Thomas Joel Hitchcock – Patriarch of the South African Hitchcocks
13 May 1803 – 3 March 1886
By descendent Thomas Joel Hitchcock (1968)
Thomas Joel Hitchcock 13 May 1803 - 3 March 1886,
Thomas Joel Hitchcock – Patriarch of the South African Hitchcocks
13 May 1803 – 3 March 1886
By descendent Thomas Joel Hitchcock (1968)
Thomas Joel Hitchcock 13 May 1803 - 3 March 1886,
I am a direct descendant of Thomas Joel Hitchcock, whose names I bear. He was my ancestor 6 generations ago.
I have always had an interest in our Hitchcock family’s history, and have found bits and pieces of information from various sources.
There are several Thomas Hitchcocks referenced in this writing, and it is easy to be confused as to which Thomas Hitchcock is meant, especially in the first few pages. To clarify when our Thomas Hitchcocks are referenced, their birth years are mentioned with their names, such as Thomas Hitchcock (1778,) and Thomas Joel Hitchcock (1803.) Sometimes I would just refer to him as our Thomas Joel Hitchcock.
I trust that this writing will be of benefit to our South African Hitchcocks, the majority of whom still live in South Africa, and some now also in America and Europe.
I am not a professional researcher – just someone who wants to gather information to be referenced by future interested parties. If anyone comes across any incorrect information, kindly alert me of it, so that it will be immediately corrected.
If anyone has any additional information than what is written I this writing, also please inform me of it.
I have also created a FaceBook page, which is available at https://www.facebook.com/thomasjoelhitchcock1803
Thomas Joel Hitchcock (born December 5, 1968)
Georgetown Delaware, USA – February 12, 2021
I am a direct descendant of Thomas Joel Hitchcock, whose names I bear. He was my ancestor 6 generations ago.
I have always had an interest in our Hitchcock family’s history, and have found bits and pieces of information from various sources.
There are several Thomas Hitchcocks referenced in this writing, and it is easy to be confused as to which Thomas Hitchcock is meant, especially in the first few pages. To clarify when our Thomas Hitchcocks are referenced, their birth years are mentioned with their names, such as Thomas Hitchcock (1778,) and Thomas Joel Hitchcock (1803.) Sometimes I would just refer to him as our Thomas Joel Hitchcock.
I trust that this writing will be of benefit to our South African Hitchcocks, the majority of whom still live in South Africa, and some now also in America and Europe.
I am not a professional researcher – just someone who wants to gather information to be referenced by future interested parties. If anyone comes across any incorrect information, kindly alert me of it, so that it will be immediately corrected.
If anyone has any additional information than what is written I this writing, also please inform me of it.
I have also created a FaceBook page, which is available at https://www.facebook.com/thomasjoelhitchcock1803
Thomas Joel Hitchcock (born December 5, 1968)
Georgetown Delaware, USA – February 12, 2021
Thomas Hitchcock (Born about 1778)
Possible photo of Thomas Joel Hitchcock (born about 1878)
Writing on the flip-side of the possible photo of Thomas Joel Hitchcock (born about 1878)
(This photo was in the possession of Dyason Roland Hitchcock. On the flip side of the photo, he wrote, “Thomas Joel Hitchcock, die ou grootvader van die Hitchcocks.” (English: Thomas Joel Hitchcock – the old grandfather of the Hitchcocks.) This photo cannot be that of Thomas Joel Hitchcock (born 1803,) since he looks much different in his photos. Therefore, considering this fact, and also considering the extra-aged look of the photo, and also considering that Dyason Roland Hitchcock wrote that the individual in the photo was the “old grandfather of the Hitchcocks,” this photo is possibly that of Thomas Joel Hitchcock (1803)’s father Thomas Joel Hitchcock (1778.) This photo was probably received by Dyason Roland Hitchcock (1914)’s father John Dyason Stephen Hitchcock ((1893,) which he may have received from his father John Dyason Hitchcock (1857,) the son of Thomas Joel Hitchcock (1803,) the son of Thomas Joel Hitchcock (1878.)
Before we investigate the life of Thomas Joel Hitchcock (born 1803,) let us briefly mention his father and mother – Thomas and Elizabeth Hitchcock.
Very little is known by me of Thomas and Elizabeth, except that Thomas was born “abt 1778,” meaning, about 1778. I had found this information somewhere on the internet, but have been unable to find it again. However, I do remember the date very well.
We also find some information about his father on Thomas Joel Hitchcock (born 1803)’s death notice, where under point 3 - “Parents of the deceased,” his father’s name is noted as “Thomas Joel.” This death notice is on record at the Probate Records of the Master of the High Court (1834-1989) and is available at https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSQF-D9DK-T?i=708&cc=2517051
It is most probable that they were part of the Thomas Hitchcock spinet (mini piano) makers of England.
In his paper, Spinets of the Hitchcock Dynasty, (available at http://www.friendsofsquarepianos.co.uk/app/download/30040198/The+Spinets+of+the+Hitchcock+Dynasty+-+Public+Version.pdf) the author David Hacker shares some history and photos of the Hitchcock spinet makers, dating back to 1703 A.D., to whom I give the credit for these photos.
For example, this photo names Thomas Hitchcock, London, 1460: (The number 1460 is not a year but a number, like an old-fashioned model and serial number.)
This next photo shows Thomas Hitchcock’s name on the inside of an Edward Blunt spinet. This is the first known instance of Thomas Hitchcock’s name connected to a spinet, assumedly in his own handwriting:
Hacker writes, “The earliest known spinet carrying the name Edward Blunt alone is dated 1703, and it is here that we first meet the name of Thomas Hitchcock, whose name is signed on the top jack with the date. His initials and the date are repeated on the top key.”
Hacker also writes, “The next time we meet his name is on the earliest known survivor of the spinets to carry the name Thomas Hitchcock on the nameboard, now with the Colonial Williamsburg Foundation in the USA.”
Note: There is also a Thomas Hitchcock Spinet at the National Museum of American History in Washington D.C. (See the spinet at https://www.si.edu/object/nmah_605993)
While I do not (as yet) have proof that our forefather Thomas Hitchcock (born about 1778) was a descendent of this specific Thomas Hitchcock whose spinets bear his name, it is reasonable to assume that he was at least related to him, or to another Thomas Hitchcock who was also a well-known spinet maker. The maker of the spinets in these pictures was “often known as Thomas Hitchcock the Younger who was christened on 10th October 1684.”
According to research done by Peter Mole, in his paper, The Hitchcock Spinet Makers: A New Analysis, available at https://www.jstor.org/stable/25163892, Thomas Hitchcock the Elder, Thomas Hitchcock the Younger, and John Hitchcock were understood to be grandfather, son and grandson. However, he investigates the relationships of these men, and says that there must have been another unknown Thomas Hitchcock among them. He also says that Thomas the Elder might not have been a piano maker but a chair maker instead.
Considering that our Thomas Hitchcock (1878) and his son our Thomas Joel Hitchcock (1803) both bear the name Thomas, and considering that our Thomas Joel Hitchcock (1803) was a spinet and pianoforte maker and seller, and an organ builder, is probable evidence that they were related to the larger Thomas Hitchcock musical instrument making clan.
Maybe somebody may later run into some more information to clarify this point.
It may be that our ancestor, Thomas Hitchcock (1778) had a brother, Henry Thomas Hitchcock (1789,) who had also emigrated to South Africa. I learnt of this in an article The Early British Families of Paarl, by R.R. Langham-Carter, published in Familia vol. 28, no. 4, 1991, p. 198-203 (available at http://egssa.org/articles/28_4_198_203.htm:
“Among the leading families at Holy Trinity were the Hitchcocks who also contributed to the town's musical life. Henry Thomas, their earliest member, was born in 1789 and died in Paarl on 2 March 1836. His nephew Thomas Joel …”
So, if Thomas Joel Hitchcock (1803) was Henry Thomas Hitchcock (1789)’s nephew, then Henry Thomas must have been Thomas Joel’s father Thomas’s brother.
Possible photo of Thomas Joel Hitchcock (born about 1878)
Writing on the flip-side of the possible photo of Thomas Joel Hitchcock (born about 1878)
(This photo was in the possession of Dyason Roland Hitchcock. On the flip side of the photo, he wrote, “Thomas Joel Hitchcock, die ou grootvader van die Hitchcocks.” (English: Thomas Joel Hitchcock – the old grandfather of the Hitchcocks.) This photo cannot be that of Thomas Joel Hitchcock (born 1803,) since he looks much different in his photos. Therefore, considering this fact, and also considering the extra-aged look of the photo, and also considering that Dyason Roland Hitchcock wrote that the individual in the photo was the “old grandfather of the Hitchcocks,” this photo is possibly that of Thomas Joel Hitchcock (1803)’s father Thomas Joel Hitchcock (1778.) This photo was probably received by Dyason Roland Hitchcock (1914)’s father John Dyason Stephen Hitchcock ((1893,) which he may have received from his father John Dyason Hitchcock (1857,) the son of Thomas Joel Hitchcock (1803,) the son of Thomas Joel Hitchcock (1878.)
Before we investigate the life of Thomas Joel Hitchcock (born 1803,) let us briefly mention his father and mother – Thomas and Elizabeth Hitchcock.
Very little is known by me of Thomas and Elizabeth, except that Thomas was born “abt 1778,” meaning, about 1778. I had found this information somewhere on the internet, but have been unable to find it again. However, I do remember the date very well.
We also find some information about his father on Thomas Joel Hitchcock (born 1803)’s death notice, where under point 3 - “Parents of the deceased,” his father’s name is noted as “Thomas Joel.” This death notice is on record at the Probate Records of the Master of the High Court (1834-1989) and is available at https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSQF-D9DK-T?i=708&cc=2517051
It is most probable that they were part of the Thomas Hitchcock spinet (mini piano) makers of England.
In his paper, Spinets of the Hitchcock Dynasty, (available at http://www.friendsofsquarepianos.co.uk/app/download/30040198/The+Spinets+of+the+Hitchcock+Dynasty+-+Public+Version.pdf) the author David Hacker shares some history and photos of the Hitchcock spinet makers, dating back to 1703 A.D., to whom I give the credit for these photos.
For example, this photo names Thomas Hitchcock, London, 1460: (The number 1460 is not a year but a number, like an old-fashioned model and serial number.)
This next photo shows Thomas Hitchcock’s name on the inside of an Edward Blunt spinet. This is the first known instance of Thomas Hitchcock’s name connected to a spinet, assumedly in his own handwriting:
Hacker writes, “The earliest known spinet carrying the name Edward Blunt alone is dated 1703, and it is here that we first meet the name of Thomas Hitchcock, whose name is signed on the top jack with the date. His initials and the date are repeated on the top key.”
Hacker also writes, “The next time we meet his name is on the earliest known survivor of the spinets to carry the name Thomas Hitchcock on the nameboard, now with the Colonial Williamsburg Foundation in the USA.”
Note: There is also a Thomas Hitchcock Spinet at the National Museum of American History in Washington D.C. (See the spinet at https://www.si.edu/object/nmah_605993)
While I do not (as yet) have proof that our forefather Thomas Hitchcock (born about 1778) was a descendent of this specific Thomas Hitchcock whose spinets bear his name, it is reasonable to assume that he was at least related to him, or to another Thomas Hitchcock who was also a well-known spinet maker. The maker of the spinets in these pictures was “often known as Thomas Hitchcock the Younger who was christened on 10th October 1684.”
According to research done by Peter Mole, in his paper, The Hitchcock Spinet Makers: A New Analysis, available at https://www.jstor.org/stable/25163892, Thomas Hitchcock the Elder, Thomas Hitchcock the Younger, and John Hitchcock were understood to be grandfather, son and grandson. However, he investigates the relationships of these men, and says that there must have been another unknown Thomas Hitchcock among them. He also says that Thomas the Elder might not have been a piano maker but a chair maker instead.
Considering that our Thomas Hitchcock (1878) and his son our Thomas Joel Hitchcock (1803) both bear the name Thomas, and considering that our Thomas Joel Hitchcock (1803) was a spinet and pianoforte maker and seller, and an organ builder, is probable evidence that they were related to the larger Thomas Hitchcock musical instrument making clan.
Maybe somebody may later run into some more information to clarify this point.
It may be that our ancestor, Thomas Hitchcock (1778) had a brother, Henry Thomas Hitchcock (1789,) who had also emigrated to South Africa. I learnt of this in an article The Early British Families of Paarl, by R.R. Langham-Carter, published in Familia vol. 28, no. 4, 1991, p. 198-203 (available at http://egssa.org/articles/28_4_198_203.htm:
“Among the leading families at Holy Trinity were the Hitchcocks who also contributed to the town's musical life. Henry Thomas, their earliest member, was born in 1789 and died in Paarl on 2 March 1836. His nephew Thomas Joel …”
So, if Thomas Joel Hitchcock (1803) was Henry Thomas Hitchcock (1789)’s nephew, then Henry Thomas must have been Thomas Joel’s father Thomas’s brother.
Thomas Joel Hitchcock (Born 1803)
Thomas Joel Hitchcock (Born 1803). This photo was taken by Theo Hitchcock, from a portrait which he saw at an Irene Hitchcock’s house. I understand Irene had no children, and the whereabouts of this portrait is unknown.
