L'Organo Recital Series -- 2016 Piccolo Spoleto Festival

Piccolo Spoleto Festival Charleston, South Carolina

2016 Recital Series

SERIES SCHEDULE Sunday Evening, May 29 – Grace Church Cathedral ............................................ 4 Nigel Potts, Charleston, SC Sarah Rose Taylor, Mezzo-soprano, Charleston, SC Monday, May 30 – St. Matthew’s Lutheran Church ............................................ 6 Charles Tompkins, Greenville, SC Gregory Tompkins, Violin, New Haven, CT Tuesday, May 31 – St. Michael’s Church ............................................................. 7 Joseph Peeples, Thousand Oaks, CA Wednesday, June 1 – St. Matthew’s Lutheran Church ........................................ 8 Maxine Thévenot, Albuquerque, NM Thursday, June 2 – Bethel United Methodist Church .......................................... 9 Anthony Williams, Hendersonville, TN Friday, June 3 – Grace Church Cathedral ........................................................... 10 David Houston, Washington, DC Sunday Evening, June 5 – Summerall Chapel at The Citadel ............................. 11 Isabelle Demers, Waco, TX Monday, June 6 – St. Matthew’s Lutheran Church ............................................ 12 Nathan Davy, Laurel, MD Tuesday, June 7 – Cathedral of St. John the Baptist .......................................... 13 Andrew H. Yeargin, New York, NY Wednesday, June 8 – Grace Church Cathedral .................................................. 14 Patrick A. Scott, Atlanta, GA Thursday, June 9 – (Huguenot) French Protestant Church ................................ 15 Timothy Tikker, Ann Arbor, MI Friday, June 10 – Cathedral Church of St. Luke and St. Paul .............................. 16 Mitchell Miller, Oberlin, OH

A BRIEF HISTORY OF THE ORGANS Bethel United Methodist Church ....................................................................... 17 Cathedral Church of St. Luke and St. Paul .......................................................... 18 Cathedral of St. John the Baptist ....................................................................... 19 Grace Church Cathedral ..................................................................................... 20 (Huguenot) French Protestant Church ............................................................... 22 St. Matthew’s Lutheran Church ......................................................................... 23 St. Michael’s Church .......................................................................................... 24 Charles Pelot Summerall Chapel at The Citadel ................................................. 25 Notes .................................................................................................................. 26 Sunday evening recitals – 7:30 Weekday morning recitals – 10:00 Venues and parking facilities listed on back cover No admission charge; freewill offerings gratefully accepted 2

Welcome The 2016 L’Organo series is celebrating 37 years of great music! Recitalists will present two gala evening and ten weekday programs over two weeks on a varied array of instruments. Once a local and regional series, today we proudly feature talent from all over the continental United States including university professors, church musicians, seasoned virtuosi, students, and “rising stars.”

It is wonderful to have St. Matthew’s Lutheran Church back in the fold after two years of extensive restoration. Marble replaces carpet down the center aisle, enhancing the acoustics, and the organ console has up-to-date solid-state combination action. The newly refurbished chamber housing the Chancel organ includes the addition of Principals 8’ and 4’, and new 16’ pipes in the pedal.

Many of our attendees have indicated an interest in the history of organs heard in the series. This year’s program book features an expanded and annotated section focusing on instruments past and present. For over 250 years, from 1761 to 2016, congregations in Charleston have recognized the need for musical accompaniment to support the singing of hymns and the overall enhancement of worship services.

These histories recount the specifications and designs of the organs by the finest American and English builders in the early years and continue with descriptions and stoplists of the modern organs. Included are the fates of the instruments from fire, war/thievery, earthquake, hurricane, and years of significant wear, followed by the congregations’ determination to repair, restore, or replace.

Our audience numbers have increased dramatically over the past few years, and we sincerely appreciate your patronage and financial support. Thank you for helping to maintain the fine performance tradition of this unique series featuring the “King of Instruments.” Special thanks to the congregations, clergy, and organists of the host churches who so kindly provide the use of their buildings, practice time, and air-conditioned comfort. I hope you will be encouraged to attend each recital.

Robert Gant, Chairman L’Organo

IN MEMORIAM W. Benjamin Hutto, III 1947–2015 Co-Founder L’Organo Recital Series, 1979 3

EVENING RECITAL Sunday, May 29, 7:30

Nigel Potts Sarah Rose Taylor Mezzo-soprano Grace Church Cathedral Reuter Organ (1952) Page 20

from Tristan und Isolde, WWV 90 (1865) Prelude to Act 1

Richard Wagner (1813–1883) transcription by Nigel Potts

Mr. Potts Wesendonck Lieder, WWV 91 (1857–58) I. Der Engel (The Angel) II. Stehe still! (Stand still!)

III. Im Treibhaus (In the Hothouse) IV. Schmerzen (Pains) V. Träume (Dreams) Ms. Taylor

Richard Wagner arrangement by Nigel Potts

~ An Interval of Ten Minutes ~ Chanson de Nuit, op. 15, no. 1 (1889–90)

Edward Elgar (1857–1934) transcription by Herbert Brewer

Mr. Potts Imperial March, op. 32 (1897)

Edward Elgar arrangement by George C. Martin

Mr. Potts Sea Pictures, op. 37 (1899) I. Sea Slumber-Song II. In Haven (Capri) III. Sabbath Morning at Sea IV. Where Corals Lie V. The Swimmer

Edward Elgar transcription by Nigel Potts

Ms. Taylor 4

EVENING RECITAL Sunday, May 29, 7:30, Grace Church Cathedral Nigel Potts and Sarah Rose Taylor Nigel Potts assumed the position of Canon Organist/Master of the Music at Grace Church Cathedral, Charleston, SC, in September of 2015. He earned a Master of Music degree in Organ Performance from Yale University and he holds diplomas from the Conservatorium of Music, Wellington, New Zealand, and Trinity College of Music, London. While living in London, he studied Church Music at the Royal Academy of Music. A recipient of the Gillian Weir Waitangi Foundation Scholarship, he has held cathedral organ scholarships in New Zealand and England. Mr. Potts has performed recitals across four continents and extensively across the United States, including at distinguished venues in New York, San Francisco, London, Paris, Toronto, Hong Kong, Singapore, Sydney, and Cambridge (UK), as well as in Austria, Iceland, Taiwan, New Zealand, and the Bahamas. As an exponent of orchestral transcriptions, Mr. Potts has recorded an all-transcription program on the Wanamaker Organ in Philadelphia for WRTIFM. Morning-Star Music publishes many of his other transcriptions. Mr. Potts’ recitals and recordings have been broadcast on radio/web stations in various countries including Pipedreams in the United States, and can be heard online. www.nigelpotts.com.

