PROF. JOHN T. WAMELINK
The head and founder of The Wamelink and Sons Piano Company of Cleveland, was the late Prof. John T. Wamelink, who was one of the pioneer Catholics of northern Ohio. He was one of the oldest dealers in pianos in Cleveland and was noted for his having, for over fifty years, been connected with the public service of the Church in the capacities of organist, leader, singer or choir master.
He died December 31, 1900. When a mere youth of fourteen he presided over the first organ in the old Church of St. Mary on the "Flats," the first in Cleveland, and subsequently in the Cathedral churches of Milwaukee and Pittsburg. During the twenty-seven years preceding his death he was the organist and
director of St. John's Cathedral choir, Cleveland . Prof. Wamelink was a musician both by nature and education. His every fibre was attuned to the harmony of sweet sounds. He was skilled, both vocally and instrumentally, in evoking the soul of music. That noble instrument, the great organ, appeared to
rejoice at his touch, and its wondrous powers seemed at their highest when rendering prompt response to his masterly and almost inspired manipulation. His splendid voice was remarkable
not only for its volume and compass, but especially for that soulfulness and expression which were peculiarly his own. The members of the Cathedral congregation, for two generations, accustomed
themselves to count on his voice and his dextrous use of the great organ as aids in their devotions while assisting at the public service of the Church. The record of noted musical events in Cleveland and Pittsburg is in part a history of Prof. Wamelink. His masterly rendition of such oratorios as Creation, Messiah, Elijah, Hymn of Praise. St. Paul, and others, were enough to establish his reputation for all
time, while his presentation of such operas as Pinafore, Bohemian Girl, Martha, Chimes of Normandy, and Elisire 'Amour were little less than marvelous since no other man in either city had been willing to
even attempt them, particularly the heavier ones. His greatest triumph was as late as 1897 when Sonnambula, which in Europe is considered a test for lyric soprano, was presented by him so excellently as to gain the approval of all critics. His fame on that account, as well as because of his recognized ability as a director, became widespread and thoroughly established. Prof. Wamelink was surely entitled to the palm in point of length of service as a musician, and up until his death he was to the fore in point of the highest merit. The hearts of all warmed toward him, not only as a distinguished artist, but especially as a gentle. man of the old school whose greatest pleasure was to accommodate and entertain, and who felt that his art in the real sense of scimus ut producamus is to gladden the higher sensibilities and uplift the
soul There is scarcely an organ of note in any of the Catholic churches of Cleveland and vicinity that has not responded to his magic touch, and few, indeed, were the instances where those of his profession did not gladly resign their instruments to him when occasions and desires purely local or personal demanded that he perform in their stead. Prof. John T. Wamelink was a native of Amsterdam, Holland.
From his youth he had been a resident and citizen of this country, having spent nearly all his life in Cleveland and Pittsburg, He was married in the latter city to Miss Catherine J. Sweetland in 1853.
Of seven living children two sons, John T. and Harry J. were associated with him in the piano business, which business they yet continue, and in which the firm has acquired quite a competence, their piano trade being the largest in Cleveland. The splendid personal appearance of Prof.
Wamelink, together with his culture and character, had marked him for prominence both in business as well as professionally and socially. Possessing a dignity of bearing and a countenance indicative of
nobility of soul, his distinguished personality and talents had always been great aids in the furtherance of Catholic interests. Whether conscious of this or not he never posed as a paragon of perfection, except in the one respect of being strictly honest, which he really was. He had at no time deported himself as if to say: "I am holier than thou." On the contrary, his course had been a modest one, pursuing the even tenor of his way in the performance of his duty as he saw it. Hence, up until his last hours he could not but have experienced at least the reflex effect of his loyalty and devotion to the Catholic Church and of his having at all times been wrapped up in the splendor of its ceremonial, in which his great musical talent had fitted him to play so important a part.
The head and founder of The Wamelink and Sons Piano Company of Cleveland, was the late Prof. John T. Wamelink, who was one of the pioneer Catholics of northern Ohio. He was one of the oldest dealers in pianos in Cleveland and was noted for his having, for over fifty years, been connected with the public service of the Church in the capacities of organist, leader, singer or choir master.