Thomas Joel Hitchcock (1803)'s signature (as found on his son John Dyason Hitchcock (1857)'s Christening register.
Thomas Joel Hitchcock (Born 1803)
We now come to our first South African Thomas Joel Hitchcock. Thomas Joel Hitchcock (1803) is our family’s best known and legendary member, our patriarch.
To continue Langham-Carter’s quote from his article:
“Among the leading families at Holy Trinity were the Hitchcocks who also contributed to the town's musical life. Henry Thomas, their earliest member, was born in 1789 and died in Paarl on 2 March 1836. His nephew Thomas Joel (born in Worcester, England in May 1803, died at Klein Drakenstein 3 March 1886) opened his Musical Depository in Cape Town in 1828, advertising himself as an organ builder and pianoforte manufacturer. Perhaps his greatest work was the erection of the organ in St. George's Church (later the Cathedral) in 1834-1841, with parts imported from Britain.
“Hitchcock was married three times, in each case to a Dutch lady. He wed Johanna Christina Rykie Zulch (17 April 1814 - 28 October 1850) on 14 February 1832. His next marriage, on 11 June 1851, was to Helena Dorothea Meyer. And his final wife was Elizabeth Maria, daughter of Johannes Jorgens Scholz of Klapmuts and his wife Anna Aletta Elizabeth (nee Muller).
“Hitchcock had no less than 17 children. Several of them followed musical professions, among them Thomas John, a piano tuner of Paarl, who was born in 1842 and died in Fraserburg on 6 June 1876. The family must have had plenty to do, keeping the town's organs and citizens' pianos in good order.”
We know that Thomas Joel Hitchcock built had installed the St. George’s Church organ from scratch, which we will investigate shortly. However, he also installed and completed the Groote Kerk organ in Cape Town, an installation which had already been in progress but was interrupted by the death of the original organ builder. Thomas Joel Hitchcock took over the job, completed it, after which it was dedicated with great fanfare.
Let us look at Thomas Joel Hitchcock’s contribution in installing the Groote Kerk organ.
The Groote Kerk
First, a quick historical background on the Groote Kerk, including the original Dutch settlers at the Cape of Good Hope (South Africa.)
The Dutch words Die Groote Kerk mean The Big Church. This church is still in existence today and is located at 43 Adderley St, Cape Town City Centre, Cape Town, 8001.
In her paper for her Magister Musicae degree entitled in Afrikaans, Die geskiedenis van die orrel in Suid-Afrika en die ontwikkeling van die koraalvoorspel as ‘n genre met ‘n omvattende katalogus, (Meaning: The history of the organ in South-Africa and the development of choral play as a genre with a comprehensive catalog), available at https://repository.up.ac.za/bitstream/handle/2263/39968/VanSchoor_%20Geskiedenis_2014.pdfJ Janandi Jacomien van Schoor included the work of Thomas Joel Hitchcock, quoting other academia such as Muller, Nel, Troskie, Malan, etc. I will include some of her comments about Thomas Joel Hitchcock’s work on the Groote Kerk organ in this chapter.
This Dutch Reformed Church assembly was a daughter assembly of the Reformed Church in Amsterdam (in the Netherlands), which had begun to employ organ accompaniment to aid in their songs since 1680.
The Dutch navigator and colonial administrator, Jan van Riebeeck had arrived in the Cape with 82 men and 8 women on the ships, the Dromedaris, the Rejiger, and the De Goede Hoop, on 6 April 1652. From the famous van Riebeeck Prayer which he prayed on the Drommedaris, the South African historian Muller gathers that these people were deeply religious.
Initially, church services were held on the ship itself. Later on, services were held in the fort until 1663. Then a wooden structure was built on the castle grounds, which is considered the first church building in South Africa. This church was demolished in 1679.
A new church, which was to be known as the Groote Kerk was built over a period of 20 years, serving 402 men, 224 women, and 521 children.
The Groote Kerk Organ
In 1704, sixteen years since the completion of the church building, the leaders made a request for an organ, but it did not materialize soon.
However, in 1735 Jan de la Fontaine (who was the governor of the Cape of Good Hope from 1729 to 1737) mandated Jan Posse (or Poosen) to build a small organ for his (De La Fontaine’s) daughter. This organ is considered to be South Africa’s first organ.
When De La Fontaine returned to the Netherlands in 1737, he sold the organ to the church, which on its part became the first church organ in South Africa. This organ became “unplayable” by 1752.
The church council then ordered two organs from Stephanus Baier. The organ was later referred to as the Baier organ, after Mr. Baier. The “big organ” was 8.5 meters (27.9 feet) high and had 16 “registers.” According to Troskie, Mr. Baier and his helpers made all the parts (pipes, etc.) for this organ from raw materials themselves. These organs were completed in 1754.
This organ served the church for many years, but by 1788, it too had come into disrepair. In 1826, the church ordered a new organ from Bevington & Sons in London, via a Mr. Edward Knolles Green, who had opened a music store on Bree street, Cape Town. The purchase of this organ was made possible by a sizable donation by a Mr. Jan Hoets. This organ became known as the Hoets Organ.
However, Green died in 1828, and this is when our Thomas Joel Hitchcock (born 1803) enters the story. Thomas Joel Hitchcock came to the Cape for this purpose, at the employ of Bevington & Sons, and installed the organ.
The organ was dedicated in festive style on 11 July 1830. The church was packed out, and Frans Grondeler and Thomas Corder played songs on it on that day, receiving much praise. The morning service was dismissed with Handel’s Messiah’s Hallelujah Chorus.
This organ served the church for many years, and was later expanded (not by Thomas Joel Hitchcock) to house 2456 pipes and 48 registers.
Thomas Joel Hitchcock (Born 1803). This photo was taken by Theo Hitchcock, from a portrait which he saw at an Irene Hitchcock’s house. I understand Irene had no children, and the whereabouts of this portrait is unknown.
Thomas Joel Hitchcock (Born 1803)
We now come to our first South African Thomas Joel Hitchcock. Thomas Joel Hitchcock (1803) is our family’s best known and legendary member, our patriarch.
To continue Langham-Carter’s quote from his article:
“Among the leading families at Holy Trinity were the Hitchcocks who also contributed to the town's musical life. Henry Thomas, their earliest member, was born in 1789 and died in Paarl on 2 March 1836. His nephew Thomas Joel (born in Worcester, England in May 1803, died at Klein Drakenstein 3 March 1886) opened his Musical Depository in Cape Town in 1828, advertising himself as an organ builder and pianoforte manufacturer. Perhaps his greatest work was the erection of the organ in St. George's Church (later the Cathedral) in 1834-1841, with parts imported from Britain.
“Hitchcock was married three times, in each case to a Dutch lady. He wed Johanna Christina Rykie Zulch (17 April 1814 - 28 October 1850) on 14 February 1832. His next marriage, on 11 June 1851, was to Helena Dorothea Meyer. And his final wife was Elizabeth Maria, daughter of Johannes Jorgens Scholz of Klapmuts and his wife Anna Aletta Elizabeth (nee Muller).
“Hitchcock had no less than 17 children. Several of them followed musical professions, among them Thomas John, a piano tuner of Paarl, who was born in 1842 and died in Fraserburg on 6 June 1876. The family must have had plenty to do, keeping the town's organs and citizens' pianos in good order.”
We know that Thomas Joel Hitchcock built had installed the St. George’s Church organ from scratch, which we will investigate shortly. However, he also installed and completed the Groote Kerk organ in Cape Town, an installation which had already been in progress but was interrupted by the death of the original organ builder. Thomas Joel Hitchcock took over the job, completed it, after which it was dedicated with great fanfare.
Let us look at Thomas Joel Hitchcock’s contribution in installing the Groote Kerk organ.
The Groote Kerk
First, a quick historical background on the Groote Kerk, including the original Dutch settlers at the Cape of Good Hope (South Africa.)
The Dutch words Die Groote Kerk mean The Big Church. This church is still in existence today and is located at 43 Adderley St, Cape Town City Centre, Cape Town, 8001.
In her paper for her Magister Musicae degree entitled in Afrikaans, Die geskiedenis van die orrel in Suid-Afrika en die ontwikkeling van die koraalvoorspel as ‘n genre met ‘n omvattende katalogus, (Meaning: The history of the organ in South-Africa and the development of choral play as a genre with a comprehensive catalog), available at https://repository.up.ac.za/bitstream/handle/2263/39968/VanSchoor_%20Geskiedenis_2014.pdfJ Janandi Jacomien van Schoor included the work of Thomas Joel Hitchcock, quoting other academia such as Muller, Nel, Troskie, Malan, etc. I will include some of her comments about Thomas Joel Hitchcock’s work on the Groote Kerk organ in this chapter.
This Dutch Reformed Church assembly was a daughter assembly of the Reformed Church in Amsterdam (in the Netherlands), which had begun to employ organ accompaniment to aid in their songs since 1680.
The Dutch navigator and colonial administrator, Jan van Riebeeck had arrived in the Cape with 82 men and 8 women on the ships, the Dromedaris, the Rejiger, and the De Goede Hoop, on 6 April 1652. From the famous van Riebeeck Prayer which he prayed on the Drommedaris, the South African historian Muller gathers that these people were deeply religious.
Initially, church services were held on the ship itself. Later on, services were held in the fort until 1663. Then a wooden structure was built on the castle grounds, which is considered the first church building in South Africa. This church was demolished in 1679.
A new church, which was to be known as the Groote Kerk was built over a period of 20 years, serving 402 men, 224 women, and 521 children.
The Groote Kerk Organ
In 1704, sixteen years since the completion of the church building, the leaders made a request for an organ, but it did not materialize soon.
However, in 1735 Jan de la Fontaine (who was the governor of the Cape of Good Hope from 1729 to 1737) mandated Jan Posse (or Poosen) to build a small organ for his (De La Fontaine’s) daughter. This organ is considered to be South Africa’s first organ.
When De La Fontaine returned to the Netherlands in 1737, he sold the organ to the church, which on its part became the first church organ in South Africa. This organ became “unplayable” by 1752.
The church council then ordered two organs from Stephanus Baier. The organ was later referred to as the Baier organ, after Mr. Baier. The “big organ” was 8.5 meters (27.9 feet) high and had 16 “registers.” According to Troskie, Mr. Baier and his helpers made all the parts (pipes, etc.) for this organ from raw materials themselves. These organs were completed in 1754.
This organ served the church for many years, but by 1788, it too had come into disrepair. In 1826, the church ordered a new organ from Bevington & Sons in London, via a Mr. Edward Knolles Green, who had opened a music store on Bree street, Cape Town. The purchase of this organ was made possible by a sizable donation by a Mr. Jan Hoets. This organ became known as the Hoets Organ.
However, Green died in 1828, and this is when our Thomas Joel Hitchcock (born 1803) enters the story. Thomas Joel Hitchcock came to the Cape for this purpose, at the employ of Bevington & Sons, and installed the organ.
The organ was dedicated in festive style on 11 July 1830. The church was packed out, and Frans Grondeler and Thomas Corder played songs on it on that day, receiving much praise. The morning service was dismissed with Handel’s Messiah’s Hallelujah Chorus.
This organ served the church for many years, and was later expanded (not by Thomas Joel Hitchcock) to house 2456 pipes and 48 registers.
The Stellenbosch Organ
The church in Stellenbosch had built their first building in 1687, and had their own organ since 1801.
With the installation by Thomas Joel Hitchcock of the new organ at the Groote Kerk, (which we just discussed, that had been ordered via Edward Knolles Green,) the Groote Kerk donated their previous organ (the large Baier organ) to the Stellenbosh assembly. Our Thomas Joel Hitchcock moved this organ to Stellenbosch, and installed it there. However, the platform of the church had been too small for the complete organ, and therefore the organ had to be made smaller. Unfortunately, this organ had already been old and in disrepair, and did not perform well.
The church in Stellenbosch had built their first building in 1687, and had their own organ since 1801.
With the installation by Thomas Joel Hitchcock of the new organ at the Groote Kerk, (which we just discussed, that had been ordered via Edward Knolles Green,) the Groote Kerk donated their previous organ (the large Baier organ) to the Stellenbosh assembly. Our Thomas Joel Hitchcock moved this organ to Stellenbosch, and installed it there. However, the platform of the church had been too small for the complete organ, and therefore the organ had to be made smaller. Unfortunately, this organ had already been old and in disrepair, and did not perform well.
The Baier Organ into the Malmesbury church
I was fortunate that a professional researcher, Mr. Johann Claasen sent me the following message on Facebook. It is in Afrikaans, see the English translation below.
Afrikaans text:
"Ek het Thomas se geboorte jaar in die SAG-reeks gekry en sy geboortedag en maand in die verjaardagboekie wat deur sy jongste dogter bygehou is. Sy sterfdag in die SAG korreleer met die in die verjaardagboekie.
In 1833 het hy die ou Baier orrel uit die Groote Kerk in Kaapstad gehaal, dit herstel en in die Malmesbury se Moederkerk ingebou vir die bedrag van £100.00. "Wegen een accident" is Thomas ongelukkig verhinder om, volgens belofte, die werk in Januarie 1832 te voltooi en met die aanvang van die swaar winterreëns 'n paar maande later kon die kerkraadslede dit in elk geval ook nie met hul waens uit Kaapstad vervoer nie.
