by Wallace Goodrich Goodrich's study in France made him aware that registrations published in editions of French works for the U.S. market, though they used similar terms, were not really referring to the same sounds as those in the organs of Cavaillé-Coll and others; nor did American churches have the advantage of certain acoustics common in European churches. As Rollin Smith notes in his introduction, the book was written to explain these differences and to aid American organists in registering French works. The book uses musical examples, discusses tonal and mechanical characteristics of French organs, and specifications of noted French instruments. Wallace Goodrich graduated from The New England Conservatory and later studied with both Rheinberger and Widor in Europe. He returned to Boston and was organist of Trinity Church, Copley Square and later became dean of The New England Conservatory, a position he held until 1942. |