He died December 31, 1900. When a mere youth of fourteen he presided over the first organ in the old Church of St. Mary on the "Flats," the first in Cleveland, and subsequently in the Cathedral churches of Milwaukee and Pittsburg. During the twenty-seven years preceding his death he was the organist and
director of St. John's Cathedral choir, Cleveland . Prof. Wamelink was a musician both by nature and education. His every fibre was attuned to the harmony of sweet sounds. He was skilled, both vocally and instrumentally, in evoking the soul of music. That noble instrument, the great organ, appeared to
rejoice at his touch, and its wondrous powers seemed at their highest when rendering prompt response to his masterly and almost inspired manipulation. His splendid voice was remarkable
not only for its volume and compass, but especially for that soulfulness and expression which were peculiarly his own. The members of the Cathedral congregation, for two generations, accustomed
themselves to count on his voice and his dextrous use of the great organ as aids in their devotions while assisting at the public service of the Church. The record of noted musical events in Cleveland and Pittsburg is in part a history of Prof. Wamelink. His masterly rendition of such oratorios as Creation, Messiah, Elijah, Hymn of Praise. St. Paul, and others, were enough to establish his reputation for all
time, while his presentation of such operas as Pinafore, Bohemian Girl, Martha, Chimes of Normandy, and Elisire 'Amour were little less than marvelous since no other man in either city had been willing to
even attempt them, particularly the heavier ones. His greatest triumph was as late as 1897 when Sonnambula, which in Europe is considered a test for lyric soprano, was presented by him so excellently as to gain the approval of all critics. His fame on that account, as well as because of his recognized ability as a director, became widespread and thoroughly established. Prof. Wamelink was surely entitled to the palm in point of length of service as a musician, and up until his death he was to the fore in point of the highest merit. The hearts of all warmed toward him, not only as a distinguished artist, but especially as a gentle. man of the old school whose greatest pleasure was to accommodate and entertain, and who felt that his art in the real sense of scimus ut producamus is to gladden the higher sensibilities and uplift the
soul There is scarcely an organ of note in any of the Catholic churches of Cleveland and vicinity that has not responded to his magic touch, and few, indeed, were the instances where those of his profession did not gladly resign their instruments to him when occasions and desires purely local or personal demanded that he perform in their stead. Prof. John T. Wamelink was a native of Amsterdam, Holland.
From his youth he had been a resident and citizen of this country, having spent nearly all his life in Cleveland and Pittsburg, He was married in the latter city to Miss Catherine J. Sweetland in 1853.
Of seven living children two sons, John T. and Harry J. were associated with him in the piano business, which business they yet continue, and in which the firm has acquired quite a competence, their piano trade being the largest in Cleveland. The splendid personal appearance of Prof.
Wamelink, together with his culture and character, had marked him for prominence both in business as well as professionally and socially. Possessing a dignity of bearing and a countenance indicative of
nobility of soul, his distinguished personality and talents had always been great aids in the furtherance of Catholic interests. Whether conscious of this or not he never posed as a paragon of perfection, except in the one respect of being strictly honest, which he really was. He had at no time deported himself as if to say: "I am holier than thou." On the contrary, his course had been a modest one, pursuing the even tenor of his way in the performance of his duty as he saw it. Hence, up until his last hours he could not but have experienced at least the reflex effect of his loyalty and devotion to the Catholic Church and of his having at all times been wrapped up in the splendor of its ceremonial, in which his great musical talent had fitted him to play so important a part.
PROF. JOHN T. WAMELINK
The head and founder of The Wamelink and Sons Piano Company of Cleveland, was the late Prof. John T. Wamelink, who was one of the pioneer Catholics of northern Ohio. He was one of the oldest dealers in pianos in Cleveland and was noted for his having, for over fifty years, been connected with the public service of the Church in the capacities of organist, leader, singer or choir master.
He died December 31, 1900. When a mere youth of fourteen he presided over the first organ in the old Church of St. Mary on the "Flats," the first in Cleveland, and subsequently in the Cathedral churches of Milwaukee and Pittsburg. During the twenty-seven years preceding his death he was the organist and
director of St. John's Cathedral choir, Cleveland . Prof. Wamelink was a musician both by nature and education. His every fibre was attuned to the harmony of sweet sounds. He was skilled, both vocally and instrumentally, in evoking the soul of music. That noble instrument, the great organ, appeared to
rejoice at his touch, and its wondrous powers seemed at their highest when rendering prompt response to his masterly and almost inspired manipulation. His splendid voice was remarkable
not only for its volume and compass, but especially for that soulfulness and expression which were peculiarly his own. The members of the Cathedral congregation, for two generations, accustomed
themselves to count on his voice and his dextrous use of the great organ as aids in their devotions while assisting at the public service of the Church. The record of noted musical events in Cleveland and Pittsburg is in part a history of Prof. Wamelink. His masterly rendition of such oratorios as Creation, Messiah, Elijah, Hymn of Praise. St. Paul, and others, were enough to establish his reputation for all
time, while his presentation of such operas as Pinafore, Bohemian Girl, Martha, Chimes of Normandy, and Elisire 'Amour were little less than marvelous since no other man in either city had been willing to
even attempt them, particularly the heavier ones. His greatest triumph was as late as 1897 when Sonnambula, which in Europe is considered a test for lyric soprano, was presented by him so excellently as to gain the approval of all critics. His fame on that account, as well as because of his recognized ability as a director, became widespread and thoroughly established. Prof. Wamelink was surely entitled to the palm in point of length of service as a musician, and up until his death he was to the fore in point of the highest merit. The hearts of all warmed toward him, not only as a distinguished artist, but especially as a gentle. man of the old school whose greatest pleasure was to accommodate and entertain, and who felt that his art in the real sense of scimus ut producamus is to gladden the higher sensibilities and uplift the
soul There is scarcely an organ of note in any of the Catholic churches of Cleveland and vicinity that has not responded to his magic touch, and few, indeed, were the instances where those of his profession did not gladly resign their instruments to him when occasions and desires purely local or personal demanded that he perform in their stead. Prof. John T. Wamelink was a native of Amsterdam, Holland.