Om die een of ander rede het Thomas maar gedurig op hom laat wag. Uiteindelik, in Februarie 1833 is die werk voltooi. Daar word egter besluit om dit eers in September 1833 in te wy.
Maar met die eerste oefening daarop deur die orrelis, ene GF Henning, word dit "geheel onbruikbaar" bevind. Thomas en ene Beil, beide van Kaapstad, moes toe kom en die orrel "examineer". Daar word bevind dat daar nie genoeg lug deur die gebou vloei nie en dit die ysterwerk van die orrel laat roes het.
Hulle kon egter daarin slaag om dit volkome te herstel. Dit is uiteindelik op 8 Desember 1833 ingewy. Nadat in geheel sowat 1400 Riksdaalders aan Thomas uitbetaal is, het die orrelfonds 'n voordelige balans van sowat 200 Riksdaalders getoon. Henning het die orrel bespeel tot met sy bedanking in Desember 1840. Dié gegewens is vervat in die Gemeente Swartland Gedenkboek (1745-1945) p. 83-85."
English translation:
“I found Thomas’ birth date in the SAG-series, and the birth date and month which was in the birthday book of his youngest daughter. The day of his death correlates with the same date in the birthday book.
In 1833 he removed the old Baier organ from the Groote Kerk in Cape Town, repaired it, and then installed it in Malmesbury’s mother church for the amount of £100.00. “Due to an accident,” Thomas was unfortunately hindered to complete the work by January 1832 as promised, and the members of the church council could not transport it with their wagons out of Cape Town due to the heavy winter rains a few months later anyway.
For some or other reason Thomas always had him waited on. Finally, the work was completed in February 1833. However, a decision was made to dedicate it only in September 1833.
But the organist, one G.F. Henning, found it “completely useless” with at the first practice. Thomas and one Beil, both from Cape Town, came to “examine” the organ. It was found that not enough air flowed through the building, which caused the ironwork of the organ to rust.
However, they succeeded in repairing it completely. It was ultimately dedicated on 8 December 1833. After Thomas was paid approximately 1400 Riksdaalders, the organ funds showed a positive balance of about 200 Riksdaalders. Henning played the organ until his resignation in1840. These details are in the Assembly Swartland memorial book” (1745-1945) p. 83-85.
I was fortunate that a professional researcher, Mr. Johann Claasen sent me the following message on Facebook. It is in Afrikaans, see the English translation below.
Afrikaans text:
"Ek het Thomas se geboorte jaar in die SAG-reeks gekry en sy geboortedag en maand in die verjaardagboekie wat deur sy jongste dogter bygehou is. Sy sterfdag in die SAG korreleer met die in die verjaardagboekie.
In 1833 het hy die ou Baier orrel uit die Groote Kerk in Kaapstad gehaal, dit herstel en in die Malmesbury se Moederkerk ingebou vir die bedrag van £100.00. "Wegen een accident" is Thomas ongelukkig verhinder om, volgens belofte, die werk in Januarie 1832 te voltooi en met die aanvang van die swaar winterreëns 'n paar maande later kon die kerkraadslede dit in elk geval ook nie met hul waens uit Kaapstad vervoer nie.
Om die een of ander rede het Thomas maar gedurig op hom laat wag. Uiteindelik, in Februarie 1833 is die werk voltooi. Daar word egter besluit om dit eers in September 1833 in te wy.
Maar met die eerste oefening daarop deur die orrelis, ene GF Henning, word dit "geheel onbruikbaar" bevind. Thomas en ene Beil, beide van Kaapstad, moes toe kom en die orrel "examineer". Daar word bevind dat daar nie genoeg lug deur die gebou vloei nie en dit die ysterwerk van die orrel laat roes het.
Hulle kon egter daarin slaag om dit volkome te herstel. Dit is uiteindelik op 8 Desember 1833 ingewy. Nadat in geheel sowat 1400 Riksdaalders aan Thomas uitbetaal is, het die orrelfonds 'n voordelige balans van sowat 200 Riksdaalders getoon. Henning het die orrel bespeel tot met sy bedanking in Desember 1840. Dié gegewens is vervat in die Gemeente Swartland Gedenkboek (1745-1945) p. 83-85."
English translation:
“I found Thomas’ birth date in the SAG-series, and the birth date and month which was in the birthday book of his youngest daughter. The day of his death correlates with the same date in the birthday book.
In 1833 he removed the old Baier organ from the Groote Kerk in Cape Town, repaired it, and then installed it in Malmesbury’s mother church for the amount of £100.00. “Due to an accident,” Thomas was unfortunately hindered to complete the work by January 1832 as promised, and the members of the church council could not transport it with their wagons out of Cape Town due to the heavy winter rains a few months later anyway.
For some or other reason Thomas always had him waited on. Finally, the work was completed in February 1833. However, a decision was made to dedicate it only in September 1833.
But the organist, one G.F. Henning, found it “completely useless” with at the first practice. Thomas and one Beil, both from Cape Town, came to “examine” the organ. It was found that not enough air flowed through the building, which caused the ironwork of the organ to rust.
However, they succeeded in repairing it completely. It was ultimately dedicated on 8 December 1833. After Thomas was paid approximately 1400 Riksdaalders, the organ funds showed a positive balance of about 200 Riksdaalders. Henning played the organ until his resignation in1840. These details are in the Assembly Swartland memorial book” (1745-1945) p. 83-85.
The Bredasdorp Organ
Our Thomas Joel Hitchcock also kept the organ in the Dutch Reformed Church in Bredasdorp, South Africa in good condition.
Upon contacting the church, I was told by an individual that the only information she had was one sentence in their church history book, page 98, chapter 8, under the chapter heading “Die Gemeente Sing en Speel” (English translation: “The Assembly Sings and Plays.”)
It reads in Afrikaans, “Mnr. ‘Hitch Kock’ het toegesien dat die ‘orgel-harmonium’ in ‘n bruikbare toestand bly.” (English translation: “Mr. ‘Hitch Kock’ ensured that the ‘organ-harmonium’ remained in a usable condition.”
Though the spelling of our Thomas Joel Hitchcock’s name is skewed, it is most certainly a reference to him.
Our Thomas Joel Hitchcock also kept the organ in the Dutch Reformed Church in Bredasdorp, South Africa in good condition.
Upon contacting the church, I was told by an individual that the only information she had was one sentence in their church history book, page 98, chapter 8, under the chapter heading “Die Gemeente Sing en Speel” (English translation: “The Assembly Sings and Plays.”)
It reads in Afrikaans, “Mnr. ‘Hitch Kock’ het toegesien dat die ‘orgel-harmonium’ in ‘n bruikbare toestand bly.” (English translation: “Mr. ‘Hitch Kock’ ensured that the ‘organ-harmonium’ remained in a usable condition.”
Though the spelling of our Thomas Joel Hitchcock’s name is skewed, it is most certainly a reference to him.
The St. George’s Church Organ
Thomas Joel Hitchcock (1803)’s greatest accomplishments were both the installation of the Hoets organ in the Groote Kerk, as well as the installation of the organ in the St. George’s Church (known today as St. George’s Cathedral.)
First, a little early history about St. George’s Church. Initially, the Anglican church community held their services in the Cape Town Castle, and later in the Groote Kerk.
In October 1827, the Bishop of Calcutta visited Cape Town, which at that time was considered to be a “distant outpost of his diocese.” At this time, he discussed the building of an Anglican church there. Land was donated by the colonial government, and the foundation stone was laid by the governor, Sir Lowry Cole, on St. George’s Day, April 23, 1830. The building was completed and was opened for services on December 21, 1834. The church could seat over 1,000 people.
It was in this building that Thomas Joel Hitchcock built and installed his organ.
A.E. Barry Smith wrote his thesis entitled, “An Historical Survey of the organs, organists and music of St. George’s Cathedral, Cape Town, from 1834 to 1952.” It contains some valuable insight into Thomas Joel Hitchcock’s activities as organ builder, including his setbacks and frustrations.
Thomas Joel Hitchcock (1803) set forth detailed specifications in his contract to build and install the organ, which reveals his keen intellect and knowledge in his profession. And, in another letter to St. George’s Church, he explained the delays in the building of the organ, and the financial losses he incurred in this venture, due to circumstances beyond his control.
Smith writes:
“The history of the first organ in the original St. George's Cathedral began before the 1830's, when the foundation stone was laid.
“When it was decided to build an Anglican Church in Cape Town, the authorities launched a special fund to cover the cost of the organ.
“This was supported by the Governor, Sir Lowry Cole, his successor, Sir Benjamin D'Urban, and a number of other important people at the Cape.
“The first list of donors was issued in March l829 and two further ones in August and November 1831, by which time £305.2.6d. had been collected.
“By August of the following year, the fund stood at a sufficiently high figure for the Trustees to place an order for an organ with a builder called Thomas Joel Hitchcock, who had established himself in Cape Town as an organ-builder and pianoforte manufacturer in 1828 and traded at what he termed his "musical depository" in Market (now Greenmarket) Square.
“Hitchcock wrote to the Trustees on March l0th, 1832 and in his letter described the instrument he intended building, as well as drawing up his terms of contract:
‘I, Thomas Joel Hitchcock of Cape Town, Organ Builder etc. do hereby undertake to build an Organ of the following description and dimentions [sic], and to complete the same in the best style of workmanship and with the best materials and to set up the same in complete order and in the most perfect and workmanlike manner in the Church of St. George’s now building in Cape Town.
I will enter into a Contract for the due fulfilment of the same with the Trustees of the above Church and will commence working upon it immediately on the Contract being signed.
Description of the Instrument - a Church Organ of Large Scale with three rows of keys, the Set for the Great Organ compass from GG up to F in alt - Long Octaves, viz. - all the intermediate Flats and Sharps from GG upwards - which are not always put into Organs, with the following Stops, on a bold and full quality of tone.
Great Organ
An Open Diapason of large scale
A Stopt Diapason - do -
A Principal - do -
A Twelfth - do -
A Fifteenth - do -
A Sesquialtra and Cornet 3 Ranks
A Mixture 2 Ranks
A Trumpet
The whole of these Stops to run throughout the Instrument, with 18 double diapason Pedal Pipes, the length of the largest to be about 24 feet - with 18 German foot Pedals and couplers to bring on the bass of the Great Organ keys.
The Second Set of keys compass from GG up to F in al t – Long Octaves with the following stops -
Choir Organ
A Stopt Diapason throughout
A Principal -do-
A Fifteenth -do-
A Dulceana to Gamut G
A Cremona to Fiddle G
With double to reach to the lowest octave of the stopt
Diapason on the Dulceana (sic) and Diapason sliders thereby
forming a perfect bass to the Dulceana.
The Third Set of Keys compass from Fiddle G up to F in
alt with the following Stops, enclosed in a Swell Box with a
sliding Venetian - or door front:
Swell
An Open Diapason
A Stopt - do -
A Principal
A Flute
A Hautboy
A Trumpet.
Each of these sets of Keys may also be used separately with a bass accompaniment as the Pedals will be entirely distinct from the Keys, or may be brought on to pull down the Great Organ bass Keys to add to the power.
Each set of keys may 31so be played upon as soft as a flute and will admit of any variation according to the taste of the player.
The whole to be manufactured in the best style of workmanship with the best materials, of a fine rich quality of tone, with double fitting Horizontal Bellows, and with all the latest improvements in the mechanical principle.
To be fitted up and completed in the Church in handsome Wainscot Case, with gilt playing pipes in front in accordance with the accompanying sketch.
The height of the front to be 20 feet - the width across the front to be 16 feet - the depth of the Instrument from back to front to be 9 feet.
For the Sum of Eight Hundred and Fifty Pounds to be paid in the following manner - viz:
The first Instalment of Three Hundred and Fifty pounds to be paid on the signing of the Contract.
The second - do - of One Hundred and Fifty pounds to be paid in six months from the date of signing the Contract.
The third -do - of One Hundred Pounds in nine months from the date of signing the Contract.
The fourth - do - of One Hundred Pounds in twelve months from the date of signing the Contract.
The fifth - do - of One Hundred and Fifty Pounds on the Organ being taken over by the Trustees, and that the Specification be subject to the following conditions -
1st That all the Materials for the use of the above Organ which may be required to be brought into the Colony be landed duty free as in the instance of the Contract for building the Church.
2nd That in the event of the Trustees requiring any alteration to be made in the design of the Instrument, or in the arrangement of the position of the Organ, such expenses must be considered as an addition to the present sum contracted for.
3rd Any alteration that may be required to be made in floor of the Gallery or under the Gallery such expenses to be defrayed by the Trustees.
4th That the Contractor will engage to have the Organ in such a forward state that it may be played upon if required within the term of twelve months and to have the whole completed if required within fifteen months from the date of the Contract.
5th To guard against any loss to the Trustees in case of the demise of the Contractor, in the intermediate time, eight hundred and fifty pounds shall be made in favour of the Trustees at the Contractor' s expense, from which Sum the Trustees will be duly authorized to repay themselves whatever amount they have advanced to the Contractor.’
