Lynnwood Farnam

He became acquainted with the most important American and European organists of his day, and upon his early death, several major works were dedicated to his memory.

He was known for his superb technical ability and knowledge of organ registration, but he avoided performances intended to "show off" the organist, preferring the attention to be drawn to the music.

[4] In 1900 he was awarded the Montreal Scholarship, enabling him to attend the Royal College of Music for three years studying under James Higgs, W. S. Hoyte, F. A. Sewell, Herbert Sharpe and Franklin Taylor.

[3] He was the organist of Christ Church Cathedral in Montreal from October 1908 until August 1913, and there he gave a series of annual Lenten concerts, and also directed choir performances.

He was then appointed organist and choirmaster at Emmanuel Church in Boston after an audition from which he demonstrated an ability to play from memory more than 200 pieces in his repertoire, from Bach fugues to current works.

[2] After leaving the army the position at First Presbyterian was re-extended to him and he accepted and then held residence for a year, continuing to give full concerts and weekly half-hour recitals preceding Sunday afternoon services.

[2] He gained an excellent reputation for teaching, and so became head of the organ department of the Curtis Institute of Music in 1927, where he taught weekly until the time of his death.

[2] It was on this tour that Farnam began to recognize the symptoms of what would prove to be a fatal disease, losing all appetite, feeling highly lethargic, and experiencing chest pains.

Farnam was the first North American organist to play the entire repertoire of Johann Sebastian Bach's organ works, a feat not repeated until E. Power Biggs completed the cycle in September 1937.

[18] Edward Moore of the Chicago Tribune remarked upon Farnam's rhythm, comparing the dance-ability of his performance of Handel's organ concertos to Paul Whiteman.

[19] He viewed his concerts and recitals as an extension of the church's work, and disdained "theatrical" playing in a sacred setting.

Once he felt he had mastered the piece technically, he then moved to the full organ at his disposal, where he worked out the registration per the specifications of the instrument upon which he was performing.

[2] Farnam would not improvise in public, but concentrated on bringing attention to the pieces he was performing through technical perfection without emphasizing his virtuoso capabilities.

[11] In promotional material, Farnam was described as "The Premiere Organist of the North American Continent", a claim which was never challenged in his lifetime and a reputation he held decades later.

[28][29][30] In 1999 the bust was permanently loaned to the Faculty of Music of McGill University, where it now rests in the lounge of Pollack Concert Hall.