Group archive)

Second Presbyterian Church (source: Albany Group archive)

The chronology is now provided by a May 1857 article in the Albany Morning Express which announces Warren’s departure from Second Presbyterian: “St. Paul’s Church has finally effected another engagement with George William Warren, who, until last October had been their organist for eight years.”[iii] This would mean that Warren left St. Paul’s in October 1856 and returned (as we know from his letter of resignation[iv]) effective August 1, 1857.

This period of a bit less than one year at Second Presbyterian is confirmed by an August 26, 1857 article about the gift of a silver goblet to “Mr. George William Warren, on retiring from the Second Presbyterian Church as organist, to resume his previous position at St. Paul’s.”[v] The article transcribes a letter, dated August 26, 1857, from the choir of Second Presbyterian to Warren, in which they thank him for his “instruction and direction as leader of the music in Second Presbyterian Church for one year.”[vi]

This allows us to construct a chronology of Warren’s activities during 1856 and 1857. In an April 1856 advertisement Warren identifies himself as “Organist and Musical Director at St. Paul’s Church (eight years)”.[vii] But sometime during the summer of 1856, Warren decided to leave St. Paul’s.

John Tweddle

John Tweddle

In September, according to St. Paul’s vestry minutes, “George W. Warren account for services as Organist & amounting to $698.77 was present and referred to Messrs. [Edward E.] Kendrick [, John] Tweddle & [Benjamin C.] Raymond with power & authority to adjust the same.”[viii] Almost $700 was a great deal of money in 1856, perhaps very close to a full year’s salary. Had Warren not been paid for some time? It seems likely, but we have no evidence.

Whatever the cause, Warren left St. Paul’s during the month of October 1856, and settled into his new job at the church often called “Mr. Sprague’s Church,” in reference to its eminent minister, William Buell Sprague. We first hear of him in his role at the exhibition of a new organ at First Congregational Church in Albany.

Front, 1856 Organ Exhibition Program (Albany Public Library Pruyn Collection)

Front, 1856 Organ Exhibition Program (Albany Public Library Pruyn Collection)

Reverse, 1856 Organ Exhibition Program (Albany Public Library Pruyn Collection)

Reverse, 1856 Organ Exhibition Program (Albany Public Library Pruyn Collection)

The program for a December 12, 1856 Organ Exhibition, celebrating the installation of a new William A. Johnson organ at First Congregational lists among the organists who played that day George William Warren, “organist of the Second Presbyterian Church.” Warren performed twice, first demonstrating the new instrument’s use in religious music, and then playing a set of extemporaneous improvisations titled “Extempore Fantasie, a la Orchestra.” We assume this was similar to the “Prelude in Organ Style concluding with an extempore Fantasio a l’Orchestre” that he performed in June the previous year at the exhibition of a new organ at Troy’s Park Presbyterian Church.[ix] We can hope that the audience that day was entertained by Warren. An 1854 review says that he “extemporised in his usual fanciful and somewhat comic style” at the exhibition of the new organ at St. Paul’s Church, Troy, New York in October of that year.[x]

First Congregational Church and its minister, Ray Palmer (Albany Public Library Pruyn Collection)

First Congregational Church and its minister, Ray Palmer (Albany Public Library Pruyn Collection)

A major change for Warren at Second Presbyterian was the type of choir. At St. Paul’s, Warren had conducted and composed for a quartet choir, four professional soloists, many of whom (including Lucy Eastcott, Henry Squires and Isabella Hinckley) went on to operatic careers. Second Presbyterian, on the other hand, had a chorus choir, a larger group primarily composed of amateurs.

During his year at Second Presbyterian, Warren continued his relationship with St. Paul’s and its choir. In January 1857, his Second Annual Concert for the Poor included Isabella Hinckley and Master Willie [William James] Gourlay, St. Paul’s former soprano and treble soloists[xi]. And the next month, Warren, “assisted by the choir-boys of St. Paul’s,” provided music for service at Grace Church to test improvements to its organ by an anonymous donor. This Festival Service also included St. Paul’s “Old Choir” (probably members of the former quartet choir) consisting of Miss [Isabella] Hinckley, Miss [Elizabeth M.] Atwood and Mr. [Stephen W.] Whitney.[xii]

George William Warren

George William Warren

We have only a few clues as to why Warren chose to return to St. Paul’s. He was a member of the congregation, and Mary Eliza Pease, whom he would marry at St. Paul’s in September 1858, was also a communicant. But as the Albany Morning Express suggested in May[xiii], St. Paul’s vestry must have made him an offer impossible to refuse.