A.E. Barry continues,
“Hitchcock's task of building this organ was not without setbacks and difficulties and we find him writing to the Trustees on several occasions. On September 4th, 1833, for example, he wrote to say that:
‘In consequence of the Gallery intended for the reception of the Organ not being ready at the time specified in the Contract, I beg to call your attention to the following difficulties in which I am and shall be placed on that account, and trust that you will make such arrangements as may secure me from any loss accruing therefrom.
Previously to my entering on the Contract, I made such calculations as might enable me to reduce the price of the Organ to its present cost in the Contract in order to meet the funds mentioned as likely to be the extent of what might be appropriate for that purpose.
1st That I should take the work directly from my Workshops, put it together in the Church, thereby saving the expense removing it from the workshop to the Store.
2nd That I should have saved the expense of building up in such store, when once putting it together would have been sufficient.
3rd That I should have saved the expense of taking it to pieces in order to remove it to the Church, and
4th I should have saved the expense of store hire from August 18th to such time as the Gallery may be ready for its reception - all these items consequently enhance the expenses of the Organ considerably which the price of the Instrument will not allow of without my being a considerable loser … I beg to state, Gentlemen, that I have been obliged to engage a large store expressly for the reception of the Organ which I should otherwise have had no occasion for…’
“Then again on March 5th, 1834, he writes to say that he is ‘still prevented from bringing the pipes into the Church in consequence of the quantity of dust made by the workmen in removing scaffolding etc.’
“A letter written to the Trustees on September 18th of the same year seems to have an element of despair about it:
‘… I have been kept in a constant state of anxiety for several months past to meet expenses on account of the Organ, which even my business could not answer as I have for some months been obliged almost entirely to give that up not being able to attend to that, or to finish the Organ, I have now exhausted all my resources even for paying my workmen…
‘I expected to have completed all this week, but have been prevented by the carpenters and masons working underneath the gallery and having the doors continually open in very bad weather… I have repeatedly had to do the work twice and thrice over … up to the present moment I am prevented from doing anything in the Church as the masons are still working with the doors open and I am obliged to keep one man constantly there to prevent any injury being done to the Organ.’
“However, Hitchcock was eventually left unhindered to complete his work and on November 20th, 1834 wrote to the Trustees that the Organ was completed and ready for them ‘to take over’, as he put it.
A.E. Barry continues by quoting from a local newspaper:
“The South African Commercial Advertiser of 24th December 1834 claimed that this organ,
“However, it is almost certain that Hitchcock would have had to import the pipes from overseas for he would hardly have had the facilities to build an organ of that size. Moreover, organ pipes are not "cast", which indicates the rather vague nature of this newspaper report.
“Of far more interest is a letter, signed "Musicorum Perstudiosus" which appeared in the South African Commercial Advertiser of December 31st, 1834. Together with Hitchcock's description in his letter to the Trustees in March, 1832, it gives a fair idea of the specification of this first instrument built for St. George's Church.
“Incidentally the claim that it was ‘the first organ that had been manufactured in the British Colonies’ is incorrect. At least two instruments had been assembled in Cape Town after the British Occupation of 1806 in the Strand Street Lutheran Church (1814) by a builder called Green, and in the Groote Kerk (1828) by Hitchcock himself.
“Here then is the text of the letter:
‘Many persons who felt interested and delighted at the opening of the organ, have expressed a wish, that a more practical account should be given of the instrument than the brief one in your remarks on the opening of 'St. George's Church' on the 20th [sic] instant.
‘As this is the first organ which has been manufactured in any of the British Colonies, I hope in offering a few observations on the merits of Mr. Hitchcock' s arduous undertaking, I shall not intrude upon the columns of your valuable and widely circulated journal.
‘The Organ built by Mr. H., and erected in St. George's Cathedral, is constructed with three rows of keys; this number constitutes what is called the legitimate or perfect organ.
‘The great organ, which is played by the middle row of keys, consists of a full toned open and stopt diapason; principal and twelfth, fifteenth, sesquialtra, mixture, tierce, and a very powerful trumpet; to which organ may be coupled, at the pleasure of the performer, a magnificent double diapason. This grand stop is placed by the agency of the pedal keys. It is perfectly independent in its action, and affords to the organist many facilities for giving a more sombre and subdued effect to the brilliant stops.
‘It has been said by a few persons, that the great organ is rather 'harsh', but I think, from a careful examination of the stops, that it merits rather a character for fullness, united with brilliancy of intonation.
‘The choir organ is played by the lowest row of keys, and contains a stopt Diapason, principal, fifteenth and two very beautiful solo stops. The Dulciana is remarkable for its mellifluous tones and the Cremona is no less estimable for its impressive and pathetic qualities of sound.
‘The swell organ is played by the highest row of keys. It possesses a stopt diapason, flutes, hautboy, and an echo trumpet.
‘The organ is a neat and beautiful piece of mechanism; I would advise those who are connoisseurs of good workmanship and complicated machinery to examine this instrument with care, and they cannot, in justice to the builder, help bearing testimony to the masterly style, with which he has accomplished his arduous enterprise.’ (South African Commercial Advertiser, December 31st, 1834.)
“Evidently the organ playing at the opening of St. George's left much to be desired, as "Musicorum Perstudiosus" attempts to explain as follows:
‘The organ … was heard under many disadvantages. The organist had not had opportunities for making himself sufficiently acquainted with the management and combination of the stops; consequently, he could not elicit those varied effects, which it is so richly capable of producing.
‘To do mere common justice to an organ of this magnitude requires a well practised hand and strong nerves; but to conjure up its majestic and enchanting intonations with the master hand and genius of an Adams (Footnote: ‘Thomas Adams, (1785-1858) - a London organist "with a high reputation for his technical skill, extemporization and composition". (Scholes)’ or a Wesley, falls to the lot of very few organists of the present day…
‘… I cannot conclude my remarks without congratulating the friends and supporters of Mr. Hitchcock on the satisfactory completion of his contract. It is much to be regretted that the builder will sustain pecuniary loss, by the delays and many disappointments he has had to contend with.
‘I hope the Trustees of St. George's will present Mr. Hitchcock with some token expressive of their sense of the meritorious manner in which he has completed his difficult undertaking…’ (South African Commercial Advertiser, ibid.)
“This organ, however, was not a great success and the Vestry minutes are full of complaints about its often unsatisfactory condition during the twenty-five years it remained in the old Cathedral. On July 21st, 1836 for example, the Organist, Thomas Corder, wrote to the Vestry to say that ‘the keys, and movement of the Organ, have become quite stiff and unmanageable, in consequence of the current of damp air, which makes its way underneath the gallery door.’
“On August 27th, 1840, Hitchcock himself wrote to the Church-wardens to inform them ‘that the damp from the lower part of the building has affected the movement so much that the Choir Organ is at present quite useless…’; whilst by July 28th, 1849, he had to report that ‘the whole of the instrument is in a very filthy state so that it is impossible for the pipes to obtain their quantity and strength of wind required to produce a clear and steady tone, and the bellows require a thorough repair.’
“By the middle of 1858 the organ was in such a state that the Organist, George Darter, had to write to the Vestry on July 7th describing its ‘very bad condition’ and enclosed a letter from an organ- builder and tuner, Bredell, "who states that he does not think it worthwhile to do anything more to the Organ, owing to the bad condition it is in.”
“At this same meeting the Vestry decided that it would be more economical to replace the organ rather than repair it and they ‘resolved to procure from Mr. Bredell an estimate of the Cost, to be submitted to the next Meeting.’ Mr. Bredell duly reported that it would cost £450 to rebuild and alter the organ, and the Vestry, having decided rather to replace it entirely, resolved on August 11th 1858 to apply to the Organist of the new Dutch Reformed Church ‘to know whether the Dutch Church would purchase the Organ (the Vestry having learnt that that Church was about to have an Organ built) and to offer the same for £200.’
“The Dutch Reformed Churchwardens, however, declined to purchase the organ and so the Cathedral authorities had to discover some other way of disposing of it. Unfortunately there are no records in the Cathedral or contemporary newspapers as to what eventually became of it: V.M. Fitzroy suggests that ‘it was probably the "one-manual organ that later became the first organ in St. Mary' s Roman Catholic Cathedral.”’ (Fitzroy: A Guide compiled for the Friends of St. George ' s Cathedral, p. 29.)
“However, as the instrument built by Hitchcock was one of three manuals, we can discount the suggestion that it was sold to St. Mary’s. Perhaps an advertisement which appeared in 1857 gives us the likely clue as to its subsequent fate:
‘The contemplated alterations in St. George's Cathedral rendering necessary the removal of the organ from its present site, it has been thought desirable that a new Instrument of different construction should be procured from England. The present organ which can easily be divided into two instruments of sufficient size for country churches, is therefore offered for sale. Full parts. from Mr. Bredell, Organ builder, or to the Churchwardens." (Unidentified cutting.)
“It could be that some of the pipe-work from this historic instrument has found its way into other organs in South Africa, or that it still exists complete in some church or other. However, the information about its fate is so scant that it would be impossible to trace this organ unless further facts were to come to light…
“In the Vestry minutes of 9th December, 1839 there is a record of a meeting held to form a choir and the seven gentlemen present,
‘unanimously resolved that they should assist in the Services provided that the following arrangements are agreed upon, viz:
1st That the curtain of the Organ Gallery be raised 12 inches
2nd That the Organ loft be distinct from the Gallery
3rd That the required practice be at the Church with the Organist
4th That the meeting of the Choir for practice be strictly private
5th That the Choir consider themselves under the general control of the Vestry
6th That the selection and arrangement of the music be made by the Organist Mrs. Mangin and Mr. Hitchcock as Conductor.’
“Yet even all this seems to have had little success – Hitchcock lasted barely six months as Conductor and the choral music.”
A.E. Barry’s paper is most certainly interesting, and filled with much information. In consideration of this information, we may ask some questions:
- Did Thomas Joel Hitchcock cast the organ’s pipes himself? And,
- Was Thomas Joel Hitchcock’s organ in St. George’s Church the first to be manufactured in the British Colonies?
Did Thomas Joel Hitchcock cast the organ’s pipes himself?
As already noted, The South African Commercial Advertiser, December 24th, 1834, reported that Thomas Joel Hitchcock’s organ,
"…was built entirely in Cape Town, by Mr. Hitchcock, and is considered by good judges as a decidedly successful effort. It contains upward of 1500 pipes, all of which were cast by himself."
However, as we read earlier in A.E. Barry Smith’s thesis, Barry Smith doubts whether our Thomas Joel Hitchcock made the materials for the organ himself, especially casting the pipes. He writes,
“However, it is almost certain that Hitchcock would have had to import the pipes from overseas for he would hardly have had the facilities to build an organ of that size. Moreover, organ pipes are not "cast", which indicates the rather vague nature of this newspaper report.”
On the other hand, it may have been quite possible that our Thomas Joel Hitchcock did indeed make the materials for the organ himself.
Firstly, I doubt the South African Advertiser would have made such a reckless statement. And secondly, organ pipes and materials had already indeed been made in South Africa by another organ builder before, Mr. Baier, and therefore it is not unreasonable to believe the veracity of the South African Advertiser’s report that our Thomas Joel Hitchcock had cast the pipes by himself.
Van Schoor refers to Troskie, giving us an example of pipes and materials for other organs being made in the Cape earlier:
“Baier het (met die hulp van timmermanne) die pype, en selfs die sensitiewe tongwerke, windlaaie, blaasbalke, manuaaltoetse en registerknoppe uit rou material wat by die Kompanjie se pakhuis aangekoop is, vervaardig (Troskie 1992:2)”
English translation: “Baier (with the help of carpenters) produced the pipes, and even the sensitive tongue works, wind loads, bellow, manual keys, and register buttons from raw materials that had been bought from the Company’s storehouse.”
So, if Baier could do this for his organ by 1754, it is certainly reasonable to believe that our Thomas Joel Hitchcock could do the same by the 1830s.
However, in his article “The early British families of Paarl, R.R. Langham-Carter wrote, “Perhaps his greatest work was the erection of the organ in St. George's Church (later the Cathedral) in 1834-1841, with parts imported from Britain” (see The Early British Families of Paarl - eGGSA branch of the GSSA)
Perhaps our Thomas Joel Hitchcock did import parts from Britain, and also cast some of the parts himself.
Was Thomas Joel Hitchcock’s organ in St. George’s Church the first to be manufactured in the British Colonies?
As mentioned earlier, a letter to the South African Commercial Advertiser of December 31st, 1834, stated:
‘As this is the first organ which has been manufactured in any of the British Colonies, I hope in offering a few observations on the merits of Mr. Hitchcock' s arduous undertaking, I shall not intrude upon the columns of your valuable and widely circulated journal.
But A.E. Barry Smith doubts that Thomas Joel Hitchcock’s organ was the first to be manufactured in the British Colonies. However, his statement must be understood better. He writes,
“Incidentally the claim that it was ‘the first organ that had been manufactured in the British Colonies’ is incorrect. At least two instruments had been assembled in Cape Town after the British Occupation of 1806' in the Strand Street Lutheran Church (1814) by a builder called Green, and in the Groote Kerk (1828) by Hitchcock himself.”
Why then would the South African Commercial Advertiser report that our Thomas Joel Hitchcock’s organ had been the first to have been manufactured in any of the British Colonies? I think that statement has to be analyzed and interpreted in the context of the Anglican Church in the Cape as a British Colony.
