Talk:Robert Hope-Jones

message: I have created a page for Robert Hope-Jones, inventor of the theatre organ.  More information and expansion of this article is welcome. Erzahler 21:24, 10 January 2006 (UTC)
thread_title: Untitled

message: I removed the following unsourced and POV section from the article, as well as the commentary that follows it. --Esprqii 00:06, 11 September 2007 (UTC)
thread_title: Comments from article (moved to talk page)

message: http://www.esm.rochester.edu/organ/PDF/Resonance5.pdf
Page 16. : quote :
... wonderfully colorful history of Robert Hope-Jones, himself a very colorful man, and his developments in organ building. Of particular interest to us was the end of his life. In 1914, depressed and frustrated by his new association with the Wurlitzer company, Hope-Jones traveled to Rochester to commit suicide. He planned to gas himself using the gas lamp behind the console at the Universalist church, but arrived only to find the church had switched to electric lighting. Not to be thwarted, Bethards recounted, Hope-Jones rented an apartment nearby and performed the deed there.
Somebody might consider it necessary to check that the photograph of Robert Hope-Jones is not copyrighted.  The appearance of it suggests that it was lifted from the website at http://www.colinpykett.org.uk/hope-jones_at_the_college_of_organists.htm.  This image as it appears on this site was scanned from a copy of a magazine whose publishers had given written permission to use it, and even the random striations thereby included on the image have been reproduced here.  To the best of my knowledge this edition of the magazine appeared several years after 1927.
I add an entire post made to Piporg-L which includes a reference to Hope-Jones' suicide. 
Perhaps the writer (Mr Gluck) knows something about the suicide, 
since he says it was 'meticulously engineered' and 'shockingly gruesome'. 
Doesn't sound like breathing in gas to me. 
{Quotation below:---}
I risk the consternation of the list authorities by quoting a portion 
from one of my own articles regarding Robert Hope-Jones. It appeared in The 
Tracker, in which a couple of segments of my upcoming book on The American 
Synagogue Organ: 1825 to the Present, were printed as "teasers" prior to 
publication. It is my hope that it encapsulates the misunderstandings regarding 
Hope-Jones, and its intent is neither laud nor criticize, but to observe and 
set forth:
INNOVATION OR REGRESSION?
The importance of Robert Hope-Jones (1859–1914) still has not been 
fully realized or understood. The festival of ignorance that surrounds his 
contributions, staged by both his fanatics and his assailants, must draw to a 
close if we are to achieve a balanced appreciation of what he did, which was 
to offer for consideration a radically new vision of what the pipe organ 
could be and do. American organists most associate Hope-Jones with his 
tumultuous relationship with The Rudolph Wurlitzer Company that began in 1910, his 
high-pressure “Unit Orchestras” that provided scores for films until they 
began to speak for themselves in 1926, and his meticulously engineered, 
shockingly gruesome suicide in 1914. He continues to be employed as a scapegoat for 
all missteps of tonal history, without any acknowledgment of the complicity 
of those musicians and institutions who embraced his ideas, paid for his 
instruments, and praised his work in overwrought testimonials.
Notwithstanding these salient features of his career, Hope-Jones’ 
prior work on pipe organs in the British Isles encompassed the straightforward 
rebuilding of conservative church instruments and the electrification of 
pneumatic actions, as well as the type of meddling that at the time was viewed 
as improvement, and today as egocentric destruction. During the last years of 
the 19th century, both his industrial and organ-related inventions became 
more numerous, as his tonal palette thickened and the unit or extension 
concept began its aggressive march into the modern age.
In 1908, Hope-Jones secured his place in the history books with the 
design and construction of his four-manual instruments for The Great 
Auditorium of the Ocean Grove Camp Meeting Association at Ocean Grove, NJ and Saint 
Paul’s Episcopal Cathedral in Buffalo, NY. This pair of showy giants eclipsed 
his 1909 II/10 instrument for Touro Synagogue in New Orleans, LA. His sole 
installation in a Jewish house of worship, it is nonetheless pivotal because 
it is the first synagogue organ designed and built in this style.
The Touro organ’s four ferrocement swell boxes, each dedicated to a 
class of tone, took up residence within a much larger general expression 
enclosure. Touro’s staid specification and the placid resources from which it was 
derived reveal nothing vulgar or outré: Two pairs of undulating strings, 
keen and muted; two flutes, stopped and open; two 16’ reeds, brass and 
woodwind; and two de rigeur “organ voices,” the Diapason and the Vox Humana. 
Although it heralded the theatre organ style in synagogue organbuilding, which 
would continue to weave a consistent but insubstantial thread until 1931, we 
must not miscontextualize it. Except for the 16’ Clarinet, it was a 
non-adventurous design built in an extraordinarily adventurous way, its sensibilities 
responsorial rather than cinematic. 
Sebastian M. Gluck
New York City
— Preceding unsigned comment added by 68.71.8.52 (talk) 17:19, 27 May 2012 (UTC)
thread_title:  How did he commit suicide ? 

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