The Albany Morning Express article mentions two elements in that offer: “The organ is to be entirely rebuilt at a cost of $1,200. The choir seats will be arranged for a “chorus,” and every plan of Mr. Warren’s which can advance true music will be fully carried out.”[xiv] The second factor is most interesting: Warren was planning to replace St. Paul’s quartet choir with a chorus like Second Presbyterian’s. In a letter to Second Presbyterian’s choir, responding to their letter of thanks to him, Warren explains what he learned there:

Your hearty wishes for my future success takes away much of the sadness in parting from you as organist. Still I shall never forget the enjoyment of last year’s choir practice, which, thanks to your kind attention , was to me a period of great profit and pleasure; for it was my first experience in chorus choir training, and the good success that has marked our united efforts, will always convince me of the vast superiority of chorus and congregational effects in church service to the “quartette” arrangement now so popular in many churches. (Still, a change in the right direction is surely taking place, and this awakening interest for true church music is one of the good signs of the times.)[xv]

It is important to remember that, although George William Warren had been a church musician for thirteen years, he had very little formal training, and was not yet thirty years old. Clearly, the year’s experience at Second Presbyterian was an important step in his education.

By the spring of 1857, St. Paul’s terminated its contract with Albert H. Wood and the quartet choir effective 20 Apr 1857[xvi], and a month later George William Warren again offered his services to St. Paul’s[xvii]. But even before Warren resumed his duties at St. Paul’s on August 1, 1857[xviii], he made it clear what he learned at Dr. Sprague’s Church. In the classified section of the Albany Evening Journal for June 15, 1857, Warren advertised for “Ladies and Gentlemen with fine voices and fair musical abilities.” Clearly, “St. Paul’s New Choir” was to a be chorus choir.

Albany Evening Journal 15 Jun 1857

Albany Evening Journal 15 Jun 1857

The following year, we have evidence from St. Paul’s vestry minutes that rebuilding the organ and moving the choir chairs were not the only expenses necessary to bring George Wm. Warren back to St. Paul’s.

Edward E. Kendrick

Edward E. Kendrick

In May 1858, church treasurer Edward E. Kendrick reported a $680 shortfall in the church budget, consisting in large part of expenses related to Warren and choir, including “fitting up and arranging the organ loft and north room with carpets, gas, painting, gilding and decorating for the convenience of the musical director and the choir, and the salary of the organist increased from $850 to $1100.”[xix]

[i] Warren’s letter of 24 Apr 1860 is transcribed in the St. Paul’s vestry minutes of 4 May 1860

[ii] Dwight’s Journal of Music 15 Nov 1856, page 53.

[iii] Albany Morning Express 30 May 1857.

[iv] Warren’s letter of 24 Apr 1860 is transcribed in the St. Paul’s vestry minutes of 4 May 1860

[v] “Musical Compliment,” Albany Evening Journal, 7 Sep 1857.

[vi] “Musical Compliment”.

[vii] Albany Evening Journal 7 Apr 1856, page 53

[viii] St. Paul’s vestry minutes for 6 September 1856

[ix] Troy Daily Whig 14 Jun 1855.

[x] Musical World, 28 Oct 1854, page 102.

[xi] Albany Evening Journal 22 Jan 1857.

[xii] Albany Evening Journal, 21 Feb 1857

[xiii] Albany Morning Express 30 May 1857.

[xiv] Albany Morning Express 30 May 1857

[xv] “Musical Compliment”.

[xvi] St. Paul’s vestry minutes. 17 Apr 1857.

[xvii] St. Paul’s vestry minutes. 26 May 1857.

[xviii] Warren’s letter of 24 Apr 1860 is transcribed in the St. Paul’s vestry minutes of 4 May 1860

[xix] St. Paul’s vestry minutes. 22 May 1858.

“Lest We Forget”

On June 8, 1947, St. Paul’s rector, George A. Taylor, dedicated a set of electronic chimes given by the congregation in honor of those from the parish who had died in military service during World War II.