It is certain that Thomas Joel Hitchcock’s organ in St. George’s Church is indeed not the first organ to be manufactured in the British Colonies. However, it may indeed have been the first organ to be manufactured for the Anglican Church in the British Colonies.
Therefore, both Barry Smith as well as the South African Commercial Advertiser may be correct, depending on what they are addressing. Barry Smith is correct that this organ was not the first organ manufactured in the British Colonies, but the South African Commercial Advertiser may be correct in that it is indeed the first organ manufactured in the British Colonies for the Anglican Church.
Thomas Joel Hitchcock (1803)’s greatest accomplishments were both the installation of the Hoets organ in the Groote Kerk, as well as the installation of the organ in the St. George’s Church (known today as St. George’s Cathedral.)
First, a little early history about St. George’s Church. Initially, the Anglican church community held their services in the Cape Town Castle, and later in the Groote Kerk.
In October 1827, the Bishop of Calcutta visited Cape Town, which at that time was considered to be a “distant outpost of his diocese.” At this time, he discussed the building of an Anglican church there. Land was donated by the colonial government, and the foundation stone was laid by the governor, Sir Lowry Cole, on St. George’s Day, April 23, 1830. The building was completed and was opened for services on December 21, 1834. The church could seat over 1,000 people.
It was in this building that Thomas Joel Hitchcock built and installed his organ.
A.E. Barry Smith wrote his thesis entitled, “An Historical Survey of the organs, organists and music of St. George’s Cathedral, Cape Town, from 1834 to 1952.” It contains some valuable insight into Thomas Joel Hitchcock’s activities as organ builder, including his setbacks and frustrations.
Thomas Joel Hitchcock (1803) set forth detailed specifications in his contract to build and install the organ, which reveals his keen intellect and knowledge in his profession. And, in another letter to St. George’s Church, he explained the delays in the building of the organ, and the financial losses he incurred in this venture, due to circumstances beyond his control.
Smith writes:
“The history of the first organ in the original St. George's Cathedral began before the 1830's, when the foundation stone was laid.
“When it was decided to build an Anglican Church in Cape Town, the authorities launched a special fund to cover the cost of the organ.
“This was supported by the Governor, Sir Lowry Cole, his successor, Sir Benjamin D'Urban, and a number of other important people at the Cape.
“The first list of donors was issued in March l829 and two further ones in August and November 1831, by which time £305.2.6d. had been collected.
“By August of the following year, the fund stood at a sufficiently high figure for the Trustees to place an order for an organ with a builder called Thomas Joel Hitchcock, who had established himself in Cape Town as an organ-builder and pianoforte manufacturer in 1828 and traded at what he termed his "musical depository" in Market (now Greenmarket) Square.
“Hitchcock wrote to the Trustees on March l0th, 1832 and in his letter described the instrument he intended building, as well as drawing up his terms of contract:
‘I, Thomas Joel Hitchcock of Cape Town, Organ Builder etc. do hereby undertake to build an Organ of the following description and dimentions [sic], and to complete the same in the best style of workmanship and with the best materials and to set up the same in complete order and in the most perfect and workmanlike manner in the Church of St. George’s now building in Cape Town.
I will enter into a Contract for the due fulfilment of the same with the Trustees of the above Church and will commence working upon it immediately on the Contract being signed.
Description of the Instrument - a Church Organ of Large Scale with three rows of keys, the Set for the Great Organ compass from GG up to F in alt - Long Octaves, viz. - all the intermediate Flats and Sharps from GG upwards - which are not always put into Organs, with the following Stops, on a bold and full quality of tone.
Great Organ
An Open Diapason of large scale
A Stopt Diapason - do -
A Principal - do -
A Twelfth - do -
A Fifteenth - do -
A Sesquialtra and Cornet 3 Ranks
A Mixture 2 Ranks
A Trumpet
The whole of these Stops to run throughout the Instrument, with 18 double diapason Pedal Pipes, the length of the largest to be about 24 feet - with 18 German foot Pedals and couplers to bring on the bass of the Great Organ keys.
The Second Set of keys compass from GG up to F in al t – Long Octaves with the following stops -
Choir Organ
A Stopt Diapason throughout
A Principal -do-
A Fifteenth -do-
A Dulceana to Gamut G
A Cremona to Fiddle G
With double to reach to the lowest octave of the stopt
Diapason on the Dulceana (sic) and Diapason sliders thereby
forming a perfect bass to the Dulceana.
The Third Set of Keys compass from Fiddle G up to F in
alt with the following Stops, enclosed in a Swell Box with a
sliding Venetian - or door front:
Swell
An Open Diapason
A Stopt - do -
A Principal
A Flute
A Hautboy
A Trumpet.
Each of these sets of Keys may also be used separately with a bass accompaniment as the Pedals will be entirely distinct from the Keys, or may be brought on to pull down the Great Organ bass Keys to add to the power.
Each set of keys may 31so be played upon as soft as a flute and will admit of any variation according to the taste of the player.
The whole to be manufactured in the best style of workmanship with the best materials, of a fine rich quality of tone, with double fitting Horizontal Bellows, and with all the latest improvements in the mechanical principle.
To be fitted up and completed in the Church in handsome Wainscot Case, with gilt playing pipes in front in accordance with the accompanying sketch.
The height of the front to be 20 feet - the width across the front to be 16 feet - the depth of the Instrument from back to front to be 9 feet.
For the Sum of Eight Hundred and Fifty Pounds to be paid in the following manner - viz:
The first Instalment of Three Hundred and Fifty pounds to be paid on the signing of the Contract.
The second - do - of One Hundred and Fifty pounds to be paid in six months from the date of signing the Contract.
The third -do - of One Hundred Pounds in nine months from the date of signing the Contract.
The fourth - do - of One Hundred Pounds in twelve months from the date of signing the Contract.
The fifth - do - of One Hundred and Fifty Pounds on the Organ being taken over by the Trustees, and that the Specification be subject to the following conditions -
1st That all the Materials for the use of the above Organ which may be required to be brought into the Colony be landed duty free as in the instance of the Contract for building the Church.
2nd That in the event of the Trustees requiring any alteration to be made in the design of the Instrument, or in the arrangement of the position of the Organ, such expenses must be considered as an addition to the present sum contracted for.
3rd Any alteration that may be required to be made in floor of the Gallery or under the Gallery such expenses to be defrayed by the Trustees.
4th That the Contractor will engage to have the Organ in such a forward state that it may be played upon if required within the term of twelve months and to have the whole completed if required within fifteen months from the date of the Contract.
5th To guard against any loss to the Trustees in case of the demise of the Contractor, in the intermediate time, eight hundred and fifty pounds shall be made in favour of the Trustees at the Contractor' s expense, from which Sum the Trustees will be duly authorized to repay themselves whatever amount they have advanced to the Contractor.’
A.E. Barry continues,
“Hitchcock's task of building this organ was not without setbacks and difficulties and we find him writing to the Trustees on several occasions. On September 4th, 1833, for example, he wrote to say that:
‘In consequence of the Gallery intended for the reception of the Organ not being ready at the time specified in the Contract, I beg to call your attention to the following difficulties in which I am and shall be placed on that account, and trust that you will make such arrangements as may secure me from any loss accruing therefrom.
Previously to my entering on the Contract, I made such calculations as might enable me to reduce the price of the Organ to its present cost in the Contract in order to meet the funds mentioned as likely to be the extent of what might be appropriate for that purpose.
1st That I should take the work directly from my Workshops, put it together in the Church, thereby saving the expense removing it from the workshop to the Store.
2nd That I should have saved the expense of building up in such store, when once putting it together would have been sufficient.
3rd That I should have saved the expense of taking it to pieces in order to remove it to the Church, and
4th I should have saved the expense of store hire from August 18th to such time as the Gallery may be ready for its reception - all these items consequently enhance the expenses of the Organ considerably which the price of the Instrument will not allow of without my being a considerable loser … I beg to state, Gentlemen, that I have been obliged to engage a large store expressly for the reception of the Organ which I should otherwise have had no occasion for…’
“Then again on March 5th, 1834, he writes to say that he is ‘still prevented from bringing the pipes into the Church in consequence of the quantity of dust made by the workmen in removing scaffolding etc.’
“A letter written to the Trustees on September 18th of the same year seems to have an element of despair about it:
‘… I have been kept in a constant state of anxiety for several months past to meet expenses on account of the Organ, which even my business could not answer as I have for some months been obliged almost entirely to give that up not being able to attend to that, or to finish the Organ, I have now exhausted all my resources even for paying my workmen…
‘I expected to have completed all this week, but have been prevented by the carpenters and masons working underneath the gallery and having the doors continually open in very bad weather… I have repeatedly had to do the work twice and thrice over … up to the present moment I am prevented from doing anything in the Church as the masons are still working with the doors open and I am obliged to keep one man constantly there to prevent any injury being done to the Organ.’
“However, Hitchcock was eventually left unhindered to complete his work and on November 20th, 1834 wrote to the Trustees that the Organ was completed and ready for them ‘to take over’, as he put it.
A.E. Barry continues by quoting from a local newspaper:
“The South African Commercial Advertiser of 24th December 1834 claimed that this organ,
“However, it is almost certain that Hitchcock would have had to import the pipes from overseas for he would hardly have had the facilities to build an organ of that size. Moreover, organ pipes are not "cast", which indicates the rather vague nature of this newspaper report.
“Of far more interest is a letter, signed "Musicorum Perstudiosus" which appeared in the South African Commercial Advertiser of December 31st, 1834. Together with Hitchcock's description in his letter to the Trustees in March, 1832, it gives a fair idea of the specification of this first instrument built for St. George's Church.
“Incidentally the claim that it was ‘the first organ that had been manufactured in the British Colonies’ is incorrect. At least two instruments had been assembled in Cape Town after the British Occupation of 1806 in the Strand Street Lutheran Church (1814) by a builder called Green, and in the Groote Kerk (1828) by Hitchcock himself.
“Here then is the text of the letter:
‘Many persons who felt interested and delighted at the opening of the organ, have expressed a wish, that a more practical account should be given of the instrument than the brief one in your remarks on the opening of 'St. George's Church' on the 20th [sic] instant.
‘As this is the first organ which has been manufactured in any of the British Colonies, I hope in offering a few observations on the merits of Mr. Hitchcock' s arduous undertaking, I shall not intrude upon the columns of your valuable and widely circulated journal.
‘The Organ built by Mr. H., and erected in St. George's Cathedral, is constructed with three rows of keys; this number constitutes what is called the legitimate or perfect organ.
‘The great organ, which is played by the middle row of keys, consists of a full toned open and stopt diapason; principal and twelfth, fifteenth, sesquialtra, mixture, tierce, and a very powerful trumpet; to which organ may be coupled, at the pleasure of the performer, a magnificent double diapason. This grand stop is placed by the agency of the pedal keys. It is perfectly independent in its action, and affords to the organist many facilities for giving a more sombre and subdued effect to the brilliant stops.
‘It has been said by a few persons, that the great organ is rather 'harsh', but I think, from a careful examination of the stops, that it merits rather a character for fullness, united with brilliancy of intonation.
‘The choir organ is played by the lowest row of keys, and contains a stopt Diapason, principal, fifteenth and two very beautiful solo stops. The Dulciana is remarkable for its mellifluous tones and the Cremona is no less estimable for its impressive and pathetic qualities of sound.
‘The swell organ is played by the highest row of keys. It possesses a stopt diapason, flutes, hautboy, and an echo trumpet.
‘The organ is a neat and beautiful piece of mechanism; I would advise those who are connoisseurs of good workmanship and complicated machinery to examine this instrument with care, and they cannot, in justice to the builder, help bearing testimony to the masterly style, with which he has accomplished his arduous enterprise.’ (South African Commercial Advertiser, December 31st, 1834.)
“Evidently the organ playing at the opening of St. George's left much to be desired, as "Musicorum Perstudiosus" attempts to explain as follows:
‘The organ … was heard under many disadvantages. The organist had not had opportunities for making himself sufficiently acquainted with the management and combination of the stops; consequently, he could not elicit those varied effects, which it is so richly capable of producing.
‘To do mere common justice to an organ of this magnitude requires a well practised hand and strong nerves; but to conjure up its majestic and enchanting intonations with the master hand and genius of an Adams (Footnote: ‘Thomas Adams, (1785-1858) - a London organist "with a high reputation for his technical skill, extemporization and composition". (Scholes)’ or a Wesley, falls to the lot of very few organists of the present day…
‘… I cannot conclude my remarks without congratulating the friends and supporters of Mr. Hitchcock on the satisfactory completion of his contract. It is much to be regretted that the builder will sustain pecuniary loss, by the delays and many disappointments he has had to contend with.
‘I hope the Trustees of St. George's will present Mr. Hitchcock with some token expressive of their sense of the meritorious manner in which he has completed his difficult undertaking…’ (South African Commercial Advertiser, ibid.)
“This organ, however, was not a great success and the Vestry minutes are full of complaints about its often unsatisfactory condition during the twenty-five years it remained in the old Cathedral. On July 21st, 1836 for example, the Organist, Thomas Corder, wrote to the Vestry to say that ‘the keys, and movement of the Organ, have become quite stiff and unmanageable, in consequence of the current of damp air, which makes its way underneath the gallery door.’