Mezzo-soprano Sarah Rose Taylor grew up in a rich musical choral tradition, singing in many of England’s cathedrals with the Royal School of Church Music’s Southern Cathedral Singers. She graduated with a Master of Music degree in Vocal Performance and an Artist Diploma in Vocal Performance from the Aaron Copland School of Music, New York, NY. She also has degrees in French Studies from the British Institute in Paris, and a Maîtrise in French Language Teaching from La Sorbonne, Paris. A highly versatile artist, Ms. Taylor maintains an active schedule performing across the United States, including solo engagements in New York, San Francisco, and Washington, DC, as well as in Arizona, Arkansas, Pennsylvania, and Texas. She has also appeared as a soloist in France, Germany, Italy, and the Bahamas. Her wide-ranging oratorio repertoire includes performances of Johann Sebastian Bach’s Mass in B Minor, Handel’s Messiah and Judas Maccabaeus, Haydn’s Mass in Time of War, Debussy’s La Damoiselle Élue, and Arvo Pärt’s Passio. On the operatic stage, she performed roles in works by Mozart, Puccini, and Barber, and gave a world premiere performance of Bruce Saylor’s The Image Maker. For her 2014 Weill Carnegie Hall solo debut, she performed selections from Elgar’s Sea Pictures. In 2015, she was as a finalist in the Peter Elvins Vocal Competition. www.sarahrosetaylor.com.

MSR Classics released the latest CD by Sarah Rose Taylor and Nigel Potts; it includes his transcriptions of Wagner’s Wesendonck Lieder, Prelude to Act 1 from Tristan und Isolde, Elgar’s Sea Pictures, and “The Angel’s Farwell” from The Dream of Gerontius, with harpist, Grace Cloutier.

EVENING RECITAL Sunday, June 5, 7:30, Summerall Chapel at The Citadel (Page 11) Isabelle Demers With playing described as having “bracing virtuosity” (Chicago Classical Review) and being “fearless and extraordinary” (Amarillo-Globe News), organist Isabelle Demers has enraptured critics, presenters, and audience members around the globe for her spell-binding performances. A native of Québec and a graduate of the Juilliard School, Ms. Demers is Organ Professor and Head of the Organ Program at Baylor University in Texas. She is in continual demand by her colleagues with numerous invitations to perform at conventions by the American Guild of Organists and the Royal Canadian College of Organists. Her recital for the joint ISO-AIO convention in 2010 so enchanted the audience that she “left the entire congress in an atmosphere of ‘Demers fever.’” Ms. Demers’ 2015-16 performance calendar includes appearances at Longwood Gardens (PA), Stambaugh Auditorium (OH), and a concerto performance with the Madison Symphony Orchestra (WI). Her critically acclaimed recordings on the Acis and the Pro Organo labels have been heralded as “expressive…profound and searching” (RSCM’s Church Music Quarterly), and along with her live performances, they have been featured on American Public Media’s Pipedreams. http://isabelledemers.org.

Biography for Isabelle Demers provided courtesy of Phillip Truckenbrod Concert Artists, LLC. 5

Monday, May 30, 10:00 AM

Charles Tompkins Gregory Tompkins Violin St. Matthew’s Lutheran Church Austin Organ (1967) Page 23

Fantaisie No. 1 in E-flat major (1857)

Camille Saint-Saëns (1835–1921)

Pavane for Violin and Organ (1997)

Carl Rütti (b. 1949)

A Gospel Pair (2015) Graham Farrell Two Hymn Tune Preludes for Violin and Organ (b. 1941) BRADBURY (“Savior, Like a Shepherd Lead Us”) THE SOLID ROCK (“My Hope Is Built on Nothing Less”) Sonata Eroica, op. 94 (c. 1930)

Joseph Jongen (1873–1953)

Dr. Charles Tompkins is University Organist and Professor of Music at Furman University, Greenville, SC, where he teaches organ, harpsichord, music theory, and church music. An active church musician throughout his career, he has been organist at Greenville’s historic First Baptist Church since 1997, where he presides over the largest pipe organ in the state: an 86-rank instrument built by Casavant Frères, Ltée. He holds the degrees Doctor of Musical Arts and Bachelor of Music with High Distinction from the Eastman School of Music, Rochester, NY, which awarded him its Performer’s Certificate in recognition of outstanding performing accomplishment. He is also an honors graduate of the University of Michigan, Ann Arbor, where he received a Master of Music degree in Organ Performance. Dr. Tompkins presents organ recitals and workshops at major churches and universities throughout the United States. He has been a featured artist at national and regional conventions of the American Guild of Organists, the College Music Society, the Music Teachers National Association, and the Association of Anglican Musicians. In 2011, he performed a series of programs in France and Switzerland, including a recital at Notre Dame Cathedral, Paris. Dr. Tompkins’ CD, Solemnity and Joy, is on the Pro Organo label. American Public Media has nationally broadcast his performances on Pipedreams.

Gregory Tompkins, a native of Greenville, SC, is on the faculty at Music Haven, Inc., a community music school in New Haven, CT, and is the second violinist of the Haven String Quartet. Mr. Tompkins earned a Master of Music degree in Violin Performance from the New England Conservatory, Boston. He holds the degree Bachelor of Music with High Distinction in Violin Performance from the Eastman School of Music, Rochester, NY, and served as Undergraduate Marshall. Eastman awarded him the Sloan Scholarship for outstanding jury. He also holds a Bachelor of Arts degree in Psychology from the University of Rochester. An active recitalist, Mr. Tompkins has performed in a variety of venues in the eastern United States, such as the Young Artists’ series at the Niagara-on-the-Lake International Chamber Festival, Ontario, Canada, and Harvard Memorial Church in Cambridge, MA. He was a winner of the Virtu Foundation Fellowship (playing an instrument on loan from the foundation; 2011–15).