Memorial plaque for World War II Dead

Memorial plaque for World War II Dead

The chimes, paid for by a special subscription from the congregation, had first been heard on Christmas Eve the previous year, when the organist, Raymond S. Halse, played carols before the service.

At the June dedication service, St. Paul’s choir sang Reginald De Koven’s setting of Kipling’s “Recessional.” Father Taylor took the title of his sermon from the the poem’s stirring line, repeated at the end of each of the first three stanzas: “Lest we forget!”

New York Times 6 Mar 1945

New York Times 6 Mar 1945

Among those listed is Donald Shore Candlyn, who was born in Albany in 1925 and graduated cum laude from the Albany Academy in 1943. He died 26 Dec 1944 in Luxembourg, during the Battle of the Bulge. The monument shown below is in the Memorial Grove in Van Cortlandt Park, the Bronx.

Donald Shore Candlyn memorial, Van Cortlandt Park, the Bronx

Donald Shore Candlyn memorial, Van Cortlandt Park, the Bronx

Candlyn’s parents. T. Frederick H. Candlyn and Dorothy Ridgway Candlyn, had moved to New York City in 1943 when his father, who had been the organist and choirmaster of St. Paul’s Church from 1915 until 1943, was named to the same position at St. Thomas Church, Manhattan.

As related in a November 12, 1945 New York Times article, “Sgt. Donald S. Candlyn was killed by a sniper’s bullet on Dec. 26, 1944 while on a mission above and beyond the call of duty. With the Germans on the offensive at the time, American communications had broken down and Sergeant Candlyn, in the face of heavy fire, had volunteered as a foot runner to obtain orders.” Candlyn was posthumously awarded the Silver Star and Purple Heart.

In a will signed just before leaving for war, Donald Candlyn made several bequests. We know that one provision was for his father’s new church: in April 1948 a  new principal four-foot stop on the St. Thomas organ was dedicated in his memory. But the 19-year-old also left a bequest to St. Paul’s Church. In our chapel is a window that was a gift of Donald Shore Candlyn.

Donald Shore Candlyn window, St. Paul's Chapel

Donald Shore Candlyn window, St. Paul’s Chapel

Detail, Donald Shore Candlyn window, St. Paul's Chapel

Detail, Donald Shore Candlyn window, St. Paul’s Chapel

George William Warren at St. Paul’s — Part 3, 1857-1860

George William Warren

George William Warren

As we saw in an earlier post, George William Warren resigned as St. Paul’s organist and choirmaster sometime in the fall of 1856. At that point, he had been at St. Paul’s since 1848, other than (perhaps) ten months in 1852 — 1853 when he had been in business with Richard H. Pease at the Temple of Fancy. During the fall and winter of 1856 – 1857, Warren probably served as organist at the Second Presbyterian church, but the only evidence we have for that is the article cited in the previous post.

Albany Evening Journal 20 Jan 1857

Albany Evening Journal 20 Jan 1857

He was certainly busy that winter with the second Concert for the Poor, which again featured Isabella Hinckley and William Gourlay of St. Paul’s. That spring, Warren organized a farewell concert for Isabella Hinckley, raising funds so that she could  begin her operatic career in Europe. For information on Isabella’s brilliant career and her untimely death, see Don Rittner’s post. Isabella Hinckley’s funeral was conducted by our rector, William Rudder, at St. Paul’s , in whose choir “her extraordinary musical talent first attracted attention”.

Warren’s position at Second Presbyterian may not have lasted long. Already in February of 1857, Warren was performing with St. Paul’s boy choir in a service at Grace Church. By the spring of 1857, St. Paul’s terminated its contract with Albert H. Wood and the quartet choir, and a month later George William Warren again offered his services to St. Paul’s. Warren resumed his duties at St. Paul’s on August 1, 1857.

Even before his term officially began, Warren advertised to fill vacancies in the St. Paul’s choir.

Albany Evening Journal 15 Jun 1857

Albany Evening Journal 15 Jun 1857

Advertisements for boy choir vacancies also start at this time and continue for the next few years, including this from January 1858 “None need apply except those with good voices, gentlemanly manners and under 13 years of age.” Could this have been a reference to the horseplay mentioned by Charles M. Nickerson, who sang with the boy choir in this period?