“On August 27th, 1840, Hitchcock himself wrote to the Church-wardens to inform them ‘that the damp from the lower part of the building has affected the movement so much that the Choir Organ is at present quite useless…’; whilst by July 28th, 1849, he had to report that ‘the whole of the instrument is in a very filthy state so that it is impossible for the pipes to obtain their quantity and strength of wind required to produce a clear and steady tone, and the bellows require a thorough repair.’
“By the middle of 1858 the organ was in such a state that the Organist, George Darter, had to write to the Vestry on July 7th describing its ‘very bad condition’ and enclosed a letter from an organ- builder and tuner, Bredell, "who states that he does not think it worthwhile to do anything more to the Organ, owing to the bad condition it is in.”
“At this same meeting the Vestry decided that it would be more economical to replace the organ rather than repair it and they ‘resolved to procure from Mr. Bredell an estimate of the Cost, to be submitted to the next Meeting.’ Mr. Bredell duly reported that it would cost £450 to rebuild and alter the organ, and the Vestry, having decided rather to replace it entirely, resolved on August 11th 1858 to apply to the Organist of the new Dutch Reformed Church ‘to know whether the Dutch Church would purchase the Organ (the Vestry having learnt that that Church was about to have an Organ built) and to offer the same for £200.’
“The Dutch Reformed Churchwardens, however, declined to purchase the organ and so the Cathedral authorities had to discover some other way of disposing of it. Unfortunately there are no records in the Cathedral or contemporary newspapers as to what eventually became of it: V.M. Fitzroy suggests that ‘it was probably the "one-manual organ that later became the first organ in St. Mary' s Roman Catholic Cathedral.”’ (Fitzroy: A Guide compiled for the Friends of St. George ' s Cathedral, p. 29.)
“However, as the instrument built by Hitchcock was one of three manuals, we can discount the suggestion that it was sold to St. Mary’s. Perhaps an advertisement which appeared in 1857 gives us the likely clue as to its subsequent fate:
‘The contemplated alterations in St. George's Cathedral rendering necessary the removal of the organ from its present site, it has been thought desirable that a new Instrument of different construction should be procured from England. The present organ which can easily be divided into two instruments of sufficient size for country churches, is therefore offered for sale. Full parts. from Mr. Bredell, Organ builder, or to the Churchwardens." (Unidentified cutting.)
“It could be that some of the pipe-work from this historic instrument has found its way into other organs in South Africa, or that it still exists complete in some church or other. However, the information about its fate is so scant that it would be impossible to trace this organ unless further facts were to come to light…
“In the Vestry minutes of 9th December, 1839 there is a record of a meeting held to form a choir and the seven gentlemen present,
‘unanimously resolved that they should assist in the Services provided that the following arrangements are agreed upon, viz:
1st That the curtain of the Organ Gallery be raised 12 inches
2nd That the Organ loft be distinct from the Gallery
3rd That the required practice be at the Church with the Organist
4th That the meeting of the Choir for practice be strictly private
5th That the Choir consider themselves under the general control of the Vestry
6th That the selection and arrangement of the music be made by the Organist Mrs. Mangin and Mr. Hitchcock as Conductor.’
“Yet even all this seems to have had little success – Hitchcock lasted barely six months as Conductor and the choral music.”
A.E. Barry’s paper is most certainly interesting, and filled with much information. In consideration of this information, we may ask some questions:
- Did Thomas Joel Hitchcock cast the organ’s pipes himself? And,
- Was Thomas Joel Hitchcock’s organ in St. George’s Church the first to be manufactured in the British Colonies?
Did Thomas Joel Hitchcock cast the organ’s pipes himself?
As already noted, The South African Commercial Advertiser, December 24th, 1834, reported that Thomas Joel Hitchcock’s organ,
"…was built entirely in Cape Town, by Mr. Hitchcock, and is considered by good judges as a decidedly successful effort. It contains upward of 1500 pipes, all of which were cast by himself."
However, as we read earlier in A.E. Barry Smith’s thesis, Barry Smith doubts whether our Thomas Joel Hitchcock made the materials for the organ himself, especially casting the pipes. He writes,
“However, it is almost certain that Hitchcock would have had to import the pipes from overseas for he would hardly have had the facilities to build an organ of that size. Moreover, organ pipes are not "cast", which indicates the rather vague nature of this newspaper report.”
On the other hand, it may have been quite possible that our Thomas Joel Hitchcock did indeed make the materials for the organ himself.
Firstly, I doubt the South African Advertiser would have made such a reckless statement. And secondly, organ pipes and materials had already indeed been made in South Africa by another organ builder before, Mr. Baier, and therefore it is not unreasonable to believe the veracity of the South African Advertiser’s report that our Thomas Joel Hitchcock had cast the pipes by himself.
Van Schoor refers to Troskie, giving us an example of pipes and materials for other organs being made in the Cape earlier:
“Baier het (met die hulp van timmermanne) die pype, en selfs die sensitiewe tongwerke, windlaaie, blaasbalke, manuaaltoetse en registerknoppe uit rou material wat by die Kompanjie se pakhuis aangekoop is, vervaardig (Troskie 1992:2)”
English translation: “Baier (with the help of carpenters) produced the pipes, and even the sensitive tongue works, wind loads, bellow, manual keys, and register buttons from raw materials that had been bought from the Company’s storehouse.”
So, if Baier could do this for his organ by 1754, it is certainly reasonable to believe that our Thomas Joel Hitchcock could do the same by the 1830s.
However, in his article “The early British families of Paarl, R.R. Langham-Carter wrote, “Perhaps his greatest work was the erection of the organ in St. George's Church (later the Cathedral) in 1834-1841, with parts imported from Britain” (see The Early British Families of Paarl - eGGSA branch of the GSSA)
Perhaps our Thomas Joel Hitchcock did import parts from Britain, and also cast some of the parts himself.
Was Thomas Joel Hitchcock’s organ in St. George’s Church the first to be manufactured in the British Colonies?
As mentioned earlier, a letter to the South African Commercial Advertiser of December 31st, 1834, stated:
‘As this is the first organ which has been manufactured in any of the British Colonies, I hope in offering a few observations on the merits of Mr. Hitchcock' s arduous undertaking, I shall not intrude upon the columns of your valuable and widely circulated journal.
But A.E. Barry Smith doubts that Thomas Joel Hitchcock’s organ was the first to be manufactured in the British Colonies. However, his statement must be understood better. He writes,
“Incidentally the claim that it was ‘the first organ that had been manufactured in the British Colonies’ is incorrect. At least two instruments had been assembled in Cape Town after the British Occupation of 1806' in the Strand Street Lutheran Church (1814) by a builder called Green, and in the Groote Kerk (1828) by Hitchcock himself.”
Why then would the South African Commercial Advertiser report that our Thomas Joel Hitchcock’s organ had been the first to have been manufactured in any of the British Colonies? I think that statement has to be analyzed and interpreted in the context of the Anglican Church in the Cape as a British Colony.
It is certain that Thomas Joel Hitchcock’s organ in St. George’s Church is indeed not the first organ to be manufactured in the British Colonies. However, it may indeed have been the first organ to be manufactured for the Anglican Church in the British Colonies.
Therefore, both Barry Smith as well as the South African Commercial Advertiser may be correct, depending on what they are addressing. Barry Smith is correct that this organ was not the first organ manufactured in the British Colonies, but the South African Commercial Advertiser may be correct in that it is indeed the first organ manufactured in the British Colonies for the Anglican Church.
Return to his occupation of repairing and tuning musical instruments
As Thomas Joel Hitchcock’s building and installation organ in the St. George’s Church neared an end, he resumed his work in the musical instrument business.
There is an advertisement in the South African Commercial Advertiser, dated Saturday, 18 January 1834, which reads:
“T.J. HITCHCOCK: Having removed his manufactory to No.11 St. George’s-street, the house formerly occupied by Mr. DIXIE, In returning his thanks for the great support and encouragement he has met with, begs to announce to his friends and the public generally that, as the organ which he has been making for St. George’s Church is now ready for fixing, and which has for some time past prevented him from attending regularly to his pianoforte tunings, he will now devote his attention to the tuning and repairing of pianofortes, harps and musical instruments generally. Applications for tunings, repairs &c will meet with immediate attention. T.J. HITCHCOCK, Pianoforte Maker and Tuner, Organ Builder &c, No.11 St. George’s-street Cape Town, PS Pianofortes &c for sale or to hire.”
There is yet another advertisement in the South African Advertiser on 21 September 1839, which reads:
“REMOVAL: The Undersigned, having hired the House No.6 Keizersgracht, formerly Morrison’s Hotel, will remove his Musical Establishment to that place at the commencement of the ensuing month, and begs to take this opportunity of returning his grateful thanks to those Families who have honored him with their support, as also the numerous Visitors from India &c. He trusts to be enabled in future to supply all Articles, in any way connected with a Musical Business, of the very best quality, and at moderate prices. All kinds of Musical Instruments Tuned and Repaired; well seasoned Piano Fortes to Hire or for Sale.
T.J. HITCHCOCK, No.7 Keizersgracht, 19th Sept 1839
T.J.H. has just received some beautiful Spanish Guitars, selected especially for this place by Mr. CORDER; also Music – Piano Forte, Duetts, Guitar, Songs, Sacred Hymns &c.”
This advertisement is available at https://www.eggsa.org/newspapers/index.php/south-african-commercial-advertiser/175-saca-1839-jul-sep
From these valuable advertisements, we gather that our Thomas Joel Hitchcock continued his musical business in 1834-1839, and onwards, after he had installed his organ in St. George’s Church.
As Thomas Joel Hitchcock’s building and installation organ in the St. George’s Church neared an end, he resumed his work in the musical instrument business.
There is an advertisement in the South African Commercial Advertiser, dated Saturday, 18 January 1834, which reads:
“T.J. HITCHCOCK: Having removed his manufactory to No.11 St. George’s-street, the house formerly occupied by Mr. DIXIE, In returning his thanks for the great support and encouragement he has met with, begs to announce to his friends and the public generally that, as the organ which he has been making for St. George’s Church is now ready for fixing, and which has for some time past prevented him from attending regularly to his pianoforte tunings, he will now devote his attention to the tuning and repairing of pianofortes, harps and musical instruments generally. Applications for tunings, repairs &c will meet with immediate attention. T.J. HITCHCOCK, Pianoforte Maker and Tuner, Organ Builder &c, No.11 St. George’s-street Cape Town, PS Pianofortes &c for sale or to hire.”
There is yet another advertisement in the South African Advertiser on 21 September 1839, which reads:
“REMOVAL: The Undersigned, having hired the House No.6 Keizersgracht, formerly Morrison’s Hotel, will remove his Musical Establishment to that place at the commencement of the ensuing month, and begs to take this opportunity of returning his grateful thanks to those Families who have honored him with their support, as also the numerous Visitors from India &c. He trusts to be enabled in future to supply all Articles, in any way connected with a Musical Business, of the very best quality, and at moderate prices. All kinds of Musical Instruments Tuned and Repaired; well seasoned Piano Fortes to Hire or for Sale.
T.J. HITCHCOCK, No.7 Keizersgracht, 19th Sept 1839
T.J.H. has just received some beautiful Spanish Guitars, selected especially for this place by Mr. CORDER; also Music – Piano Forte, Duetts, Guitar, Songs, Sacred Hymns &c.”
This advertisement is available at https://www.eggsa.org/newspapers/index.php/south-african-commercial-advertiser/175-saca-1839-jul-sep
From these valuable advertisements, we gather that our Thomas Joel Hitchcock continued his musical business in 1834-1839, and onwards, after he had installed his organ in St. George’s Church.
He rents out his house
During this time, our Thomas Joel Hitchcock “engaged to take Mr. Morrison’s House…” I am unsure if taking the house means that he bought it, or that he rented it.
Either way, he advertised his own property, to rent it out, which gives us a good idea as to the condition of his home and property. This advertisement immediately followed the advertisement referenced in the previous chapter. It reads,
“Mr. T.J. HITCHCOCK having engaged to take Mr. MORRISON’s House from the first of next month, will be willing to let for a term his delightfully situated Cottage called Sweet Home, with Vegetable and Flower Garden in excellent order, planted with several hundred Fruit Trees, Vines &c. It is within twenty minutes’ walk of the Public Offices, on the Somerset Road, leading to Green Point, with Water laid on the Premises. 19th September 1839”
For both these advertisements, visit https://www.eggsa.org/newspapers/index.php/south-african-commercial-advertiser/175-saca-1839-jul-sep
On naturally wonders how nice this house and property must have been, considering words describing it as “delightfully situated,” and called “Sweet Home.” We can only imagine the “vegetable and flower garden” that was “in excellent order,” that is, in excellent condition. Added to that, it had “several hundred” fruit trees, vines, etc. Perhaps he had at least 200, or maybe 400, 500, or 700 fruit trees, and vineyards. Those familiar with the Western Cape know how quint and beautiful houses look when nestled among South Africa’s vineyards.
During this time, our Thomas Joel Hitchcock “engaged to take Mr. Morrison’s House…” I am unsure if taking the house means that he bought it, or that he rented it.
