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Performing Arts Center, Kresge Auditorium
DePauw University, Greencastle, Indiana
Dear Friends,

I am pleased to welcome you to a wonderful year of dedicatory concerts.

With our deepest appreciation to our generous benefactor, Elaine Showalter Smith ’36, DePauw University is
proud to dedicate the J. Stanford Smith Concert Organ, constructed by Hellmuth Wolff & Associés Ltée, which
will enrich our musical programs for years to come. Elaine Smith’s vision for enhancement of DePauw’s musical
facilities has been realized. DePauw has experienced a fine tradition of teaching and artistry in the School of
Music. This new organ will fill Kresge Auditorium in keeping with the lineage of distinguished organists and
thrilling organ recitals that have been a part of our history, especially as pioneered by Van Denman Thompson
and Arthur Carkeek, and continued by our current University organist, Carla Edwards. I am also pleased to offer
the thanks of the entire University community to Dr. Edwards, who shepherded the design and construction
project to its completion.

Robert G. Bottoms
President
April 2003
\ t is a great pleasure to welcome you to the School of Music as we celebrate the
dedication of this magnificent gift. The extraordinary generosity of Elaine
Showalter Smith ’36 and the entire Smith family, supported by additional special
gifts from School of Music Professor Vergene C. Miller, Kathryn A. Miller ’73
and M. Alan Ross ’43, has made possible an instrument that will contribute to the
School of Music and the University for many years to come. I speak for the entire
School of Music in expressing our enormous gratitude to the donors.
Although we have had a strong tradition of organ pedagogy and performance
for many years here at DePauw, the installation of the Wolff organ certainly marks
the beginning of a new era. The J. Stanford Smith Concert Organ will provide
generations of students with opportunities for the study, performance and
enjoyment of a large musical repertoire previously unavailable to us here, and it
will enrich the musical life of the University and the community.
Throughout the coming year, we plan to present the organ in a wide range of
solo and ensemble performances. We hope this inaugural year will bring many
visitors to the DePauw campus to share in our musical celebration.
Thank you for being here today. Please return often.

Amy Lynn Barber

Dean, School of Music

3
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This organ is given to the glory of God,
in loving memory of J. Stanford Smith, by his family.

Stan was born in 1915 in Terre Haute, Ind. He was named John Jacob Smith after his
grandfather. He entered DePauw as a Rector Scholar and graduated magna cum laude in 1936
with a major in economics and a Phi Beta Kappa key. When asked what was his greatest
challenge at DePauw, he replied, “being treasurer of the Phi Gamma Delta house during the
Depression.”
After graduating from DePauw, he joined the General Electric Company, but his
paychecks were not coming to him. Chasing down the problem, he found they were going to
John Jacob Smith, president of American Locomotive. He then decided that enduring 21
years of being John Smith was enough. He offered a steak dinner to whomever among the
five new employees in his office could come up with a new name for him. The employee who
came up with the name J. Stanford Smith got the steak dinner. Stan got a new identity.
After 37 years with General Electric, International Paper Company invited him to become
their chairman and CEO. He accepted, joined International Paper in 1973, and retired in l980.
He still had a great deal of drive and energy. Cornell University Business School asked him to serve as an
executive-in-residence and visiting professor. He had 125 second-year M.B.A. students, all of whom benefited
from his 45 years of business experience. He taught two semesters of Business Ethics for the Eighties. He con-
nected many of his students with their chosen companies.
Stan served on the boards of Chase Manhattan Bank, Eli Lilly and Company, General Motors, and Interna-
tional Paper. He was on the DePauw Board of Trustees and was serving as chairman when he developed pancreatic
cancer and died in 1983.
Throughout his career, he looked to DePauw as a vital and enduring force. He expressed his love for DePauw
through a lifetime of gifts and service. He was a frequent speaker on campus and recruited students from the
Northeast to attend DePauw. He hired a stream of graduates who later became business leaders around the world.
He was awarded the Old Gold Goblet in 1965 and an honorary doctorate in 1968.
Stan felt a debt to DePauw for his own excellent education and for the 43 members of the Smith-Showalter
family who chose DePauw since 1886. Many of them found their life partners on campus, as did Stan and Elaine
Showalter, who married in 1938. Three of Stan and Elaine’s four children came to DePauw. The fourth chose
Dartmouth, but sent two of his children to DePauw.
Elaine graduated from DePauw’s School of Music in 1936 with a major in piano and a minor in organ and
mathematics. Elaine became director of music and organist at churches in Schenectady, N.Y.; New Canaan,
Conn.; and Hendersonville, N.C.
Stan loved music, too, but he couldn’t carry a tune. He always said in his next life he would come back as an
opera singer.
It is his family’s hope that future generations of the DePauw community may benefit from his love and
commitment to the University. May the glorious music from the king of instruments unite us all in support of
DePauw. “Here’s to you, old DePauw!”

