USA > Ohio > Lorain County > Lorain > History of the First Methodist Church, 1856-1956 > Part 9
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A mixed quartet composed of Mrs. Bowen, Capt. and Mrs. Wilford and Capt. Cowley, used to be a favorite on all sorts of programs. Cowley in his younger days had a clear, ringing bass, and his favor- ite solo was "Rocked in the Cradle of the Deep," where the concluding notes permitted his voice to descend with a satisfying clarity and power.
The pipe organ built in the new church on Reid Ave. cost $1,450 (Felgemaker, Erie, Pa., manufac- turer) and the congregation was very proud of it. The music-loving widow of Ebeneezer Gregg is known to have made the largest contribution, a gift of $50.00. Unfortunately the organ was not com-
pleted in time for the dedication, and Miss Jennie Smith, then the organist, had to play the dedication services on the old reed organ with the boy's head going up and down as usual. However, as Anna Vorwerk later wrote, "The people were used to the old reed organ and didn't mind." The new pipe organ was a two manuel affair with pull stops on the sides and a full complement of pedals. It was operated by a water motor, which was changed to electric sometime preceding the first World War.
In the new brick church on Reid Ave., the choir took another step heaven-ward, occupying the center of attention directly behind the minister where their conduct theoretically had to be exemplary, and where they didn't miss a thing that went on in the congre- gation. There is an odd notice in the Herald of that day that a "new choir was elected." Just how they were "elected" and who elected them is uncertain, but one thing is sure. Time had passed, and time takes its toll of even the best voices. The accent in that notice was on youth.
Miss Jennie Smith did not remain organist very long for she married and moved away, but she had to continue until Cora Wilford Bartenfeld, who had been playing for the Sunday School and taking organ lessons in Elyria, was "ready" about 1894, two years after she finished high school, and she played the organ off and on for over 15 years.
Of all the earlier organists, Edward K. Lane, the husband of Mrs. Bowen's eldest daughter, Georgiana Reid, was probably the best trained. He learned his organ in the east and was a first-rate organist, but tragically lost his hearing very early, a blow he bore bravely and with fortitude. He was Mrs. Gregg's first organ teacher. The most promising of the young organists was Horace Whitehouse but we did not keep him long for the Congregationalists lured him away by offering 50 cents a Sunday more. They did not keep the ambitious youth long either for he went away to study and ultimately became the head of the organ department in Northwestern University.
When Celia Bowen Gregg, having been duly "broken in" playing for the Sunday School was "ready" at about 19, she took over the position of organist shortly after her graduation from high school, and for years Mrs. Bartenfeld and Mrs. Gregg, the best of friends, alternated periods of organ playing amicably between them. Both women had short legs and had trouble reaching the pedals, so the janitor obligingly sawed off the legs of the organ bench for them saying, "Nobody but Mrs. Gregg and Mrs. Bartenfeld play the organ anyway." Everything was fine until Horace Whitehouse, tall and long-legged, came home for a visit and was asked to play. He couldn't understand why the organ bench was so unusually low, and nobody bothered to tell him.
The circumstances surrounding the organization of the Congregational Church made some rivalry be- tween the two inevitable. Most of this has been happily forgotten, but the rivalry reached its most intense and probably its merriest point in the choir loft, and that phase of it should not be lost to mem-
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ory. It found voice in the oft repeated words of Thad Barrows, one of our tenors back in the '90's "You take our choir and the Congregational choir," Thad used to exclaim, "and give them an equal num- ber of rehearsals and then have a contest and we'd sing 'em blind!" Thad's contest never took place, but the two churches busily outbid each other for the services of almost every professional musician in town, with particular emphasis on school music super- visors who were seizcd on for choir directors.
For a time the choir directors sounded like count- ing off sides for a game. There was D. W. Kern (we got him), Griffith J. Jones (they got him), Ralph Wright (we got him), Tom Caskey (we got him), Wilbur Tipton (we got him first, then they lured him away), and Norman Park (they got him and we lured him away). During the intervals when the Congregationalist had the school music people we had Jack Wirkler, the conductor of the Men's Glee Club from Oberlin College, and Leslie Emary, whom we lured from the Baptists. The choir reached the acme of physical height under Mr. Tipton when we moved into the present church.