From his youth he had been a resident and citizen of this country, having spent nearly all his life in Cleveland and Pittsburg, He was married in the latter city to Miss Catherine J. Sweetland in 1853.
Of seven living children two sons, John T. and Harry J. were associated with him in the piano business, which business they yet continue, and in which the firm has acquired quite a competence, their piano trade being the largest in Cleveland. The splendid personal appearance of Prof.
Wamelink, together with his culture and character, had marked him for prominence both in business as well as professionally and socially. Possessing a dignity of bearing and a countenance indicative of
nobility of soul, his distinguished personality and talents had always been great aids in the furtherance of Catholic interests. Whether conscious of this or not he never posed as a paragon of perfection, except in the one respect of being strictly honest, which he really was. He had at no time deported himself as if to say: "I am holier than thou." On the contrary, his course had been a modest one, pursuing the even tenor of his way in the performance of his duty as he saw it. Hence, up until his last hours he could not but have experienced at least the reflex effect of his loyalty and devotion to the Catholic Church and of his having at all times been wrapped up in the splendor of its ceremonial, in which his great musical talent had fitted him to play so important a part.
The head and founder of The Wamelink and Sons Piano Company of Cleveland, was the late Prof. John T. Wamelink, who was one of the pioneer Catholics of northern Ohio. He was one of the oldest dealers in pianos in Cleveland and was noted for his having, for over fifty years, been connected with the public service of the Church in the capacities of organist, leader, singer or choir master.
He died December 31, 1900. When a mere youth of fourteen he presided over the first organ in the old Church of St. Mary on the "Flats," the first in Cleveland, and subsequently in the Cathedral churches of Milwaukee and Pittsburg. During the twenty-seven years preceding his death he was the organist and
director of St. John's Cathedral choir, Cleveland . Prof. Wamelink was a musician both by nature and education. His every fibre was attuned to the harmony of sweet sounds. He was skilled, both vocally and instrumentally, in evoking the soul of music. That noble instrument, the great organ, appeared to
rejoice at his touch, and its wondrous powers seemed at their highest when rendering prompt response to his masterly and almost inspired manipulation. His splendid voice was remarkable
not only for its volume and compass, but especially for that soulfulness and expression which were peculiarly his own. The members of the Cathedral congregation, for two generations, accustomed
themselves to count on his voice and his dextrous use of the great organ as aids in their devotions while assisting at the public service of the Church. The record of noted musical events in Cleveland and Pittsburg is in part a history of Prof. Wamelink. His masterly rendition of such oratorios as Creation, Messiah, Elijah, Hymn of Praise. St. Paul, and others, were enough to establish his reputation for all
time, while his presentation of such operas as Pinafore, Bohemian Girl, Martha, Chimes of Normandy, and Elisire 'Amour were little less than marvelous since no other man in either city had been willing to
even attempt them, particularly the heavier ones. His greatest triumph was as late as 1897 when Sonnambula, which in Europe is considered a test for lyric soprano, was presented by him so excellently as to gain the approval of all critics. His fame on that account, as well as because of his recognized ability as a director, became widespread and thoroughly established. Prof. Wamelink was surely entitled to the palm in point of length of service as a musician, and up until his death he was to the fore in point of the highest merit. The hearts of all warmed toward him, not only as a distinguished artist, but especially as a gentle. man of the old school whose greatest pleasure was to accommodate and entertain, and who felt that his art in the real sense of scimus ut producamus is to gladden the higher sensibilities and uplift the
soul There is scarcely an organ of note in any of the Catholic churches of Cleveland and vicinity that has not responded to his magic touch, and few, indeed, were the instances where those of his profession did not gladly resign their instruments to him when occasions and desires purely local or personal demanded that he perform in their stead. Prof. John T. Wamelink was a native of Amsterdam, Holland.
From his youth he had been a resident and citizen of this country, having spent nearly all his life in Cleveland and Pittsburg, He was married in the latter city to Miss Catherine J. Sweetland in 1853.
Of seven living children two sons, John T. and Harry J. were associated with him in the piano business, which business they yet continue, and in which the firm has acquired quite a competence, their piano trade being the largest in Cleveland. The splendid personal appearance of Prof.
Wamelink, together with his culture and character, had marked him for prominence both in business as well as professionally and socially. Possessing a dignity of bearing and a countenance indicative of
nobility of soul, his distinguished personality and talents had always been great aids in the furtherance of Catholic interests. Whether conscious of this or not he never posed as a paragon of perfection, except in the one respect of being strictly honest, which he really was. He had at no time deported himself as if to say: "I am holier than thou." On the contrary, his course had been a modest one, pursuing the even tenor of his way in the performance of his duty as he saw it. Hence, up until his last hours he could not but have experienced at least the reflex effect of his loyalty and devotion to the Catholic Church and of his having at all times been wrapped up in the splendor of its ceremonial, in which his great musical talent had fitted him to play so important a part.
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