Either way, he advertised his own property, to rent it out, which gives us a good idea as to the condition of his home and property. This advertisement immediately followed the advertisement referenced in the previous chapter. It reads,
“Mr. T.J. HITCHCOCK having engaged to take Mr. MORRISON’s House from the first of next month, will be willing to let for a term his delightfully situated Cottage called Sweet Home, with Vegetable and Flower Garden in excellent order, planted with several hundred Fruit Trees, Vines &c. It is within twenty minutes’ walk of the Public Offices, on the Somerset Road, leading to Green Point, with Water laid on the Premises. 19th September 1839”
For both these advertisements, visit https://www.eggsa.org/newspapers/index.php/south-african-commercial-advertiser/175-saca-1839-jul-sep
On naturally wonders how nice this house and property must have been, considering words describing it as “delightfully situated,” and called “Sweet Home.” We can only imagine the “vegetable and flower garden” that was “in excellent order,” that is, in excellent condition. Added to that, it had “several hundred” fruit trees, vines, etc. Perhaps he had at least 200, or maybe 400, 500, or 700 fruit trees, and vineyards. Those familiar with the Western Cape know how quint and beautiful houses look when nestled among South Africa’s vineyards.
His marriages and children
Our Thomas Joel Hitchcock was married three times, outliving his first two wives. I am a descendent of the second wife, Helena Dorothea Meyer (Born in Cape Town on 28 May 1824, died in the District of Swellendam on 07 February 1862.
In communication with descendants of our Thomas Joel Hitchcock, I have found that several of them possess a copy of his Birth Registry, which contains three pages, which details the birth dates and deaths of his three wives and their children. I have inserted copies of those three pages at the end of the following transcription:
It reads:
“Birth registry of Thomas Joel Hitchcock, his three wives and children from 1803 to 1886:
Thomas Joel Hitchcock, born May 13, 1803 in the City of Worcester in England.
Wife: Johanna Christina Rykje Zulch, born April 14, 1814 at Swellendam, South Africa; married to above T.J. Hitchcock on Tuesday, 14 February 1832 in Cape Town 10 a.m.
Children of the above:
- Francina Elizabeth born Sunday morning November 11, 1832 in Cape Town at 5 a.m.
- Thomas John born January 4, 1835 at Paarl Sunday morning at 9 a.m. Died Tuesday evening June 7, 1875 at Fraserburg.
- Johanna Magdalena born July 4, 1836 at Paarl Monday morning 5 a.m. Died Vredenburg March 20, 1909.
- William Henry born June 22, 1838 at Cape Town on Tuesday at 2 p.m. Died at Winburg O.F.S. May 1, 1874.
- Charles Zulch born October 10, 1839 at Green Point 2 a.m. at “Sweet Home.”
- James Edward born March 29, 1862 at Cape Town on Monday at 10 p.m. Died May 1902 at Britstown.
- Elizabeth Jane born August 1843 at Green Point, “Sweet Home” on Friday at 9 a.m. Died April 1914 at Paarl.
- Emily Ann born Augus 1843 born at Green Point, “Sweet Home” died November 5, 1843 at 12:30 p.m.; buried by her mother.
- Lucy Harriet born May 21, 1845 at Green Point, “Sweet Home” at 7:30 p.m. Died December 5, 1845 at 4 a.m.; buried by her mother.
2nd Wife: Helena Dorothea Meyer born May 28, 1824 in Cape Town. Married to the above T.J. Hitchcock on Wednesday June 11, 1851 in the Dutch Reformed Church Cape Town.
Children of the second marriage of T.J. Hitchcock:
- Justus Wilhelm George born April 25, 1852 in the Gardens, Waterhoff, near Cape Town at 3 a.m.
- Henry Thomas born April 18, 1853 in the Gardens, Waterhoff, near Cape Town at 8 a.m. Died 11 Sept 1957.
- Catherine Wilhelmina Carolina born July 18, 1854 in Cape Town at 2 p.m.
- John Dyason born September 21, 1857 at Swellendam at 4:20 a.m. ["a.m.” is ineligible, could be p.m.?]
- Theodore Hoffman Pusey born October 30, 1858 at Swellendam at 7 p.m. Died at Paarl, September 1926.
- Maria Bremley born August 17, 1860 at Swellendam at 10:30 a.m. Died December 13, 1861 at 5 a.m. Buried in the English Cemetery Swellendam.
Helena Dorothea Hitchcock born Meyer mother of above children died February 11, 1862 at Swellendam at 4 a.m. Buried in the churchyard Dutch Reformed Church, Swellendam.
3rd Wife: Elizabeth Maria Scoltz born June 1839 at Klapmuts, married to Thomas Joel Hitchcock on Monday November 2, 1868 in Holy Trinity Church, Paarl.
Children of third marriage of T.J.H:
- Anna Aletta Elizabeth born, 1870 at Paarl on Wednesday at 3 a.m.
- Frances Scoltz born November 3, 1871 at Paarl at 5 p.m. Died at Klein Drakenstein February 1, 1911.
- George James born August 24, 1875 at Paarl at 1 p.m.
Thomas Joel Hitchcock father of foregoing events died on the 3rd March, 1886 at Klein Drakenstein on Wednesday at 4 p.m. Buried at Paarl in the English Church Cemetery. Elizabeth Maria Hitchcock born Scoltz, mother of three last named children died at Paarl on 19 March 1886. Buried near her husband in the English Church Cemetery.”
My father’s cousin, Aleetha (Koen) McGovern put together this brief and detailed synopsis of Thomas Joel Hitchcock’s marriages and children. I will not translate this portion, but I made it available here for anyone who might benefit from it: (* means birth date, † means death date, # means burial, etc.)
“Thomas Joël HITCHCOCK * Worcester, Engeland 13.05.1803 = Saint Michael Bedwardine, Worcester, Engeland 05.06.1803 † Klein Drakenstein 03.03.1886 (82.10.-) # Paarl Engelse Kerk begraafplaas. ‘Pianoforte Maker and Tuner, Organ Builder’. Professor van Musiek. Hy het ‘n orrel gebou vir St Georges Kerk Kaapstad. Hy het ‘n stuk grond met geboue daarop gekoop van Wilhelmina Charlina Zulch en dit is geregistreer in die akte kantoor 26.02.1877 Hy het gewoon “Kamp Grond” in 1851 x In the English Church Cape Town by the Rev. G. Hough MA, Senior Colonial Chaplain: 14.02.1832 Johanna Christina Rykje ZULCH *Swellendam 14.04.1814 † Top of Keeromstraat, Kaapstad 27.10.1849 (35yrs. 6 mnths 13 days-) Sterf kennisgewing in koerant het sterf datum as 27.10.1849 en in die 1849 koerant en Familie document sê dit sy is 27.10.1849 oorlede. Die sterf sertifikaat het 28.10.1850 wat verkeerd is # Engelse begraafplaas, Somerset Weg, Kaapstad ( d.v. Johan Christiaan Zulch en Francina Wilhelmina van der Merwe) xx Kaapstad NG Kerk 11.6.1851 Helena Dorothea MEYER *Kaapstad 28.05.1824 † Dist Swellendam 07.02.1862 (38.-) # In die kerkhof begraafplaas van die NG Kerk Swellendam (Familie dokumente sê sy is 11.02.1862 oorlede) (d.v. Justus Wilhelmus MEYER *1795 + Keeromstraat, Kaapstad 19.05.1853 en Catharina Elizabeth MOHR) xxx Holy Trinity Kerk, Paarl, 02.11.1868 Elizabeth Maria SCHOLTZ * 01.06.1839 = Paarl 11.08.1839 † Paarl 19.03.1886 (46.-) (d.v. Johan Jurgen Scholtz * 27.06.1807 + Paarl 08.08.1870 x Paarl 02.08.1834 Anna Aletta Elizabeth Muller *29.09.1815 + Groot Drakenstein
Our Thomas Joel Hitchcock was married three times, outliving his first two wives. I am a descendent of the second wife, Helena Dorothea Meyer (Born in Cape Town on 28 May 1824, died in the District of Swellendam on 07 February 1862.
In communication with descendants of our Thomas Joel Hitchcock, I have found that several of them possess a copy of his Birth Registry, which contains three pages, which details the birth dates and deaths of his three wives and their children. I have inserted copies of those three pages at the end of the following transcription:
It reads:
“Birth registry of Thomas Joel Hitchcock, his three wives and children from 1803 to 1886:
Thomas Joel Hitchcock, born May 13, 1803 in the City of Worcester in England.
Wife: Johanna Christina Rykje Zulch, born April 14, 1814 at Swellendam, South Africa; married to above T.J. Hitchcock on Tuesday, 14 February 1832 in Cape Town 10 a.m.
Children of the above:
- Francina Elizabeth born Sunday morning November 11, 1832 in Cape Town at 5 a.m.
- Thomas John born January 4, 1835 at Paarl Sunday morning at 9 a.m. Died Tuesday evening June 7, 1875 at Fraserburg.
- Johanna Magdalena born July 4, 1836 at Paarl Monday morning 5 a.m. Died Vredenburg March 20, 1909.
- William Henry born June 22, 1838 at Cape Town on Tuesday at 2 p.m. Died at Winburg O.F.S. May 1, 1874.
- Charles Zulch born October 10, 1839 at Green Point 2 a.m. at “Sweet Home.”
- James Edward born March 29, 1862 at Cape Town on Monday at 10 p.m. Died May 1902 at Britstown.
- Elizabeth Jane born August 1843 at Green Point, “Sweet Home” on Friday at 9 a.m. Died April 1914 at Paarl.
- Emily Ann born Augus 1843 born at Green Point, “Sweet Home” died November 5, 1843 at 12:30 p.m.; buried by her mother.
- Lucy Harriet born May 21, 1845 at Green Point, “Sweet Home” at 7:30 p.m. Died December 5, 1845 at 4 a.m.; buried by her mother.
2nd Wife: Helena Dorothea Meyer born May 28, 1824 in Cape Town. Married to the above T.J. Hitchcock on Wednesday June 11, 1851 in the Dutch Reformed Church Cape Town.
Children of the second marriage of T.J. Hitchcock:
- Justus Wilhelm George born April 25, 1852 in the Gardens, Waterhoff, near Cape Town at 3 a.m.
- Henry Thomas born April 18, 1853 in the Gardens, Waterhoff, near Cape Town at 8 a.m. Died 11 Sept 1957.
- Catherine Wilhelmina Carolina born July 18, 1854 in Cape Town at 2 p.m.
- John Dyason born September 21, 1857 at Swellendam at 4:20 a.m. ["a.m.” is ineligible, could be p.m.?]
- Theodore Hoffman Pusey born October 30, 1858 at Swellendam at 7 p.m. Died at Paarl, September 1926.
- Maria Bremley born August 17, 1860 at Swellendam at 10:30 a.m. Died December 13, 1861 at 5 a.m. Buried in the English Cemetery Swellendam.
Helena Dorothea Hitchcock born Meyer mother of above children died February 11, 1862 at Swellendam at 4 a.m. Buried in the churchyard Dutch Reformed Church, Swellendam.
3rd Wife: Elizabeth Maria Scoltz born June 1839 at Klapmuts, married to Thomas Joel Hitchcock on Monday November 2, 1868 in Holy Trinity Church, Paarl.
Children of third marriage of T.J.H:
- Anna Aletta Elizabeth born, 1870 at Paarl on Wednesday at 3 a.m.
- Frances Scoltz born November 3, 1871 at Paarl at 5 p.m. Died at Klein Drakenstein February 1, 1911.
- George James born August 24, 1875 at Paarl at 1 p.m.
Thomas Joel Hitchcock father of foregoing events died on the 3rd March, 1886 at Klein Drakenstein on Wednesday at 4 p.m. Buried at Paarl in the English Church Cemetery. Elizabeth Maria Hitchcock born Scoltz, mother of three last named children died at Paarl on 19 March 1886. Buried near her husband in the English Church Cemetery.”
My father’s cousin, Aleetha (Koen) McGovern put together this brief and detailed synopsis of Thomas Joel Hitchcock’s marriages and children. I will not translate this portion, but I made it available here for anyone who might benefit from it: (* means birth date, † means death date, # means burial, etc.)
“Thomas Joël HITCHCOCK * Worcester, Engeland 13.05.1803 = Saint Michael Bedwardine, Worcester, Engeland 05.06.1803 † Klein Drakenstein 03.03.1886 (82.10.-) # Paarl Engelse Kerk begraafplaas. ‘Pianoforte Maker and Tuner, Organ Builder’. Professor van Musiek. Hy het ‘n orrel gebou vir St Georges Kerk Kaapstad. Hy het ‘n stuk grond met geboue daarop gekoop van Wilhelmina Charlina Zulch en dit is geregistreer in die akte kantoor 26.02.1877 Hy het gewoon “Kamp Grond” in 1851 x In the English Church Cape Town by the Rev. G. Hough MA, Senior Colonial Chaplain: 14.02.1832 Johanna Christina Rykje ZULCH *Swellendam 14.04.1814 † Top of Keeromstraat, Kaapstad 27.10.1849 (35yrs. 6 mnths 13 days-) Sterf kennisgewing in koerant het sterf datum as 27.10.1849 en in die 1849 koerant en Familie document sê dit sy is 27.10.1849 oorlede. Die sterf sertifikaat het 28.10.1850 wat verkeerd is # Engelse begraafplaas, Somerset Weg, Kaapstad ( d.v. Johan Christiaan Zulch en Francina Wilhelmina van der Merwe) xx Kaapstad NG Kerk 11.6.1851 Helena Dorothea MEYER *Kaapstad 28.05.1824 † Dist Swellendam 07.02.1862 (38.-) # In die kerkhof begraafplaas van die NG Kerk Swellendam (Familie dokumente sê sy is 11.02.1862 oorlede) (d.v. Justus Wilhelmus MEYER *1795 + Keeromstraat, Kaapstad 19.05.1853 en Catharina Elizabeth MOHR) xxx Holy Trinity Kerk, Paarl, 02.11.1868 Elizabeth Maria SCHOLTZ * 01.06.1839 = Paarl 11.08.1839 † Paarl 19.03.1886 (46.-) (d.v. Johan Jurgen Scholtz * 27.06.1807 + Paarl 08.08.1870 x Paarl 02.08.1834 Anna Aletta Elizabeth Muller *29.09.1815 + Groot Drakenstein
Some extra information
I once posted the only photo of our Thomas Joel Hitchcock that thought had been in existence on Facebook (since then, I have seen three, which are included in this booklet.) In reply to my Facebook post, a professional researcher, Mr. Johann Claasen contacted me.