In contrast to the choir directors, most of our organists and singers have been home-grown, so to speak, but not all. Dorothy Wirc and Catherine Fauver both played the organ while they were stu- dents in Oberlin Conservatory, but for the most part the succession has run Mrs. Bartenfeld to Mrs. Gregg to Mrs. McCaskey. In 1926, in common with many Protestant churches the country over, the Offi- cial Board broke the sequence by ruling that our church young people could not use the organ for
practice. The ruling was later rescinded, but not until the damage was done, for nothing short of plowing them under was quite so guaranteed to pro- duce a scarcity of organists. Families could not buy pipe organs for their young folks to practice on at home, nor could all of them afford conservatory training, and at least one of our church young people used the organ at the Polish Catholic church for practice.
The professional jealousies and rivalries of musi- cians have always mystified non-musicians who are inclined to lay it to "temperament." At one time the bickering in the choir loft grew so great that some people in the congregation began calling the choir the "War Department." Yet there have been periods of very excellent work. Following the choir of the '80's and '90's, there was a period early in the 20th century when the combined city church choirs were producing great oratorios in the Musical Union. Another period of fine musicianship was when Nor- man Park had the choir singing in Christiansen style. Memory brings back the sound of many beautiful voices echoing from the past. There are those who remember the rolling baritone of Ray Eyman whom we lured from the United Bretheren, the fine bass of Richard Davis (a Whitehouse), the rich contralto of Ruby Ayres Anthony, and the pure, flawless tones of Fannie Mae Bartenfeld (a Gillmore) singing "Come Unto Him." The music that has poured forth from our church has gone on to enrich the whole community, and beyond. Our musicians have indecd given us much.
Church Music
"METHODISM WAS BORN in song."
We presume that when the good gentlemen evan- gelists came to Black River or Charleston to interest the villagers in Methodism that some effective singing as well as preaching, was done. To arouse the trans- planted New Englanders and others who came from the staid traditions of the Presbyterian and Congre- gational churches, required enthusiastic singing.
One brother reported that the revival meetings were held "in the schoolhouse, 20 or 30 rods away" from the old wooden church building, 20 or 30 rods which way was not told. We presume, again, that a school- house of those days contained no musical instrument, therefore unaccompanied singing was the rule.
Robert Mccutcheon in "A Singing Church" writes, "Hymns . .. provided necessary emotional outlet of the people through voicing those intimate devotional thoughts which so many have, and so few the capacity to express." Sophistication and self-consciousness are the bane of congregational singing, in the Lorain Methodist Church as elsewhere. The singing of hymns is the part of worship where we can express our praise and faith, if we will.
It is reasonable to expect that when the Methodists of early Lorain accepted the use of the old wooden church building formerly used by the Presbyterians, that they might have inherited a possible reed organ. However, if there was no organ the service went on.
As for its being a spur to singing it really wasn't necessary, as there was always a good sister or brother whose spirit just bubbled over and they would burst forth with "Oh, for a Thousand Tongues to Sing" or "Jesus, Lover of My Soul" or "Rock of Ages, Cleft for Me."
If there was an organ, the service did take on a little more form, a prelude and another number at the time of the offering. That first organist with that first reed organ had to keep many things on his mind beside the notes. He could not forget to pump the two pedals with his feet (very ankle-reducing) to keep the wind in the bellows, or "knee" the swell-boards for a bit of variety in volume, or pull out the "tremolo" stop for a heart warmer. If he was overcome by his own dexterity or lack of it, the effect was not good.
When the style in organs changed and a pumper was put to work, the dividing of effort made for a continuity of tone, etc.
Besides the organists mentioned in article one, it was learned that Miss Mary Moore, from one of the East Shore families, also served until her marriage to W. A. Jewett and subsequent moving from Lorain. The Jewett family later returned and were valued members of the church. Other members of the Moore family were Mrs. Elmina Gawn, Mrs. Amelia Faragher, Capt. Truman Moore and Mr. Leonard Moore, Sr.
The piano stage of church music sufficed, I expect,
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but somehow the rcal pipe organ in the Bank St. edi- fice seemed to proclaim that we were again progressing.
Mr. Edward Smith (Ted), father of our first pipe organist, was a very great asset to the music in both the old brick and the new brick churches. He must have been a man of foresight too, for in preparation for Miss Jennie's taking over the work of organist, he had a set of regular organ pedals made for use at the family piano for practice purposes. That, plus in- struction from one of Cleveland's finest organists, James H. Rogers, fitted Miss Smith for the new work.