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Tuesday, May 31, 10:00 AM

Joseph Peeples St. Michael’s Church Kenneth Jones Organ (1994) Page 24

from Deuxième Symphonie, op. 20 (1902–03) I. Allegro risoluto “Schmücke dich, o liebe Seele,” BWV 654 (Deck thyself, my soul, with gladness)

Louis Vierne (1870–1937)

Johann Sebastian Bach (1685–1750)

Trio Sonata No. 5 in C major, BWV 529 (c. 1731) I. Allegro II. Largo III. Allegro Prélude, Fugue et Variation, op. 18 (1860–62)

J. S. Bach

César Franck (1822–1890)

Litanies, JA 119 (AWV 100) (1937)

Jehan Alain (1911–1940)

Joseph Peeples attended school at Brigham Young University, Provo, UT, where he earned a Master of Music Performance degree in Organ. He recently completed coursework for a Doctor of Music degree from the Jacobs School of Music at Indiana University, Bloomington, and is currently working on his doctoral final project, a Schenkerian analysis of Bach’s Prelude and Fugue in E major BWV 566. A resident of Thousand Oaks, CA, Mr. Peeples has been a church musician for 20 years, with substantial experience in congregational and choral accompanying, notably with the nationally recognized collegiate choirs of Brigham Young University and organist of Speedway Christian Church (Disciples of Christ) in Speedway, IN. His performance experience also includes competing as a finalist in the 2014 Arthur Poister Scholarship Competition in Organ Playing and winning second place in the 2009 American Guild of Organists/Quimby Regional Competition for Young Organists, Salt Lake City Chapter.

He has taught courses in music theory at Indiana University and Brigham Young University. He is a member of the Guild of Carillonneurs in North America. www.josephpeeples.com.

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Wednesday, June 1, 10:00 AM

Maxine Thévenot St. Matthew’s Lutheran Church Austin Organ (1967) Page 23

Carillon–Sortie (1911–12)

Henry Mulet (1878–1967)

from Five Dances (1982) II. At the Ballet

Calvin Hampton (1938–1984)

Pièce d’Orgue, BWV 572

Johann Sebastian Bach (1685–1750)

Chorale Prelude on LLANFAIR (2014)

McNeil Robinson (1943–2015)

from Five Liturgical Inventions (pub. c. 1966) II. Ave Maria IV. Laudate Dominum V. Alleluia!

Serenade for Organ, op. 22

Victor Togni (1935–1965)

Derek Bourgeois (b. 1941)

from Première Symphonie, op. 14 (1898–99) IV. Allegro vivace VI. Final

Louis Vierne (1879–1937)

Dr. Maxine Thévenot serves as Director of Cathedral Music and Organist at the Cathedral of St. John, Albuquerque, where she oversees a program of four choirs and an extensive community outreach ministry through the Friends of Cathedral Music, now in its 22nd season. Founding and Artistic director of New Mexico’s only residential professional vocal ensemble, Polyphony: Voices of New Mexico, she also serves on the faculty at the University of New Mexico. Her recital career has taken her to major European venues—Westminster Abbey and Cathedral, St. Paul’s Cathedral, London, Notre Dame Cathedral, Paris—and to festivals in Bratislava, Budapest, Prague, and Vienna. A featured performer in national and regional AGO and Royal Canadian College of Organists conventions, she has released over 14 recordings with Raven CD as both solo organist and choral director. A native of Saskatchewan, she received the degree Bachelor of Music with Distinction in Music Education from the University of Saskatchewan, and the degrees Master of Music and Doctor of Musical Arts from the Manhattan School of Music, where she was twice awarded the Bronson Ragan Award for most outstanding organist. Dr. Thévenot is an Associate of the Royal Canadian College of Organists and the Royal Conservatory of Music, Toronto, and was made an Honorary Fellow of the National College of Music, London, UK in 2006. www.maxinethevenot.com.

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Thursday, June 2, 10:00 AM

Anthony Williams Bethel United Methodist Church A. E. Schlueter Organ (2004) Page 17

Carillon, op. 27, no. 4 (1931)

Marcel Dupré (1886–1971)

Prière, op. 37, no. 3 (1910)

Joseph Jongen (1873–1953)

Prelude and Fugue in A minor, BWV 543

Johann Sebastian Bach (1685–1750)

Promised Land: Three Tunes from Early America (2003) Promised Land Deep River Toccata on “Joshua Fought the Battle” Yoruba Lament (1955)

Ralph Simpson (b. 1933)

Fela Sowande (1905–1987)

Toccata (1968)

John Weaver (b. 1937)

Dr. Anthony Williams, a native of Nashville, TN, is Associate Professor of Music and University Organist at Fisk University in Nashville, where he teaches organ and courses in Music History. He also serves as Organist and Choir Director at First Presbyterian Church in Hendersonville, TN. From 1990 to 2005, he was a member of the music faculty at Dillard University in New Orleans. Dr. Williams began his teaching career in the late 1980s at Fisk, where he served as Director of the Fisk Jubilee Singers and was the youngest person in the history of the ensemble to hold that position. He returned to Fisk in the fall of 2005 as Visiting Artist in Residence following the evacuation of New Orleans due to Hurricane Katrina.

Dr. Williams earned a Bachelor of Music degree from the University of Cincinnati College–Conservatory of Music, Cincinnati, OH, a Master of Music degree from the University of Michigan, Ann Arbor, and a Doctor of Musical Arts degree from the American Conservatory of Music, Hammond, IN. An active recitalist, he has performed in churches, colleges, and universities throughout the United States, as well as in Central America and Europe. In addition to performing, Dr. Williams presents master classes, workshops, and lectures on a wide variety of topics and will present a workshop on Organ Music of Black Composers at the American Guild of Organists National Convention to be held in Houston, TX, June 2016. www.anthonywilliamsorganist.com.

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Friday, June 3, 10:00 AM

David Houston Grace Church Cathedral Reuter Organ (1952) Page 20

Cortège et Litanie, op. 19, no. 2 (1924)

Marcel Dupré (1886–1971)

from 24 Pièces de Fantaisie, Deuxième Suite, op. 53 (1926) III. Hymne au Soleil V. Claire de Lune

Suite pour Orgue, op. 5 (1934) I. Prélude II. Sicilienne III. Toccata

Louis Vierne (1870–1937)

Maurice Duruflé (1902–1986)

David Houston is Organist and Choirmaster at St. Andrew’s Episcopal Church, College Park, MD. As choirmaster, he has conducted many major works, including performances of the Requiem of Gabriel Fauré; Mass settings of Widor and Haydn; and William Byrd’s Mass for Five Voices, as well as selections from Handel’s Messiah. Additionally, Mr. Houston has conducted several settings of the Magnificat and Nunc Dimittis and important motets by Palestrina, de Victoria, Duruflé, Tallis, Bach, and Richard Rodney Bennett. From West Virginia, Mr. Houston began his organ studies at age 16, performing on the Fisk organ Opus 79 at First Presbyterian Church, Charleston, WV. Earning his Bachelor of Music degree from Mount Vernon Nazarene University, Mt. Vernon, OH, Mr. Houston continued studying with various teachers and took coaching sessions in improvisation. After several years working as an organist and choirmaster in Episcopal churches in the United States, he pursued a master’s degree abroad. Mr. Houston graduated with a Master of Music degree in Organ Performance from the Haute École de Musique de Lausanne, Switzerland. He also studied at the Conservatoire Internationale de Paris and continued studies at the Paris Conservatory with master classes on the organ works of César Franck, Jean Langlais, and basics of improvisation. His further studies include concentration on the organ works of Maurice Duruflé. In 2013, Mr. Houston made his first concert appearance in Switzerland as soloist with the Haute École de Music Orchestra at the Cathedral of Lausanne, playing the Organ Concerto of Jean Balissat and Symphonie No. 3 “Organ Symphony” of Camille Saint-Saëns.