Though his letter is merely a friendly letter to me, I am including it in this booklet, because it contains some information that may be beneficial to future researchers.
In it, we learn that our Thomas Joel Hitchcock died in a Mr. PJ Obermeyer’s house. Also, he had discovered a “birthday book” in the attic of one of the daughters of our Thomas Joel Hitchcock’s third wife. It contained 109 names, which aided him to extend the individuals who had a direct connection with our Thomas Joel Hitchcock to 328 people.
He also said that this birthday book would be donated to the Drakensberg Heemkring’s archives as part of his research on the peoples of Paarl, South Africa. Drakensberg Heemkring has both a website as well as a blog. They are: http://www.drakensteinheemkring.co.za/ and http://oudewoning.wordpress.com. Their address is and contact information are: Tel. 081-804-5729 | 214 Main Street, Paarl | email: info@drakensteinheemkring.co.za . The Oude Woning has hundreds of valuable documents and thousands of bits of information on the people of Paarl/Klein Drakenstein.
Here is his letter. I am not translating it, as I have already noted the important information I extracted from it:
“Goeiedag Joel, iemand het 'n foto van Thomas gedeel op 'n ander blad en ek kon dit dadelik herken. Ek is 'n professionele navorser en het 'n klompie jaar terug per ongeluk by die familie beland in my soeke na iets anders. En omdat hy ook sterk verbintenisse gehad het met die Paarl het ek 'n bietjie dieper gaan grawe. Thomas is oorlede aan huis van ene PJ OBERMEYER wat hier in die Klein Drakenstein gewoon het en wat 'n plaas iewers moes wees. Ek vermoed hy is OF op die plaas begrawe OF in een van die Paarl se begraafplase. Wat laasgenoemde betref, het ek al die grafstene afgeneem en hy is nie onder hulle nie. Heel waarskynlik in 'n ongemerkte graf in hierdie stadium. Sy seun John Dyason, is een van die kinders by die tweede vrou (MEYER). In totaal was daar 19 kinders by die drie vroue. Daar is 'n Neville Hitchcock in Kaapstad wat ook navorsing oor die familie gedoen het. Ek weet nie of hy nog lewe nie en ek het ook nie meer sy kontakbesonderhede nie. Ek het eendag 'n verjaardagboekie op 'n solder gevind wat behoort het aan een van die dogters by sy derde vrou. Daar was 109 name in die boekie. Met navorsing kon ek die aantal name met direkte verbintenis met die familie, uitbrei na 328 persone. Net 'n klein interessantheid verbonde aan een van die familielede: As 'n laerskoolkind het ek dikwels die begraafplaas op die plaas, Saffraanrivier, Oudtshoorn besoek en met my hande oor die stene gestreel. In daardie stadium het ek natuurlik nie geweet wie die mense was en hoekom ek so lief was vir begraafplase nie. En met my navorsing van hierdie familie kon ek een van die grafte verbind aan die familie. Sy was 'n BRIERS dame wat getroud was met een van die seuns van Thomas en sy eerste vrou! Die verjaardagboekie sal na my dood aan die Drakenstein Heemkring se argief geskenk word as deel van my navorsing oor die mense van die Paarl. Beste wense. Johann”
I once posted the only photo of our Thomas Joel Hitchcock that thought had been in existence on Facebook (since then, I have seen three, which are included in this booklet.) In reply to my Facebook post, a professional researcher, Mr. Johann Claasen contacted me.
Though his letter is merely a friendly letter to me, I am including it in this booklet, because it contains some information that may be beneficial to future researchers.
In it, we learn that our Thomas Joel Hitchcock died in a Mr. PJ Obermeyer’s house. Also, he had discovered a “birthday book” in the attic of one of the daughters of our Thomas Joel Hitchcock’s third wife. It contained 109 names, which aided him to extend the individuals who had a direct connection with our Thomas Joel Hitchcock to 328 people.
He also said that this birthday book would be donated to the Drakensberg Heemkring’s archives as part of his research on the peoples of Paarl, South Africa. Drakensberg Heemkring has both a website as well as a blog. They are: http://www.drakensteinheemkring.co.za/ and http://oudewoning.wordpress.com. Their address is and contact information are: Tel. 081-804-5729 | 214 Main Street, Paarl | email: info@drakensteinheemkring.co.za . The Oude Woning has hundreds of valuable documents and thousands of bits of information on the people of Paarl/Klein Drakenstein.
Here is his letter. I am not translating it, as I have already noted the important information I extracted from it:
“Goeiedag Joel, iemand het 'n foto van Thomas gedeel op 'n ander blad en ek kon dit dadelik herken. Ek is 'n professionele navorser en het 'n klompie jaar terug per ongeluk by die familie beland in my soeke na iets anders. En omdat hy ook sterk verbintenisse gehad het met die Paarl het ek 'n bietjie dieper gaan grawe. Thomas is oorlede aan huis van ene PJ OBERMEYER wat hier in die Klein Drakenstein gewoon het en wat 'n plaas iewers moes wees. Ek vermoed hy is OF op die plaas begrawe OF in een van die Paarl se begraafplase. Wat laasgenoemde betref, het ek al die grafstene afgeneem en hy is nie onder hulle nie. Heel waarskynlik in 'n ongemerkte graf in hierdie stadium. Sy seun John Dyason, is een van die kinders by die tweede vrou (MEYER). In totaal was daar 19 kinders by die drie vroue. Daar is 'n Neville Hitchcock in Kaapstad wat ook navorsing oor die familie gedoen het. Ek weet nie of hy nog lewe nie en ek het ook nie meer sy kontakbesonderhede nie. Ek het eendag 'n verjaardagboekie op 'n solder gevind wat behoort het aan een van die dogters by sy derde vrou. Daar was 109 name in die boekie. Met navorsing kon ek die aantal name met direkte verbintenis met die familie, uitbrei na 328 persone. Net 'n klein interessantheid verbonde aan een van die familielede: As 'n laerskoolkind het ek dikwels die begraafplaas op die plaas, Saffraanrivier, Oudtshoorn besoek en met my hande oor die stene gestreel. In daardie stadium het ek natuurlik nie geweet wie die mense was en hoekom ek so lief was vir begraafplase nie. En met my navorsing van hierdie familie kon ek een van die grafte verbind aan die familie. Sy was 'n BRIERS dame wat getroud was met een van die seuns van Thomas en sy eerste vrou! Die verjaardagboekie sal na my dood aan die Drakenstein Heemkring se argief geskenk word as deel van my navorsing oor die mense van die Paarl. Beste wense. Johann”
Death, Burial, and Legacy
Our Thomas Joel Hitchcock died on 3 March 1886, in the house of Mr. P.J. Obermeyer. According to his death certificate, he was 82 years and 10 months old.
He was the husband of three wives, having outlived the first two. Curiously, his third wife died only 16 days later, on 19 March 1886.
We are yet to locate his grave. We know that he was buried in the English Cemetery at the Holy Trinity Church in Paarl. Perhaps his grave will be located in the future at that site. The Holy Trinity Church (Anglican) is located at 224 Main Rd Hoog-En-Droog, Paarl, 7646, South Africa.
NOTE ABOUT BURIAL LOCATION: I have searched diligently for Thomas Joel Hitchcock's grave in Paarl, searching for a cemetery at Holy Trinity and found none, thereafter walking up and down for two hours throughout the Strooidakkerk cemetery, and did not find a grave with his name on it there either. The cemetery is poorly maintained, and it is hard to read names from many of the older tombstones. Having said that, his birth register notes that he was "Buried at Paarl in the English Church Cemetery." Now, the "English Church" is the Holy Trinity Anglican Church, located at 224 Main Rd Hoog-En-Droog, Paarl, 7646, South Africa, but there is no cemetery there. I was told by another of his descendants that he had understood that he was buried at the Strooidakkerk in Paarl. This church is a Dutch Reformed Church, located at 163 Main Rd, Hoog-En-Droog, Paarl, 7646, South Africa. This is my opinion: Perhaps Thomas Joel Hitchcock was buried at the "English Cemetery" located at the Strooidakkerk cemetery.
He had a total of 19 children, and today his descendants are scattered all over South Africa, and in other parts of the world.
He left behind a wonderful legacy, most notably the historical organs that he built.
Perhaps his family Bible is somewhere in the house of one of his descendants. If anyone knows of its whereabouts, or if one even existed, kindly contact me, or even with any other photos or memorabilia.
Our Thomas Joel Hitchcock died on 3 March 1886, in the house of Mr. P.J. Obermeyer. According to his death certificate, he was 82 years and 10 months old.
He was the husband of three wives, having outlived the first two. Curiously, his third wife died only 16 days later, on 19 March 1886.
We are yet to locate his grave. We know that he was buried in the English Cemetery at the Holy Trinity Church in Paarl. Perhaps his grave will be located in the future at that site. The Holy Trinity Church (Anglican) is located at 224 Main Rd Hoog-En-Droog, Paarl, 7646, South Africa.
NOTE ABOUT BURIAL LOCATION: I have searched diligently for Thomas Joel Hitchcock's grave in Paarl, searching for a cemetery at Holy Trinity and found none, thereafter walking up and down for two hours throughout the Strooidakkerk cemetery, and did not find a grave with his name on it there either. The cemetery is poorly maintained, and it is hard to read names from many of the older tombstones. Having said that, his birth register notes that he was "Buried at Paarl in the English Church Cemetery." Now, the "English Church" is the Holy Trinity Anglican Church, located at 224 Main Rd Hoog-En-Droog, Paarl, 7646, South Africa, but there is no cemetery there. I was told by another of his descendants that he had understood that he was buried at the Strooidakkerk in Paarl. This church is a Dutch Reformed Church, located at 163 Main Rd, Hoog-En-Droog, Paarl, 7646, South Africa. This is my opinion: Perhaps Thomas Joel Hitchcock was buried at the "English Cemetery" located at the Strooidakkerk cemetery.
He had a total of 19 children, and today his descendants are scattered all over South Africa, and in other parts of the world.
He left behind a wonderful legacy, most notably the historical organs that he built.
Perhaps his family Bible is somewhere in the house of one of his descendants. If anyone knows of its whereabouts, or if one even existed, kindly contact me, or even with any other photos or memorabilia.
Other photos
The Hoets Organ in the Groote Kerk: A photo in an unidentified book with the caption, “Die Hoets-orrel (so genoem na die skenker daarvan, ene Hoets) soos dit in 1830 in die Groote Kerk, Kaapstad deur Thomas Hitchcock opgerig is.” (Meaning, The Hoets-organ, (so named after the donator thereof, one Hoets) as it was installed in the Groote Kerk, Cape Town, by Thomas Hitchcock.”
The St. George’s Church Organ: A picture of an engraving in E.N. Barry Smith’ s thesis, “An Historical Survey of the organs, organists and music of St. George’s Cathedral, Cape Town, from 1834 to 1952.” The caption says, “Interior View of St. George’s Church, Cape Town. Interior of old Cathedral showing the first organ of 1834. (Engraving by J.C. Poortmans, c. 1844.)
The "Groote Kerk" in Cape Town - where Thomas Joel Hitchcock (1803) installed his organ.
Other Misc:
The Hoets Organ in the Groote Kerk: A photo in an unidentified book with the caption, “Die Hoets-orrel (so genoem na die skenker daarvan, ene Hoets) soos dit in 1830 in die Groote Kerk, Kaapstad deur Thomas Hitchcock opgerig is.” (Meaning, The Hoets-organ, (so named after the donator thereof, one Hoets) as it was installed in the Groote Kerk, Cape Town, by Thomas Hitchcock.”
The St. George’s Church Organ: A picture of an engraving in E.N. Barry Smith’ s thesis, “An Historical Survey of the organs, organists and music of St. George’s Cathedral, Cape Town, from 1834 to 1952.” The caption says, “Interior View of St. George’s Church, Cape Town. Interior of old Cathedral showing the first organ of 1834. (Engraving by J.C. Poortmans, c. 1844.)
The "Groote Kerk" in Cape Town - where Thomas Joel Hitchcock (1803) installed his organ.
Other Misc:
