Triumphs & Trials of an Organ Builder
Virgil Fox
As Allen Organ continued to build upon its
innovation, growth, and reputation during the 1960s
and 1970s, we occasionally crossed paths with one of
the world's top organists—Virgil Fox.
Mr. Fox played recitals on Allen Organs during this
period. Subsequently, he made periodic visits to our
factory. I remember how vibrant and "bigger than life"
he was—filled with ideas and dreams. During this time,
he dropped enough hints that I'm quite sure he wanted
us to "loan" him an Allen Organ. He was dreaming
about going on tour with a "portable" organ. He wanted
to bring the organ to the people in a non-conventional,
dramatic way. I just couldn't give in to his wish to have
a permanent Allen "loaner" organ. I was concerned
that such a special arrangement would be perceived
as being contrived—as though we were trying
to "buy" Fox's endorsement. So, during the 1960s
and early 1970s, we had to be satisfied with occasional
keep-in-touch visits. It wasn't until 1976, that we
became more closely associated with this outstanding
performer.
Virgil Fox did, of course, become a "touring"
organist. During the late 1960s and into the 1970s, he
toured using an electronic organ from another company
which, I believe, he rented or borrowed. He popularized
much of the organ literature as he appeared at colleges,
theaters, churches, music halls, and "rock palaces"
occasionally. He was especially interested in appealing
to young people; therefore, he developed his "act" with
this in mind. His young audience wanted light shows
and smoke bombs, and that's exactly what he gave them
in addition to his superb organ playing. To say he was
unique is an understatement. For his efforts, he was
rewarded with an army of loyal, vocally-appreciative
supporters.
In 1976, Virgil Fox decided to buy his own touring
organ and chose a new digital computer instrument
from Allen. The organ was to include an imposing,
four-manual console which was hardly portable. Yet,
virtuoso Fox felt he needed this weighty console to
achieve the proper effect at his concerts. He was very
much a part of the design team from the beginning. I
recall many a late-evening telephone call from Virgil
Fox during the construction of the organ. We chatted
about his most recent ideas for enhancing the success
of the instrument. These conversations were always
stimulating because of the boundless excitement and
enthusiasm in his voice. This enthusiasm rubbed off on
all of us working on the project. Someone came up
with the idea of designing a special stop just for him.
We secretly installed this special stop on the organ and
revealed it to him at the appropriate time. It was called
the "Fox Humana." He was delighted.
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