Notes from John Adams
Previous Owner of our Steinway
The Principal owner of our Steinway was Ranelle Frost Cochrane, who was born into a wealthy Boston family in 1917. Her father bought the piano for her as a birthday present for her 18th birthday. We surmise that Ms. Cochrane picked out the rare flame mahogany veneer that, soon after, was no longer made by Steinway.
Ranelle's husband was Thomas Boylston Adams; the couple had five children, the oldest of whom was John. All of the family played the piano, but only Ranelle stayed at it, playing and maintaining her Steinway year in and year out until her death in 2003.
Though the piano is autographed by Charles Steinway, Mr. Adams had no information about it. He and his family vowed that the piano would be sold only to someone who would love and care for it and play it often. He expressed great appreciation that Steinway #279765, a Model B Grand Piano, is now owned by the Town of Freeport.
Ranelle's husband was Thomas Boylston Adams; the couple had five children, the oldest of whom was John. All of the family played the piano, but only Ranelle stayed at it, playing and maintaining her Steinway year in and year out until her death in 2003.
Though the piano is autographed by Charles Steinway, Mr. Adams had no information about it. He and his family vowed that the piano would be sold only to someone who would love and care for it and play it often. He expressed great appreciation that Steinway #279765, a Model B Grand Piano, is now owned by the Town of Freeport.
Notes from Laura Kargul
Pianist, Resident of Freeport, ME
Steinway pianos are universally renowned for their golden tone, highly responsive touch, range of color, and power of projection. The vast majority of serious artists prefer them to any other make of piano.
This beautiful instrument, a 1935 seven-foot Steinway B grand piano in a flame mahogany finish, was carefully maintained over the years by a single owner in the Boston area. It has been recently rebuilt and is now the functional equivalent of a new instrument. With this instrument, the Freeport Performing Arts Center has become the only medium-sized venue (501 seats) in southern Maine with a first-rate grand piano, and will be poised to host a variety of high quality musical events such as classical concerts featuring pianists, vocalists, or instrumental ensembles; jazz, pop, and folk concerts; and musical theater venues.
Another interesting fact is that folk singer legend Judy Collins was the last professional to play this Steinway prior to our obtaining it. She rented it for a concert she had performed in Massachusetts the year prior to our purchase of the instrument.
This beautiful instrument, a 1935 seven-foot Steinway B grand piano in a flame mahogany finish, was carefully maintained over the years by a single owner in the Boston area. It has been recently rebuilt and is now the functional equivalent of a new instrument. With this instrument, the Freeport Performing Arts Center has become the only medium-sized venue (501 seats) in southern Maine with a first-rate grand piano, and will be poised to host a variety of high quality musical events such as classical concerts featuring pianists, vocalists, or instrumental ensembles; jazz, pop, and folk concerts; and musical theater venues.
Another interesting fact is that folk singer legend Judy Collins was the last professional to play this Steinway prior to our obtaining it. She rented it for a concert she had performed in Massachusetts the year prior to our purchase of the instrument.
Notes from Dr. Steve Putnam
a Previous Manager of the Freeport Performing Arts Center
Sometime in 2002, Robert Lyman asked Denice Parkhurst how much a new piano for the new Freeport Performing Arts Center (FPAC) would cost. She gave him the figure of $15,000, and he, in turn, presented that amount to the board of administrators at LL Bean, asking that LL Bean donate the cost of a new piano for the theatre.
In the fall of 2004, after Bob Lyman had left, a check from LL Bean in the amount of $15,000 arrived. Elaine Tomaszewski, the new superintendent, asked Steve Putnam (me), the new manager of the FPAC, to buy the piano.
Steve did research with two piano dealers and found that $15,000 would not get us an instrument of much quality. Prices for a good piano to use in teaching students and in our musical presentations began at $22,000. I was caught on the horns of a dilemma.
I took the problem last January 24th to my FPAC Advisory group; none of the seven members had any idea how to raise the additional money or how to buy a quality instrument. At this time Nathalie Forster, president of the Performing Arts Boosters, did tell us that approximately $3,000 had been set aside by the boosters for the piano. Now we had $18,000.
Following recommendations by the “music people” on the FPAC Advisory group, I contacted four professionals who agreed to attend a meeting with the Advisory group. This happened on March 28th. The four professionals—Elliott Schwartz of Bowdoin College, Susan Hazzard of the Portland Conservatory, Laura Kargul of USM, and Rod Regier, a local builder of pianofortes and past Freeport Town Councilor--listened to our situation and gave their responses. In essence, they argued that trying to find a used piano of top quality, i.e., a Steinway, would be a far better use of our time than raising a few more thousand and buying a run-of-the-mill new piano like a Boston or a Karpov. They also pointed out that for reasons of tonal quality, a piano at least 6’ – 6 1⁄2’ in length is preferable to a smaller instrument. With a first-rate piano, they reasoned, the FPAC would become a ”cultural jewel” for the town, as it could be used to showcase artists, symphonies, chorales, traveling shows, and perhaps even a classical concert series. Revenues generated by potential users of the hall could help pay the major portion of its operating costs.”)With the support of the Advisory group, I formed a piano subcommittee to investigate what could be found. It consisted of the people named above, along with Denice as liaison to the Advisory group and myself as chair.
This subcommittee held its first meeting on April 11th. We discussed pianos that we had found, and a first choice emerged. This was a Concert B Steinway, a 7’ concert grand built in 1935 but maintained beautifully by its first and only owner, a pianist who died last year. We called Dave Sanderson of Sanderson Piano Services in Littleton, Massachusetts, and made plans to drive down to see it. The price quoted for the piano, as is, was $32,000, its assessed value $38,000.
In my first-year narrative I stated that one of my goals was/is to make the FPAC a cultural “jewel” for Freeport by offering to our townspeople and tourists musical events of high quality. Laura stated that the FPAC plus a concert-size Steinway would become one of best musical venues in Maine. There is no other medium-sized hall (seating 500) with a Steinway grand in Southern Maine, so FPAC will fill a great regional, as well as local, need.
The Southern Maine Symphony (USM) symphony agreed to bring a performance of Beethoven’s 4th Piano Concerto to the FPAC next fall, contingent on Laura Kargul’s playing the concert grand. USM generously agreed to give us the gate, which, with a full house and USM’s
usual $10-$8-$5 ticket pricing, could generate substantial revenue toward the payment of the Steinway.
The professional members of the piano subcommittee agreed to be responsible for overseeing the care and maintenance of this instrument. Douglas Breer, one of the architects who designed the FPAC and toured the space with me, suggested that a box for the Steinway be built in the music room.
We met with the Freeport Economic Development Council, the Freeport Merchants Association and the Freeport Village Property Owners Association. With the support of these organizations, pledges and donations from individuals and corporations, and revenue from performances the Steinway was not only purchased, but the debt from it’s purchase has already been retired. All of this has resulted in the reality of our envisioned cultural gem being accomplished – and without the investment of any public monies.
We are sure to enjoy the many benefits of this great instrument for many years to come.
In the fall of 2004, after Bob Lyman had left, a check from LL Bean in the amount of $15,000 arrived. Elaine Tomaszewski, the new superintendent, asked Steve Putnam (me), the new manager of the FPAC, to buy the piano.
Steve did research with two piano dealers and found that $15,000 would not get us an instrument of much quality. Prices for a good piano to use in teaching students and in our musical presentations began at $22,000. I was caught on the horns of a dilemma.
I took the problem last January 24th to my FPAC Advisory group; none of the seven members had any idea how to raise the additional money or how to buy a quality instrument. At this time Nathalie Forster, president of the Performing Arts Boosters, did tell us that approximately $3,000 had been set aside by the boosters for the piano. Now we had $18,000.
Following recommendations by the “music people” on the FPAC Advisory group, I contacted four professionals who agreed to attend a meeting with the Advisory group. This happened on March 28th. The four professionals—Elliott Schwartz of Bowdoin College, Susan Hazzard of the Portland Conservatory, Laura Kargul of USM, and Rod Regier, a local builder of pianofortes and past Freeport Town Councilor--listened to our situation and gave their responses. In essence, they argued that trying to find a used piano of top quality, i.e., a Steinway, would be a far better use of our time than raising a few more thousand and buying a run-of-the-mill new piano like a Boston or a Karpov. They also pointed out that for reasons of tonal quality, a piano at least 6’ – 6 1⁄2’ in length is preferable to a smaller instrument. With a first-rate piano, they reasoned, the FPAC would become a ”cultural jewel” for the town, as it could be used to showcase artists, symphonies, chorales, traveling shows, and perhaps even a classical concert series. Revenues generated by potential users of the hall could help pay the major portion of its operating costs.”)With the support of the Advisory group, I formed a piano subcommittee to investigate what could be found. It consisted of the people named above, along with Denice as liaison to the Advisory group and myself as chair.
This subcommittee held its first meeting on April 11th. We discussed pianos that we had found, and a first choice emerged. This was a Concert B Steinway, a 7’ concert grand built in 1935 but maintained beautifully by its first and only owner, a pianist who died last year. We called Dave Sanderson of Sanderson Piano Services in Littleton, Massachusetts, and made plans to drive down to see it. The price quoted for the piano, as is, was $32,000, its assessed value $38,000.
In my first-year narrative I stated that one of my goals was/is to make the FPAC a cultural “jewel” for Freeport by offering to our townspeople and tourists musical events of high quality. Laura stated that the FPAC plus a concert-size Steinway would become one of best musical venues in Maine. There is no other medium-sized hall (seating 500) with a Steinway grand in Southern Maine, so FPAC will fill a great regional, as well as local, need.
The Southern Maine Symphony (USM) symphony agreed to bring a performance of Beethoven’s 4th Piano Concerto to the FPAC next fall, contingent on Laura Kargul’s playing the concert grand. USM generously agreed to give us the gate, which, with a full house and USM’s
usual $10-$8-$5 ticket pricing, could generate substantial revenue toward the payment of the Steinway.
The professional members of the piano subcommittee agreed to be responsible for overseeing the care and maintenance of this instrument. Douglas Breer, one of the architects who designed the FPAC and toured the space with me, suggested that a box for the Steinway be built in the music room.
We met with the Freeport Economic Development Council, the Freeport Merchants Association and the Freeport Village Property Owners Association. With the support of these organizations, pledges and donations from individuals and corporations, and revenue from performances the Steinway was not only purchased, but the debt from it’s purchase has already been retired. All of this has resulted in the reality of our envisioned cultural gem being accomplished – and without the investment of any public monies.
We are sure to enjoy the many benefits of this great instrument for many years to come.