Mr. Smith was one of the early choir directors. He came to Lorain from West Bromwich, England, in 1881. He possessed a splendid tenor voice, the key to Heaven, they say (and not many keys issued), and was acquainted with the best in musical literature. He also played the flute. At one time he organized and directed a family orchestra, his five children plus numerous nieces and nephews. They acted as our Sunday School orchestra also. A daughter, Miss Flor- ence Smith, is still a member of our church, now active in Circle work. Two grand-daughters (children of Dr. E. F. Smith, deceased) and three great grand children of Mr. and Mrs. Edward Smith, are also with us, and the musical interest goes on. That work, Sun- day School orchestra, was later taken over by Mr. Charles Bartenfeld. Sunday School orchestras really rehearsed and played orchestral numbers as well as leading out in the hymns. The days before radio came along were something to remember in a musical way. A real "do-it-yourself" accomplishment, was the order of the day.
How we like to see a choir loft full of singers, but now we sort of have to "beg" people to help sing. In 1892, at the time the new brick church was dedicated, we find the town newspaper telling that our choir was "elected." Fancy that! Someone asked who did the electing. Have you forgotten the dear pcople who served on the Music Committees through the years? They wore out many pairs of gloves handling difficult situations.
Here are the "elected," five on each part. A well- balanced choir: Sopranos- Mrs. W. W. Whitehouse, Mrs. Edward Smith, Miss Clara Norton, Miss Daisy Noxon, Miss Mamie Fix; Altos- Miss Rosa Coulter, Miss Jennie Griffith, Miss Louie Vernam, Miss Cora Wilford, Mrs. C. H. Wilkens; Tenors-Mr. Edward Smith, Mr. Hal E. Davidson, Dr. C. W. Purcell, Mr. C. F. Bartenfeld, Mr. E. Richards; Bass-Mr W. W. Whitehouse, Mr. M. N. Eldred, Mr. F. D. Ward, Mr. George M. Pfeiffer, Mr. Thomas Richards.
These folks wore high, high collars and tight oncs at that. (They were bound to sing, as it were.) Who knows, perhaps that led to some of the odd facial expressions exhibited while singing. Today, ... you take it from there.
The style of church music has changed along with the changing times. New themes, old themes with a new angle, new emphasis on action and service are all noted in our hymn books and anthems.
Our Sunday School songs were so very different than the majestic church hymns. The catchy sway- ing rhythm appealed to many people. The sentiment of the words was sometimes pretty earthy. Perhaps you recall Mr. Lee Vickers of not so long ago, whose joy was in leading the Gospel hymns. He sang and
smiled his religion all the way. "The Old Rugged Cross" was his favorite.
To bring the attention of our congregation to the music and musicians, one of our choir directors wrote a column, "The Choir Loft", which appeared in the Messenger each week. It dealt with the anthem of the day, something concerning hymn-tunes, words, composers and authors, the soloist and choir person- nel.
The following is an excerpt from the "Choir Loft" of Nov. 4, 1945, "The order of worship reminds us that during the playing of the organ prelude the congregation should be in an attitude of devout meditation. Sometimes our only meditation is on what pew we shall occupy-we're late for church, you see. Come in time some morning to hear the prelude and prepare for the service which follows.
Mrs. McCaskey plays for us three excellent organ selections every Sunday, all for a definite part of our devotion. Her understanding accompaniment for hymns, solos and anthems is exacting work, well done.
The church organist carries the heaviest part of the burden of the music for our service. Part of her compensation could be your attention and appreci- ation. We salute her."
This column, "The Choir Loft", was discontinued when postal regulations curtailed the amount of local church news that could be in the Messenger for the price postage we felt we could pay, to send the Messenger through the mail to our many mem- bers.
Let's go back a few years. Like so many of the subjects written for this history, this story of our church music seems never ending.
The following is a list of former choir directors whose names were not in article one. These people corrected our mistakes, brought the harmony of parts around to a reasonable basis and hoped for the best on Sunday morning when we rose to sing and re- sponded to his baton: Dr. Charles Purcell, Mr. Harry Marshall, Mr. George Carrier, Mr. Edward Kiefer, Mr. Frank Whitehouse, Mrs. Lila Black, Mr. Daniel Harris, Mr. Walter Morey, Mr. Richard Sutch, Mr. Robt. Leckrone, Mr. Lloyd Oppelt, Mrs. Frank Ayres, Mr. J'. D. Lewis, Mr. Alan Hulsman; Junior Choir: Mrs. W. T. Greer, Mrs. Alfred Askew.
In contrast to the elected choir of years ago, there have been many volunteer choirs. At one time when Mr. Samuel Wire was chairman of the Music Com- mittee, it was decided to hire a quartet of selected singers, because the volunteer idea didn't seem to work out. The quartet was paid, each member receiving five dollars a Sunday. We learned that the twenty dollars paid out each week was Mr. Wire's own contribution to harmony of a high caliber. The singing was good but the idea didn't please the congregation for long. Volunteers again were the order of the day.
During 1944 - 1945, an all women's choir was used. Many of our men singers were either in serv- ice or busy in war work. This choir never exceeded sixteen in number but the music they sang was always top quality and beautifully done. As they arranged themselves around the organ and gave strict attention to direction, you were confident that here
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indeed was a praise worthy group. Our ministers are all interested in the music of the church. It seems to be a fine thing when they will take the time to attend choir rehearsal and offer a prayer for the devotion to and success of our service.
"Ho! Everyone that thirsteth!"
"Oh Praise ye God in the Heaven"
"Souls of the Righteous"
"How Lovely are the Messengers"
"Grieve not the Holy Spirit."
As the hymns embrace every phase of Christian life, so it is with the anthems as noted in the above titles of a few of those used in our church.
The anthem is a product of a musicial mind, and skill that manifests itself in a more elaborate and intricate composition than the hymn.
Some of you say, "Just give me a plain, old tune."
The musician rejoices in possessing the art of composing and in having the soul satisfying outlet of singing or playing the more elaborate composition.
Audience, consider your church musicians. Their work is not meant to be entertainment, but a pro- motion of worship. The church musicians' highest hope is to praise God, using their precious personal possession, their God-given talent .- Music.
Edna Whitehouse Ayres
Dodge Chapel
ON JANUARY 30, 1944, at a meeting of the Youth Council, the idea of building a chapel as part of the permanent equipment of the First Meth- odist Church was first projected. In order to start this effort the young people expressed themselves as being willing to pay their own expenses to Camp Craig and Lakeside Institute and devote the money which they would ordinarily use for that purpose to a chapel fund. Arrangements were then made to present the matter before the Official Board for their approval. Miss Marjorie Burke, then president of the Youth Council, was so commissioned.
On February 9, 1944, Miss Burke came before the Board with the plans of the young people. Many words of appreciation were spoken of the action of the young people in their willingness to begin such an effort, but a decision was postponed until the next regular meeting. On March first it was officially voted to accept the suggestion of the young people and when sufficient funds were available and build- ing plans were approved by the Official Board, the chapel should be built.
In the meantime, the thought was born in the heart of Mrs. C. P. Dodge, who, together with her late husband, spent many years of gracious service in this church, to set aside the sum of $2000.00 to be used in building a chapel. On Sept. 28, 1944 this money was formally turned over to Mr. James C. Hageman, Treasurer of the Building Fund, However, due to war conditions, it was impossible to begin building the chapel until the next year.
On Jan. 10, 1945 the plans and prices submitted by the Theodor Kundtz Co. of Cleveland, Ohio were accepted by the Board and adopted. The committee, consisting of C. S. Kelser, Custer Snyder, G. F. Creamer, and the pastor, Charles Frederick Jones, was authorized to proceed.
An opportunity was offered to others to share in furnishing the chapel, resulting in the following gifts which honor or memorialize the faithful services of loved ones. The dorsal frame, above the altar, was given in memory of Rev. James L. and Lillian S. Sanford, by their son and daughters, Frank Sanford, Mrs. W. B. Thompson, and Mrs. H. C. Harris. The chancel rail honors Jerry G. and Margaret A. Green- wood. The altar memorializes Richard R. Fauver and was presented by his mother, Mrs. L. A. Fauver, and his widow, Mrs. Elnora Fauver. The pulpit is given in memory of Lieut Richard Creamer by his parents, Mr. and Mrs. G. F. Creamer.
The two pulpit chairs memorialize Elmer and Alpha Richards and were given by Mr. and Mrs. E. M. Love. The lectern, memorializing Walter Whitehouse and honoring Mary Lees Davis White- house, is the gift of the family, Mr. and Mrs. Frank Whitehouse, Mr. and Mrs. Horace Whitehouse, Mr. and Mrs. Ralph Murbach, and Mr. and Mrs. Frank Ayres. The cross and candlesticks are the gifts of the Youth Council.
Although pews for the chapel are not yet available, one will be set apart to honor Mr. and Mrs. George Greenwood, one has been given in memory of Mr. Harold A. Oliver by his widow, Mrs. Isabelle Oliver, and one in memory of Mr. S. A. Kurtz, given by his widow, Mrs. Nellie E. Kurtz.
The Dedication Service, held on Sunday, Feb. 3, at 2:30 o'clock, was conducted by Bishop Raymond J. Wade, D.D., L.L.D., of the Detroit Area, assisted by Dr. Herbert J. Thompson, District Superintendent of the Norwalk District, and the minister, Rev. Charles Frederick Jones.
Mr. Neal McCaskey, now president of the Youth Council, made the formal presentation of the Chapel to the Bishop.
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Burning of the Mortgage
"CLIMAXING OVER 22 YEARS of working, giving and hoping for the time when its building would be free of debt, members of First Methodist Church are gathering this morning, Sunday, Sept. 19, 1948, to witness the burning of the mortgage on their church.
Taking part in the ceremony are members of the church who witnessed the destruction of the old and the building of the new.
H. E. Hageman and L. G. Goodell were original members of the building committee. C. S. Kelser was secretary of the board of trustees at the time of dedication.
Mrs. C. L. Tope was president of the Ladies' Aid
Society and Frank Ayres is the chairman of the "Burn the Mortgage" committee.
Rev. Charles B. Hess started the long road toward reducing the debt of more than $300,000.
When Rev. Charles F. Jones came to Lorain six years ago he faced a balance of $38,000. Rev. Jones reports that the women of the church have played a major part in reducing the mortgage by sponsoring dinners which brought in about $60,000."
From "Lorain Sunday News."
That was a long pull. The kitchen gadgets will wonder what has become of the working sisters who sang (?) at the steam table.
The Chimes and Amplification System
"The Messenger"-December, 1947
MRS. C. P. DODGE who has already honored this church with her gifts, presents to the First Methodist Church, in memory of her husband, a beautiful set of Deagan Cathedral Chimes and ampli- fication system.
Deagan Cathedral Chimes are the most advanced products of the world's largest maker of chimes, bells and carrilons. They are 21 in number, cast from a special formula bell metal and then drawn to size, finished in light golden-hued bronze, and installed in the organ chamber of our church.
Their scale range permits the playing of most selections in the original key. They operate through a transformer and are furnished with a cable which permits placing the chimes where they are. The organist plays the chimes from the console of the organ.
The amplifier for the chimes is installed in three parts: microphones, cabinet housing and amplifiers, and the outside speakers.
There are two microphones inside the organ cham- ber, one to pick up the chimes alone and the other for the organ and chimes when used together.
There are three units in the cabinet which is located in the left hand alcove behind the choir. On the top shelf is a record player which will play eight
and ten inch records mixed, commonly called a "mixer changer". The record player has a capacity of ten ten inch records or eight twelve inch. When the last record has played the instrument shuts off automatically.
A pre amplifier with three inputs is located direct- ly below the record and the record player. The three inputs are for the two microphones and the record player. The three inputs may be combined in any desired proportion.
The main eighty watt amplifier is located on the bottom of the cabinet.
The main amplifier drives four speakers which are mounted outside on the two chimneys, two speakers to a chimney. The speakers are oriented to give full 360 degree coverage around the church.
The cabinet is provided with a lock and an inside switch so that the equipment can be turned on by authorized persons only. A second switch is located at the organ console.
The Chimes and Ampliflication System will be dedicated at the Christmas Carol and Candle Light Vesper Service (5:00 P. M. Dec. 21) by Dr. Herbert J'. Thompson, District Superintendent of Norwalk District.
Old Church Bell
THE LITTLE BRICK CHURCH on Washington Ave. had a bell for which Mrs. Terza Burton was largely responsible as she was instrumental in raising the funds to pay for it.
It was the custom to hold funerals in the church as there were no funeral homes as now. The church bell tolled the age of the deceased. Often the bell would still be tolling as the body was being lowered into the grave, if the interment was in the old Bank St. (6th St.) Cemetery.
As the bell was tolling out the age of Mrs. Burton it seemed to feel the loss of its sponsor and cracked
from top to bottom and could never be used again. Mrs. Burton's grand daughter is Mrs. Goldie Slater Richards (Mrs. Chas.) who will help us celebrate our Centennial.
The church bell idea seems to have almost gone (1956). One silly reason given was that the people in town who wanted to sleep on Sunday morning were "annoyed" by the bells. The writer and many others, I hope, like the pleasant sound of many bells telling us that the Church is expecting us to come along to worship.
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