Worshippers afflicted with nerves are sometimes heard to complain of the restlessness of the boys in the chancel, especially during the sermon, but choirmasters nowadays certainly maintain a stricter discipline than their predecessors of the time of which I write thought necessary. When the sermon began, it was our wont to draw the curtain that hung over the front of the organ gallery and then slip out one by one through the door behind the organ into the Sunday School room, there to regale ourselves on candy and peanuts and enjoy general conversation until a signal from the choirmaster called us back for the offertory hymn. This was in the old Saint Paul’s, the one time theatre on South Pearl St. The Sunday School room in the rear of the organ loft had no doubt served as the lobby or bar of the theatre. Strange, as it may seem, our way of passing the time during the sermon was winked at alike by rector and choirmaster as long as we kept reasonably still. But it being a physical impossibility for a dozen boys to be in a room by themselves for half an hour and not become exhuberantly (sic) active, the inevitable happened. When the noise we made penetrated to the Church and even to the pulpit, the decree went forth that we must remain in our seats during the sermon, which we thought rather hard lines.

Bishop Horatio Potter

Bishop Horatio Potter

When Bishop Horatio Potter made his annual visit to St. Paul’s in May 1858, the choir sang the canticles Cantata Domino and Deus Misereatur from a service setting from St. Paul’s Cathedral in London. “The first of these, as rendered by the choir, with the organ accompaniment of Mr. Warren, exceeds anything in church service we have ever heard.” The reporter was equally impressed that nine of the choir were confirmed by Bishop Potter that day.

We do not know the conditions under which Warren returned to St. Paul’s, but it seems that he had been granted a raise in salary and improvements in the organ and in choir facilities. Four months after his return, the church organ, a three-manual instrument built in 1840 by Thomas Robjohn in a contract with Firth & Hall, was rebuilt by the firm of William A. Johnson. And in May 1858 the church treasurer, E.E. Kendrick, announced a $680 budget shortfall consisting in large part of expenses related to Warren and the choir, including: “fitting up and arranging the organ loft and north room with carpets, gas, painting, gilding and decorating for the convenience of the musical director and the choir, and the salary of the organist increased from $850 to $1100.”

Warren’s personal life also saw a major transition at this time. On September 16, 1858 he was married to Mary Eliza Pease at St. Paul’s. Mary Eliza was also a member of the congregation, and the daughter of Warren’s former business partner, Richard H. Pease.

That same month, a reviewer gave a mixed assessment of Warren’s work at St. Paul’s:

He has one of the best organs in the city, which he handles with much skill in the lighter style of music, which no doubt gives delight to admiring friends, but your correspondent would like to see it changed to a style more adapted to the church and to the organ. The choir, comprising several good voices, sing the musical compositions of Mr. Warren very well, but it would be to the advantage of all concerned, if more prominence were given to other church compositions of established merit. Miss C[arrie] Ross, the leading soprano, is quite a treasure to the choir…

Miss Ross was later to marry James Mason Sayles, composer of “Star of the Evening.”

As we have seen, Warren submitted his resignation to St. Paul’s vestry in April 1860, “to take effect the first of August ensuing, which time terminates the third year of my present engagement with you.” We can now see that the “nearly thirteen years … devoted to the musical interests of St. Paul’s” consisted of the period from 1848 until 1860, broken briefly only during parts of 1852-1853 and again in 1856-1857. The young man’s concern for the good opinion of St. Paul’s vestry is evident in his statement “It has always been my willing duty to try to please you; if I have not always succeeded, the cause has been something else than lack of desire on my part.” Warren was only thirty-years old, and had played at St. Paul’s since he was barely out of his teens. The vestry responded affectionately with three resolutions:

The following resolutions in answer thereto were unanimously adopted and a copy ordered transmitted to Mr. Warren.

Resolved, that we have heard with regret the communication of Mr. Geo. Wm. Warren announcing his determination to leave this City and resign his position as Organist and Musical Director of this Church, a determination which leaves a void in the musical portion of the service of our Church and inflicts a loss on those who appreciate and enjoy excellence in church music.

Resolved, that in view of the long connection of Mr. Warren with the Choir of St. Paul’s extending over a period of thirteen years, we cannot allow the occasion of separation to pass without expressing the satisfaction which his services have given during the whole of that period.

Resolved, that we tender to Mr. Warren our best wishes for his prosperity and his success in his new home and that we warmly commend him as a Gentleman whose moral character, professional ability and industry entitle him to abundant reward.