Elaine Showalter Smith ’36 Stephen L. Smith (Dartmouth)

Barbara E. Smith ’62 Douglas A. Smith ’68
Carol Smith Witherell ’63

4
From
the
Organ
Builder

T n organ project can take decades to ripen and years to build, once the necessary funds
have been found. Such was the case with this project for Kresge Auditorium. However, the
first time I visited the hall with organ professor Arthur Carkeek in the mid-1970s, there
was not even talk of an organ project for the brand new hall. I only heard about a dream
and had no idea that a few decades later we would be building an organ for DePauw
University. Carla Edwards [University organist] pursued her predecessor’s efforts to bring
the project to fruition.
Like no other musical instrument, the organ has changed enormously over the
centuries. Unlike the organ builders of the past, who did not have a broad historical
perspective, modern builders are privileged to be able to look back and choose one or
several stylistic periods, which they might want to recreate in a new organ. Its outside
appearance has unlimited possibilities, but ideally, the organ case should reflect the
instrument’s musical character. When the environment calls for a different architectural
style, it may become problematic to achieve this integrity. In the case of Kresge Audito-
rium, the architecture seems to say: make a contemporary organ!
The word “contemporary” can mean many things. Contemporary composers write
music in all kinds of style, from pastiches to the most hermetic music, which may attract
only a few listeners. Contemporary organ building is much more linked to the repertoire
to perform on a given organ. It is not obsessed with avant-garde ideas. Besides, even if a
few experimental organs with unusual sounds and weird harmonics have been made in the
last century, modern composers do not demand an organ with unusual organ stops.

5
 It is only in the case design that we may find expression for modernism, but few
builders – at least in North America – are interested in creating organs in a contemporary
style. Rarely can one find really outstanding case designs – even less when architects were
involved. As we have never had to build an organ into a case design that was imposed on
us, I’ll refrain from mentioning any examples of my colleagues’ misfortune.
At Kresge Auditorium we wanted the organ case to harmonize with the room. The hall
has simple lines and a few curves, all of which are reflected in the case and the pipe shades.
The sloping lines of the pipes are intended to make the organ “look” diagonally into the
room. The location on the side of the stage was determined by the fact that there was
sufficient space in the backstage for housing the organ. The visible part of the case is only
a shallow façade, but the framework goes further back into the wall. Thus, the organ is
surrounded completely with woodwork, as if it were built into a freestanding case.
The musical appointments are those of a classic organ with a few romantic additions,
such as the harmonic flute and string stops. Hence it is an eclectic organ with style
elements bound to blend together. It has several trumpets of different “nationalities” and
periods, e.g., a French Baroque and a German Baroque trumpet in the Grand-Orgue and
French Romantic trumpet in the Récit, or a Douçaine, imitating a Renaissance wind
instrument in the Écho.
The organ’s playing action is mechanical with no playing assistance. The detached and
reversed console provides direct visual contact between the organist and the musicians on
the stage as well as with the public. The stop action is electric and has computerized
memory systems to assist the player with the registrations.
The making of this organ reflects our own building experience over the last three and a
half decades, and I am pleased to say that our crew has accomplished a fine and efficient
performance while building this organ. Likewise, we have received the best possible
cooperation from all persons involved at the University. I would like to thank them all,
including, of course, the donors, whom I do not know, but they are the ones who made all
this possible!
Hellmuth Wolff & Associés Ltée

6
Design concept and stoplist: Hellmuth
Wolff, in collaboration with Carla
Edwards
Case design: Hellmuth Wolff, Jacques
L’Italien
Technical drawings: Jacques L’Italien,
Jens-Peter Petersen, Hellmuth Wolff

Pipe shade designs: François Beauchemin

Building and installation crew: Jens-Peter
Petersen, Gérald Gingras, Denis
Roulet, Hugues Lefort, Marguerite
Howells, Claudia Petitclerc
Cabinet makers: Gérald Gingras, Hugues
Lefort, Claudia Petitclerc

Tonal finishing: Hellmuth Wolff

Pre-voicing: André Lacroix, Denis Roulet,
Jean-Loup Boisseau, Hellmuth Wolff
Voicing assistants: Marguerite Howells,
Susanne Giroux, Hugues Lefort

Pipe makers: Jörn Fitzau, Carl Giesecke,

Voix humaine

7
 Specifications for the J. Stanford Smith Concert Organ
Performing Arts Center, Kresge Auditorium
DePauw University, Greencastle, Indiana
GRAND-ORGUE Manual I no. pipes ÉCHO (under expression) Manual III no. pipes
1. Bourdon 16' wood & metal 58 25. Bourdon 8' wood 58
2. Montre I-II 8' tin, facade (2nd rank from ten. e) 101 26. Prestant 4' lead 58
3. Flûte conique 8' wood & metal 58 27. Quintation 4' metal 58

4. Flûte harmonique 8' tin (C-G common with no. 3) 50 28. Doublette 2' metal 58
5. Prestant 4' tin 58 29. Larigot 1 1/3' tin 58
6. Flûte à fuseau 4' metal 58 30. Tierce 1 3/5' metal 58

7. Nazard 2 2/3' metal 58 31. Fourniture IV tin 232

8. Doublette 2' tin 58 32. Douçaine 8' metal 58
9. Quarte de Nazard 2' metal 58
PÉDALE no. pipes
10. Tierce 1 3/5' metal 58
33. Montre 16' tin, in facade from F (C-E acoustic) 30
11. Fourniture IV-V tin (5 1/3' added when no. 1 is drawn) 266
34. Soubasse 16' wood 30
12. Trompette allemande8' tin (German style) 58
35. Montre 8' tin, extended from no. 23 12
13. Trompette française 8' tin (French style) 58
36. Bourdon 8' wood, extended from no. 24 12

RÉCIT (under expression) Manual II no. pipes 37. Prestant 4' metal 30
14. Flûte à cheminée 8' wood & metal 58 38. Fourniture V tin 150
15. Viole de gambe 8' tin 58 39. Trombone 16' wood (full length posaune) 30
16. Voix céleste 8' tin from tenor c 46 40. Trompette allemande8' metal 30

17. Prestant 4' tin 58 41. Clairon 4' metal 30

18. Flûte ouverte 4' metal 58
19. Cornet (2 2/3' - 1 3/5')II metal 116 Manual compass: 58 notes (C – a’’’) Pedal compass: 30 notes (C – f’)

20. Flûte sylvestre 2' metal 58

21. Plein-jeu IV tin 232 Couplers: II > I , I > P , II > P, III > II
22. Basson 16' metal 58 Tremblant doux (ADom Bédos@ tremulant) to all manual divisions

23. Trompette 8' tin (French Romantic style) 58 Anti-secousses

24. Hautbois 8' tin 58 Rossignol

41 speaking stops; 39 voices; 56 ranks; 2848 pipes

Mechanical key action

Electric stop action; multi-level capture combination system with 12 general pistons and four dedicated pistons per division; simple sequencer
for the general pistons; programmable tutti on each level; general cancel; 64 levels of memory installed. Each memory level may be locked.
Generals, couplers, tutti, and sequencer will be controlled with both thumb- and toe-pistons. The Pédale divisionals will be on toe-pistons only.
Temperament: 1/9 syntonic comma; A= 440 Hz

8
 A History
of
Organ Teaching
at
DePauw University

g
he School of Music was established on the campus of DePauw University in 1884,
evolving from a small department begun in 1882 by Professor of Mathematics John P.
D. John. The School of Music was open to three classes of students: candidates for the
Bachelor of Music; candidates for the degree of Bachelor of Literature in the College
of Liberal Arts; and “persons who wish to pursue music to greater or lesser extent.”
Those in the first group were required to have two years of piano study before
entering the school and to continue that study during the freshman year. After that
they could choose piano, organ, violin, voice or any orchestral instrument.
In 1911 Van Denman Thompson joined the School of Music faculty. He worked
with School of Music Dean Robert McCutchan to improve the daily chapel pro-
grams. A student quartet was formed to lead hymn singing until the new Casavant
organ could be installed in Meharry Hall in 1913. Thompson also formed a chapter
of the American Guild of Organists on the DePauw campus in 1925, and he was a
major factor in the growth of the School of Music.
In 1976 the School of Music moved into its new home in the Performing Arts
Center. The new facilities contained the 1,500-seat Kresge Auditorium, 400-seat
Moore Theatre, 200-seat Thompson Recital Hall, classrooms, practice rooms and
seven organs.

9
 Organ study has been an integral part of the School of Music since 1884, and DePauw
graduates have become successful church musicians, organ builders, ministers, university
professors, private music instructors and conductors.
Following are the full-time organ professors who have served DePauw University since
1911. In addition, Maureen Carkeek was part-time instructor of organ from 1951-88, and
Bernice Fee Mozingo was part-time instructor of organ from 1943-48.

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Van Denman Thompson served in the School of Music under six presidents for a
period of 45 years. University organist and a teacher of organ, piano and composition
from 1911, he also directed the School of Music from 1937 until his retirement in 1956.
He was a graduate of the New England Conservatory of Music, earned the degree of
Bachelor of Music from Lincoln-Jefferson University in 1919 and was elected a fellow of
the American Guild of Organists in the same year. DePauw awarded him an honorary
doctorate of music in 1935.
Thompson was a prolific composer of hymns, anthems, cantatas and oratorios, and a
principal contributor to the 1935 edition of the Methodist Hymnal edited by Dean Robert
McCutchan of the School of Music. He was also organist and choir master at Gobin
Memorial United Methodist Church. Thompson was best known for his brilliant organ
recitals and witty chapel entertainments. He retired to his home in Greencastle, Ind.,
where he died in 1969 at the age of 78. Thompson’s portrait, painted by Harold
McDonald, hangs today in the recital hall named for him in the Performing Arts Center
on the DePauw campus. (from DePauw: A Pictorial History)

10
TÜà{âÜ WA VtÜ~xx~
Arthur Carkeek joined the DePauw University faculty in 1950 after receiving a
Bachelor of Music degree from DePauw in 1948 as a student of Van Denman Thompson,
and a sacred music master’s degree from Union Theological Seminary in 1950 as a student
of Hugh Porter. Dedicated to teaching, he produced many outstanding students who
excelled as competition winners, teachers, professors, organ builders, organists, choirmas-
ters, Fulbright and German Academic Exchange Service (DAAD) recipients.
Carkeek has been an active performer, lecturer, panelist and writer. His document on
Rudolph von Beckerath was published in the 1995-1996 American Organist, and an article
on Beckerath will appear in a new organ encyclopedia soon to be published. He made a
recording in 1972 of the Fisk Organs at Harvard, DePauw and West Church. A Great
Lakes Conference Association grant, a Ford Foundation grant and a sabbatical leave to
Europe provided him with the opportunity to study organ building with Beckerath and
keyboard playing with Charles Letestu. He also performed concerts in Europe on historic
instruments.
In demand as an organ consultant, he acted in that capacity at Christ Church Cathedral
in Indianapolis, where a Hellmuth Wolff organ was installed in the Chancel and a Taylor
and Boody organ was installed in the rear gallery. He was director of music at Gobin
Memorial United Methodist Church and organist at St. Andrew’s Episcopal Church.
Carkeek retired from DePauw in 1988. In 2001 he was given lifetime honorary
membership in the American Guild of Organists by the Indianapolis Chapter. He also holds
memberships in Pi Kappa Lambda and the American Association of Anglican Musicians.

11
 VtÜÄt ZA XwãtÜwá
Carla Edwards became University organist and a professor of organ and theory at
DePauw University in 1988. She received a Bachelor of Music degree with highest
distinction from the University of Kansas, a Master of Music degree from the University
of Alabama and a Doctor of Music degree in Organ Performance from Indiana University.
Her organ studies have been with Larry Smith, Delores Bruch, James Moeser, Catharine
Crozier, Robert Noehren, Michael Schneider and Warren Hutton.
Edwards has performed extensively in the United States, and her performances have
been broadcast on the nationally syndicated radio program Pipedreams. She appeared as a
convention artist at the 1993 American Guild of Organists Regional Convention in
Indianapolis, 1994 National AGO convention in Dallas, 1997 AGO Regional Convention
in Evansville and 2001 AGO Regional convention in Ft. Wayne, Ind. In August 1990,
Edwards performed 12 concerts on a tour of Finland. She won the Region V, American
Guild of Organists Competition in 1985 and was a finalist in the 1986 National AGO
Competition in Detroit.
Edwards was the winner of the 29th annual Fort Wayne National Organ Playing
Competition in 1988. She has recently recorded two CDs and is currently represented by
Phyllis Stringham Concert Management.

12
b rgan Dedication Events 2003-04
Alumni Reunion Weekend – June 6-8, 2003
Friday, June 6
4:30-5:30 p.m. – Lecture and recital by Carla G. Edwards, University organist
Saturday, June 7
9:15-10:15 a.m. – Alumni organ recital by Kathryn A. Miller ’73, assistant
organist, First Presbyterian Church, Fort Wayne, Ind. and Rev. Robert A.
Schilling ’53, minister of worship and the arts (ret.), North United
Methodist Church, Indinanapolis
10:30 a.m. – All-Alumni Celebration. Processional music by Carla Edwards,
organ and Lennie Foy, trumpet, assistant professor of music, DePauw
University
1:30 p.m. – Organ crawl
Sept. 7, 2003
Alumni Recital – Jason A. Asbury ’95, director of music, Prospect
Presbyterian Church, Maplewood, N.J.
Sept. 14, 2003
Percussion Plus Project – Works for percussion and organ, Carla G. Edwards,
soloist
Oct. 12, 2003
Alumni Recital – Ted A. Gibboney ’76, director of chapel music and arts
programming, Christian Theological Seminary, Indianapolis
Feb. 6, 2004
Alumni Recital – Margaret McElwain Kemper ’60, associate professor and
coordinator of organ and church music studies, Northwestern University
March 5-6, 2004
Peter Planyavsky, professor of organ and improvisation and chair of the
Department of Church Music, University for Music and Performing Arts,
Vienna, Austria. Recital on March 5; organ master class on March 6
The J. Stanford Smith Concert Organ will also be featured with DePauw University
ensembles during the 2003-04 academic year.
13
 Photo credits:
All photography © Matt Bowen, except for the following:
page 4 –
painting provided by Elaine Showalter Smith ’36
pages 10 and 11 –
DePauw Archives and Special Collections
page 12 –
Phyllis Stringham Concert Management

14
 DePauw University
Greencastle, IN 46135-0037
765.658.4800
School of Music
765.658.4380
■
www.depauw.edu