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EVENING RECITAL Sunday, June 5, 7:30

Isabelle Demers Summerall Chapel at The Citadel Cornel Zimmer Console (2014) Page 25

Orb and Sceptre (for the Coronation of Queen Elizabeth II, 1953)

William Walton

(1902–1983) transcription by William McKie

From Lieutenant Kijé, Symphonic Suite, op. 60 (1934) II. Romance from Lohengrin (1845–47) Prelude to Act I

Sergei Prokofiev (1891–1953) transcription by Isabelle Demers

Richard Wagner (1813–1883) transcription by Isabelle Demers

Introduction and Passacaglia in F minor, op. 63, nos. 5-6 (1900)

Max Reger (1873–1916)

~ An Interval of Ten Minutes ~ from Scheherazade, Symphonic Suite, op. 35 (1888) Nikolai Rimsky-Korsakov IV. Festival at Baghdad – The Sea – The Shipwreck (1844–1908) transcription by Isabelle Demers

Two-Part Inventions (1723)

Johann Sebastian Bach (1685–1750)

Nᵒ1, C major / Nᵒ4, D minor / Nᵒ5, E-flat major / Nᵒ6, E major / Nᵒ8, F major from School of Trio Playing: Johann Sebastian Bach’s Two Part Inventions arranged and edited for Organ by Max Reger and Karl Straube (1903)

from Symphonic Etude for Solo Pedal, op. 72 (2014) Rachel Laurin Variations on “That Good Old Baylor Line” (b. 1961) Theme / Modest / Rational / Authoritarian / Mischievous (Pesky!)

Show-off / Pessimistic–Optimistic / Choleric / Nonchalant / Con Bravura Biography for Dr. Demers, Page 5 Isabelle Demers is represented exclusively by Phillip Truckenbrod Concert Artists, LLC. P.O. Box 6507, Detroit, MI 48206-6507• email@concertartists.com• 860-560-7800• www.concertartists.com.

L’Organo wishes to thank Cornel Zimmer Organ Builders for their generous sponsorship of this program.

P.O. Box 2309, Denver, NC 28037• administration@zimmerorgans.com•866-749-7223• www.zimmerorgans.com.

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Monday, June 6, 10:00 AM

Nathan Davy St. Matthew’s Lutheran Church Austin Organ (1967) Page 23

Étude Héroïque, op. 38 (2007)

Rachel Laurin (b. 1961)

from Symphonie Gothique, op. 70 (1895) II. Andante sostenuto

Toccata, Adagio, and Fugue, BWV 564

Charles-Marie Widor (1844–1937)

Johann Sebastian Bach (1685–1750)

from Le Tombeau de Couperin (1917) I. Prélude III. Forlane VI. Toccata

Maurice Ravel (1875–1937) transcription by Nathan Davy

Dr. Nathan Davy serves as Assistant Organist at the Basilica of the National Shrine of the Immaculate Conception, Washington, DC, the largest Roman Catholic Church in the United States. His primary responsibilities include playing for approximately 400 Masses per year, many of which are televised nationally, and he is the choir’s principal accompanist. Dr. Davy received a Bachelor of Arts degree in Music and Classical Languages from Asbury University, Wilmore, KY, and the degrees Master of Music and Doctor of Musical Arts in Organ Performance from the Eastman School of Music, Rochester, NY. While at Eastman, he was bestowed the organ department’s Gerald Barnes Award for Excellence in Pipe Organ for most outstanding jury performance, the Dr. James B. Cochran Organ Prize for most outstanding recital performance, and the prestigious Performer’s Certificate in recognition of outstanding performing accomplishment. A prizewinner at various competitions throughout the United States, including first prize at the Albert Schweitzer International Organ Competition, he has been selected to compete as a semifinalist for the American Guild of Organists National Young Artist Competition in Organ Performance, to be held in Dallas, June 2016.

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Tuesday, June 7, 10:00 AM

Andrew H. Yeargin Cathedral of St. John the Baptist Bedient Organ (1986) Page 19

Hommage à Messiaen (1981)

McNeil Robinson

With Michelle Repella, Soprano

from Organbook I, III (1989) Impromptu Episode Song Serenade Reveille

(1943–2015)

Ned Rorem (b. 1923)

Symphonie No. 6, op. 42, no. 2 (1887) I. Allegro II. Adagio III. Intermezzo IV. Cantabile V. Final

Charles-Marie Widor (1844–1937)

Dr. Andrew H. Yeargin is Director of Music and Organist at the Church of the Holy Trinity (Catholic) on the Upper West Side of Manhattan, where he oversees a considerable all-professional music program.

He is also Organist of Congregation Shir Ami in Greenwich, CT. He serves as a member of the executive board for the American Guild of Organists, NYC chapter. He earned the degrees Master of Music and Doctor of Musical Arts in Organ and Musicology from the Manhattan School of Music and a Bachelor of Music degree from Westminster Choir College, Princeton, NJ. Dr. Yeargin maintains an extensive career as a recitalist, accompanist, conductor, and church musician. He has performed throughout the United States, Canada, Western Europe, and the Caribbean. A native of Raleigh, NC, he has frequently appeared on noonday recitals at Duke University Chapel and has been featured on American Public Media’s Pipedreams Live! In 2009, he was the recipient of a grant from the Bedient Organ Company and Florence Gould Foundation to study and perform on historic instruments of the eighteenth and nineteenth centuries in France. He has participated in many competitions of international renown, most notably the American Guild of Organists Regional Competition sponsored by Quimby Pipe Organs, Inc., in which he was awarded first prize, and was a featured artist at two summer conventions of the Guild. In 2015, he performed at several locations in Italy, including Florence, Rome, and St. Peter’s Basilica in Vatican City, in the presence of His Holiness Pope Francis.

Michelle Repella has performed with leading orchestras in the world, including the Dresden and New York Philharmonics, and has several recordings with the GIA label in the Grammy-nominated choir Anam Cara. From Westminster Choir College, Princeton, NJ, she received a Bachelor of Music degree in Vocal Performance and Music Education.

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Wednesday, June 8, 10:00 AM

Patrick A. Scott Grace Church Cathedral Reuter Organ (1952) Page 20

from Symphonie No. 4, op. 13, no. 4 (1876) VI. Finale Fugue in G major (“Gigue”), BWV 577

Charles-Marie Widor (1844–1937)

Johann Sebastian Bach (1685–1750)

Outer Hebrides (1999) A Fantasia on Three Traditional Celtic Melodies

Paul Halley

Humoresque “L’Organo Primitivo”– Toccatina for Flute (1915)

Pietro Yon

(b. 1952)

(1886–1943)

Toccata in F major, BWV 540

J. S. Bach

A Spiritual Pair: Diptych for Organ (1994) Swing Low – Go, Tell It! A Meditation on “Draw Us in the Spirit’s Tether” (1998)

Dan Locklair (b. 1949)

Gerre Hancock (1934–2012)

from Esquisses Byzantines (1914–19) Henri Mulet X. “Tu es petra et portæ inferi non prævalebunt adversus te” (1878–1967) (Thou art the rock and the gates of hell shall not prevail against thee)

Improvisation on DUKE STREET

Patrick A. Scott (b. 1986)

Dr. Patrick A. Scott, a native of Picayune, MS, is Assistant Organist-Choirmaster at the Episcopal Cathedral of Saint Philip in Atlanta, GA, where he plays for services and evensongs, accompanies the Cathedral Choir and Schola, and leads a chorister program under the standards of the Royal School of Church Music. He holds a Bachelor of Music degree in Organ Performance from Birmingham-Southern College, Birmingham, AL. He earned the degrees Master of Music in Organ Performance and Sacred Music and Doctor of Musical Arts in Organ Performance from the University of Texas, Austin. At the 2014 American Guild of Organists National Convention in Boston, Dr. Scott was awarded first prize and the audience prize in the American Guild of Organists National Competition in Organ Improvisation. He was also awarded second prize in the Schoenstein Hymn Playing Competition. He recently recorded a new CD under the Raven label on the Æolean-Skinner organ of Providence United Methodist Church, Charlotte, NC, the organ formerly at the Kennedy Center, Washington, DC. An active recitalist and accompanist, Dr. Scott has appeared in concert and with choirs throughout the United States, France, Scotland, England, and Ireland. He has presented recitals, workshops, hymn festivals, and master classes for chapters and conventions of the American Guild of Organists and Organ Historical Society.

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Thursday, June 9, 10:00 AM

Timothy Tikker (Huguenot) French Protestant Church Henry Erben Organ (1845) Page 22

Sonata in G major (c. 1819–25)

Vincenzo Bellini (1801–1835)

Voluntary in D major, op. 7, no. 5 (1754) I. Diapasons: Adagio II. Trumpet: Allegro Sonata in A minor, Wq. 70/4, H. 85 (1755) I. Allegro assai II. Adagio III. Allegro

John Stanley (1713–1786)

Carl Philipp Emanuel Bach (1714–1788)

Concerto for Two Organs in D major (c. 1770) I. Allegro – Andante – Allegro – Andante II. Minué

Antonio Soler (1729–1783)

Assisted by Julia Harlow, rear gallery organ

Sonata in B-flat major, op. 65, no. 4 (1844–45) I. Allegro con brio II. Andante religioso III. Allegretto IV. Allegro maestoso e vivace

Felix Mendelssohn-Bartholdy (1809–1847)

Dr. Timothy Tikker is College Organist at Kalamazoo College and Music Director at First Congregational Church, Romeo, MI. He obtained a Bachelor of Music degree magna cum laude in Organ Performance at San Francisco State University. He earned a Master of Music degree in Organ Performance from the University of Oregon, Eugene, where he also studied improvisiation. He holds a Doctor of Musical Arts degree in Organ Performance from the University of Michigan, Ann Arbor. A native San Franciscan, Dr. Tikker has won numerous awards: First Prize in the San Anselmo Organ Improvisation Competition; the American Guild of Organists/Holtkamp Award in Organ Composition; First Prize, Furio Franceschini Competition in Organ Composition, UNESP, Brazil; and Finalist Award, Aliénor Harpsichord Composition Competition. His solo organ recordings featuring the music of Tournemire appear on the Arkay, OHS, and Raven labels, and his compositions have been recorded for Centaur, JAV Records, Pro Organo, and Raven. His improvised accompaniment for Cecil B. DeMille’s silent film King of Kings is recorded for DVD by the Criterion Collection. Dr. Tikker has an active concert career and is author of many published articles in music journals, especially concerning French music and organs. www.ttikker.com.

Dr. Julia Harlow is Director of Music and Organist at Second Presbyterian Church and organist for Congregation Kahal Kadosh Beth Elohim. Dr. Harlow also teaches organ and harpsichord at the College of Charleston, Charleston, SC. She earned the Doctor of Music Arts degree in Organ Performance and Pedagogy from the University of Oregon, Eugene.

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Friday, June 10, 10:00 AM

Mitchell Miller Cathedral Church of St. Luke and St. Paul Gabriel Kney Organ (1976) Page 18

Präeludium in G major

Nicolaus Bruhns (1665–1697)

Ciacona in F minor, T. 206

Johann Pachelbel (1653–1706)

Choralvorspiel und Fuge über “O Traurigkeit, o Herzeleid” (c. 1882)

Ethel Smyth (1858–1944)

(O tragedy, o heartbreak)

Prelude and Fugue in G minor, WoO 10 (1857)

Johannes Brahms (1833–1897)

from Klavier-Übung III (pub. 1739) “Allein Gott in der Höh sei Ehr’,” BWV 676

Johann Sebastian Bach (1685–1750)

(All glory be to God on high)

Toccata and Fugue in E major, BWV 566 (1708)

J. S. Bach

Mitchell Miller, a rising fifth-year student at Oberlin College and Conservatory, Oberlin, OH, is pursuing a Bachelor of Music degree in Organ Performance and a Bachelor of Arts degree in German.

He also studies harpsichord, continuo, piano, and clavichord. In 2015, Mr. Miller was a finalist in the Taylor Organ Competition, being one of only five undergraduate organ majors from the United States to be selected for the final round. He has received honors as a finalist the 2014 Poister Competition in Organ Performance and was awarded first place in the 2013 Quimby Competition of Young Organists.

In addition to competitions, he is a frequent participant in master classes. An active recitalist, Mr. Miller has performed at notable venues, including Church of the Covenant (Cleveland, OH), Church of the Advent (Boston, MA), Calvary Episcopal Church (Cincinnati, OH), St. Mary’s Cathedral Basilica of the Assumption (Covington, KY), First Congregational Church (Columbus, OH), Episcopal Church of the Good Shepherd (Lexington, KY), and Musée des Augustins (Toulouse, France). In addition to performing organ repertoire, he enjoys liturgical music and playing continuo. He participated in the 2015 Bach Aria Project, a student institute in Boston, focusing on the vocal works of Johann Sebastian Bach.

16

Bethel United Methodist Church A. E. Schlueter Pipe Organ Company, Lithonia, GA (2004) The Bethel congregation, established in 1797, sang without musical instruments until 1874, when the Board of Stewards wrote in its minutes: After given the subject full consideration, we are of the opinion that an improvement in our singing is desired by a large number of our congregation; and that this can be obtained by the use of an instrument of some kind.1 Bethel’s first keyboard instrument was a melodeon (a type of nineteenth-century reed organ, usually housed in a table-like case) that was placed in the balcony in 1874.2 Renovations were already underway in the church when the Great Earthquake struck in August 1886. The following year, “Bethel determined not only to repair but to remodel and beautify” by redesigning the chancel area with a choir loft and a chamber housing a hand-pumped organ.3 Built by A. B. Felgemaker Organ Company, Opus 475 was a tracker-action organ with two manuals, 12 ranks, and hand-pumped bellows.4 In 1913, “the music committee was authorized to engage an organ pumper . . . at a salary of $2.00 per month”; by 1921, workers had installed an electric motor-blower.5 In 1934, Austin Organ Company, Hartford, CT, built Opus 1867, with three manuals, 16 stops, 14 ranks, 934 pipes, and electro-pneumatic action; four-and-a-half ranks were added in the 1970s, totaling 1,178 pipes in 18 ½ ranks.6 For over 70 years, Opus 1867 was in use until badly damaged by Hurricane Hugo in September 1989. Although repaired, the organ committee recommended replacing it. In 2004, A. E. Schlueter Pipe Organ Company designed an instrument with three manuals and 51 ranks; it incorporated a romantic orchestral nature with chorus structure, paying homage to the genius of Skinner and Harrison.7 The non-speaking façade pipes and case from the Austin remained visually unchanged and the organ chamber was increased to its present size.8 The dedication ceremony to celebrate the Schlueter organ was on March 28, 2004.

GREAT 16’ Double Open Diapason 8’ Open Diapason 8’ Principal 8’ Violone 8’ Bourdon 8’ Harmonic Flute 4’ Octave 4’ Spire Flute 2⅔’ Twelfth 2’ Fifteenth Cornet V 1⅓’ Mixture IV-V 8’ Clarinet 16’ Trombone 8’ Tromba Heroique 4’ Tromba 8’ English Tuba Chimes Ch/So

SWELL 16’ Lieblich Flute 8’ Chimney Flute 8’ Geigen Principal 8’ Viole de Gamba 8’ Viole Celeste (TC) 8’ Flauto Dolce 8’ Flauto Dolce Celeste (TC) 4’ Geigen Octave 4’ Koppel Flute 2⅔’ Nazard 2’ Flageolet 1⅗’ Tierce 2’ Mixture IV-VI 16’ Contra Oboe 8’ Trumpet 8’ Oboe 8’ Vox Humana 4’ Clairon

CHOIR/SOLO 16’ Gemshorn 8’ English Diapason 8’ Hohl Flute 8’ Gamba 8’ Gamba Celeste (TC) 8’ Gemshorn 8’ Gemshorn Celeste (TC) 4’ Principal 4’ Traverse Flute 2’ Piccolo 1⅓’ Quint 2’ Choral Mixture III 8’ Clarinet 8’ French Horn 8’ Tromba Heroique 16’ English Tuba 8’ English Tuba 4’ English Tuba Harp (61 notes) Zimbelstern (9 bells)

Augustus Barnard Felgemaker (1836–1905)

PEDAL 32’ Untersatz 16’ Principal 16’ Double Diapason 16’ Gemshorn 16’ Bourdon 16’ Lieblich Flute 8’ Octave 8’ Open Diapason 8’ Gemshorn 8’ Bourdon 8’ Chimney Flute 4’ Choral Bass 4’ Cantus Flute 2⅔’ Mixture III 32’ Contra Trombone 32’ Harmonics 16’ Trombone 16’ Contra Oboe 8’ English Tuba 8’ Tromba 8’ Oboe 4’ Clairon Chimes (32 Notes)

The firm of Derrick & Felgemaker was established in 1866, Buffalo, NY, and relocated to Erie, PA, in 1872. The name changed to A. B. Felgemaker Organ Company in 1875. When it closed in 1918, nearly 1,300 organs had the Felgemaker nameplate; over 330 were portable—a specialty of the firm in its early years.9 Professional performers as well as critics of organ builders held Felgemaker’s pipe organs in the highest regard. The company produced 24 instruments for South Carolina, six of which were located in Charleston: First (Scots) Presbyterian Church, Opus 469; Bethel United Methodist Church, Opus 475; Citadel Square Baptist Church, Opus 562; Masonic Temple, Opus 871; Mt. Zion African Methodist Episcopal, Opus 482; Trinity Methodist Episcopal, Opus 496.10 17

Cathedral Church of St. Luke and St. Paul Gabriel Kney Pipe Organ Builders, Ltd., London, Ontario (1976) Casework by Theodore Charles Bates, London, England (1853)

The first organ in St. Paul’s Church, Radcliffeborough, was installed shortly after completion of the building in 1816, at a cost of $2,600; however, there is no record of the builder. 11 During 1815–20: William Goodrich and Thomas Appleton were working for Mackay & Co. of Boston (earlier styled Hayts, Babcock & Appleton, and also known as the Franklin Musical Warehouse). That firm listed an organ in 1815–1820 for Charleston, but did not name the church. In 1839, Thomas D. Warren, installing an Appleton organ at Trinity Episcopal Church in Columbia, SC, had occasion to travel to Charleston “with some pipes for the organ in St. Paul’s Church,” according to a letter from Thomas Appleton.12 This organ was sold in 1853 to make way for an instrument built by Theodore Charles Bates, 6 Ludgate Hill, London, at a cost of $5,000.13In order to accommodate the larger Bates case, construction on the west gallery wall began by extending it several feet into a design resembling an archery bow. The Bates organ was played for nearly six decades until 1912, when Austin Organ Company, Hartford, CT, installed Opus 423, a three-manual, 22-rank, electro-pneumatic instrument utilizing the classic nineteenth-century English case.14 The organ console and the choir were moved to the chancel at the east end of the church at that time. (In 1949, St. Paul’s congregation united with St. Luke’s Episcopal Church, which became the Cathedral Church of St. Luke and St. Paul.) In the late 1960s, the choir again sang from the west gallery and the organ console was placed in the south gallery. The Austin organ served until 1974 when it was decided again to place a mechanical-action organ inside the Bates case.15 Gabriel Kney of London, Ontario, built the instrument that has two manuals, 27 stops, 36 ranks, over 1,700 pipes, mechanical key action, and electric stop action.16 The organ “is a superb example of contemporary craftsmanship. The metal pipes were made in Germany and Holland, and the wooden pipes in Canada. . . . The stop knobs are hand lettered Old English from London, England. The old organ case is . . . restored as near as practicality permits to its original beauty.”17 It was the first modern mechanical-action “tracker” instrument to be placed in a South Carolina church. The services of dedication and thanksgiving of the Gabriel Kney organ were on October 2–3, 1976.

GREAT 8’ Principal 8’ Rohrflöte 4’ Octave 4’ Spitzflöte 2⅔’ Nasat 2’ Blockflöte 1⅗’ Terz 2’ Mixture V 16’ Trumpet 8’ Trumpet

SWELL 8’ Gedeckt 8’ Gamba 8’ Celeste (TC) 4’ Principal 4’ Flute 2’ Octave 1⅓’ Quinte 1’ Scharff III 16’ Dulcian 8’ Schalmei

PEDAL 16’ Subbass 8’ Principal 8’ Gedeckt 4’ Choralbass 2⅔’ Mixture IV 16’ Posaune 8’ Trumpet

Zimbelstern (5 bells)

Theodore Charles Bates (Active 1812–1864) George (Giles) Longman and Theodore Charles Bates, located at 6 Ludgate Hill from 1826 to 1829, were listed in the London Post Office Directory as “Organ and Pianoforte Makers.”18 The London Gazette printed a notice stating their partnership as “Music-Sellers and Musical-Instrument-Makers” was dissolved by mutual consent on August 1, 1829.19 The January 1832 issue of the Harmonicon printed an advertisement regarding Theodore C. Bates as seller of Dressler’s Flutes from T. C. Bates, Music Warehouse, 6 Ludgate Hill.20 In 1859, the business name became Theodore Bates and Son, continuing successfully until its closing in 1864. Bates made his reputation as a builder of pipe organs, pianofortes, and seraphines (keyed wind instrument with air blown across metallic reeds). He specialized in barreloperated organs, which played psalms and hymn tunes from pinned cylinders. A few organs by Bates are still in existence. Jonathan Wallace of Nottingham restored one such, at the Methodist Chapel, Glentham, England, in 1993. Louis Huivenaar, of the Netherlands, certified appraiser/valuer and restorer of harmoniums and reed organs, says of Theodore C. Bates, “His craftsmanship is perfect!” 21 18

Cathedral of St. John the Baptist (Roman Catholic) Bedient Pipe Organ Company, Lincoln, NE, Opus 22 (1986) On December 30, 1821, a small group of worshipers used a wooden structure as a temporary chapel, built on the northwest side of Broad and Friend (now Legare) Streets. Right Reverend John England, first Roman Catholic Bishop of Charleston, christened it as St. Finbar, and by 1840, the building housed a Henry Erben pipe organ.22 A Gothic-style building, started on July 30, 1850, and consecrated on April 6, 1854, was named the Cathedral of St. John and St. Finbar: “The new Cathedral boasted what must have been a large Erben organ, built in 1854.”23 The Great Fire of December 1861 destroyed much of downtown Charleston, including the Cathedral. The fire, along with the ravages of the War Between the States, the Great Earthquake of August 1886, and the slow economic recovery, prevented the construction of a new building until 1890. In May 1906, the church purchased a pipe organ built by America’s foremost organ builder and master artisan, Ernest Martin Skinner of Boston, MA. The “Specifications of the Organ for The Cathedral. Charlestown. [sic] S.C.” stated in part: The organ to be constructed of the best materials that money can purchase, with the highest finish that skilled labor can impart. The Builder warrants the action and construction in every particular, and agrees to make good at any time defects in materials, workmanship, or methods.

The reeds to have a special form of valve insuring perfect speech of tone. The case to be made of any native hard wood, from designs to be submitted for approval. Suitable electric blowing machinery to be provided, the same to be absolutely noiseless in operation. The organ to be erected in the church, tuned, and left ready for use. ($6,750)24 Opus 139 had three manuals, 35 stops, 16 ranks, 957 pipes, and electro-pneumatic action.25 The dedication for the Cathedral and its new pipe organ was on April 14, 1907. Over the years, moisture and water damage rendered the Skinner organ unplayable, and in 1967, the church purchased an electronic Allen as a substitute.26 In 1989, Hurricane Hugo damaged the sanctuary and destroyed most of the Skinner organ. In March 1993, the organ committee recommended purchasing the Bedient Opus 22, originally built for Christ Church Cathedral, Louisville, KY.27 After careful consideration and much discussion, the Cathedral purchased the instrument in 1994. That summer, the Cathedral also purchased a Bedient portative, Opus 50, to use in the sanctuary until the installation of Opus 22 in the rear gallery. Dedicated in November 1994, Opus 50 has one manual, four stops, and five ranks.28 Preparations for installation began with volunteers from the congregation removing the damaged Skinner organ and storing the salvaged pipes at Mepkin Abbey. The rear gallery rail was modified and on September 17, 1995, the same congregation volunteers unloaded the crated pipes of the Opus 22 under the direction of Gene Bedient.29 This French Romantic design was inspired by Aristide Cavaillé-Coll, the most distinguished mid-nineteenth-century French organ builder, who introduced innovations such as ventils—levers that add or subtract mixture and reed stops, devices for mechanical crescendo/decrescendo with a graduated swell pedal, and imitations of orchestral instruments. The organ has two manuals, 27 stops, 33 ranks, 1,676 pipes, mechanical key and stop action, and a flat pedalboard. Bedient added two new stops: Cornet II on the Récit and Contre Soubasse 32’ in the Pédale, the latter being primarily composed of a restored rank of pipes from the old Skinner.30 The organ contains a novelty stop found on some nineteenth-century French instruments: Orage, which creates a thunder effect. The dedication service of the Bedient Opus 22 was on November 17, 1995.

GRAND-ORGUE 16’ Bourdon 8’ Montre 8’ Flûte Harmonique 8’ Salicional 8’ Bourdon 4’ Prestant 4’ Octave* 2’ Doublette* Plein-Jeu III-VI* 16’ Basson* 8’ Trompette* 4’ Clairon*

RÉCIT 8’ Viole de Gambe 8’ Flûte Harmonique 8’ Voix Céleste (F) 4’ Flûte Octaviante 2’ Octavin 8’ Basson-Hautbois* (replaced by builder 2008) Cornet II* ++ 8’ Trompette* 8’ Voix Humaine*

PÉDALE 32’ Contre Soubasse++ 16’ Contrebasse 16’ Soubasse (G-.O.) 8’ Basse ovuerte 16’ Bombarde* 8’ Trompette* Great and coupler on Barker lever ++ added 1994 * ventil control

19

Pédales de Combination (L to R) Orage (storm pédale) G.-O./Pédale Récit/Pédale G.-O. Octaves Graves Anches/Pédale Anches/G.-O. Anches/Récit Récit/G.-O. Tremblant Récit Expressif

Grace Church Cathedral (Episcopal) The Reuter Organ Company, Lawrence, KS, Opus 994 (1952) Before the construction of Grace Church was completed, the vestry appointed a special committee to purchase an organ. On February 21, 1848, the committee reported the following: A contract has been made with Henry Erben of New York, for such a one as would presently suit; abandoning the opinion of the necessity of any future change. The organ will exceed the cost of the one authorized by the vestry to be contracted for, by eight hundred dollars, but from this sum Mr. Erben has kindly consented to deduct four hundred dollars, as a donation from himself to the Church; so that the amount to be paid him will be only sixteen hundred dollars, for which is obtained a much larger and very superior organ to the one designed to have been procured.31 Approved by the vestry, a contract was awarded to Henry Erben, March 6, 1848. The organ, having two manuals, 20 stops, and enclosed in a Gothic-style case, was placed in the center of the chancel in December 1848.32 When the church was renovated in 1859, it was relocated to the gallery over the entrance of the church.33 In 1862, during the War Between the States, the organ was dismantled and stored safely outside the city. By unusual circumstances, the organ from the Huguenot Church was brought to Grace and used until the spring of 1866. The organ of Grace Church was retrieved from its hiding place and reinstalled in its former position. Later that year, it was sold to a Presbyterian Church in Columbia, SC, for $1,180 and by April 1, 1867, John Baker had installed a new instrument at a cost of $3,650.34 The Charleston Daily News printed a favorable review: THE NEW ORGAN—It was our privilege last night, in the company of hundreds of others, to be present at the trial of the new organ, just completed for Grace Church. This organ was constructed in Charleston by one of our citizens, Mr. JOHN BAKER, a highly skilled organ builder.

The organ is “divided,” allowing the splendid Gothic window in front to be seen between its two halves. . . . There are a great many of the very latest improvements on this organ not to be found on any other in the city. . . . The wood work is finished in a very handsome style, entirely in accordance with the style of Grace. The pinnacles, finials are of the purest Gothic and all the other architectural niceties of this organ are perfectly preserved. . . . the finest instrument for the price we have ever seen in our city. We congratulate the vestry, congregation, and choir of Grace Church on the acquisition of such an [instrument]; and congratulate Mr.BAKER on the eminent success which has crowned his labors. The following gives a technical description of this noble instrument: [two manuals, 19 stops, 21 ranks, 1,056 pipes]. (March 30, 1867) The organ was ruined during the Great Earthquake of August 1886; its battered remains were sold for $300 in 1892.35 At this time, Roosevelt Organ Works, Brooklyn, NY, built Opus 532, a two-manual organ, for $4,000.36 On March 21, 1926, it was resolved that the vestry be authorized to spend a sum not exceeding $8,000 to rebuild the present organ. Specifications in the proposal included a three manual organ, an Echo division, and Chimes; the contract was awarded to Hillgreen, Lane & Company Organ Builders, Alliance OH.37 In 1952, the organ was replaced by Reuter Organ Company, Opus 994; it had three manuals, 46 stops, and 26 ranks. Randall Dyer & Associates, Inc., Jefferson City, TN, added a four-stop Antiphonal division, Opus 19, in 1983. After Hurricane Hugo destroyed the console in 1989, Dyer built a new one in 1991 but without the previous Antiphonal division. The organ received a Reuter high-profile four-manual console in 1997, renovated by Reuter in 2000, tonal enhancement in 2002 and 2004, and Solo-Antiphonal added 2008. In 2011, the Positiv division was enlarged; the Solo division, comprised of stops borrowed from other divisions, was recreated. Both were relocated to the right side of the chancel. The organ has four manuals, 79 ranks, 1,902 pipes, and electronic key and stop action.38 GREAT 16’ Violone 16’ Quintaton (Pos)++ 8’ Principal 8’ Bourdon 8’ Harmonic Flute 8’ Violone (Ext) 4’ Octave 4’ Koppelflöte 2⅔’ Twelfth

SWELL 16’ Rohrflöte 8’ Principal 8’ Geigen Diapason 8’ Rohrflöte 8’ Concert Flute (Ch) 8’ Flute de Teite (Ch) 8’ Viola da Gamba 8’ Voix Celeste 8’ Erzähler (Ch)

SOLO 16’ Dulciana++ 8’ Major Flute++ 8’ Harmonic Flute (Gt) 8’ Concert Flute (Ch) 8’ Viole d’Orchestre++ 8’ Celeste (CC)++ 8’ Dulciana (Ext)++ 8’ Unda Maris (GG)++ 8’ Erzähler Celeste II (Ch) 20

PEDAL 32’ Violine 32’ Resultant 16’ Principal 16’ Subbass 16’ Violone (Gt) 16’ Dulciana (So) 16’ Rohrflöte (Sw) 8’ Octave (Ext) 8’ Subbass (Ext)

Grace Church Cathedral—Continued GREAT 2’ Fifteenth Cornet III (TC)++ Fourniture IV Scharf III (Sw) 16’ Double Trumpet 8’ Trumpet 8’ Tuba (So)++ 8’ English Horn (So)++ 8’ French Horn (So)++ 8’ Clarion 8’ Trompette en Chamade (Ant) Chimes on Gt

CHOIR 8’ Concert Flute 8’ Harmonic Flute (Gt) 8’ Flute de Teite 8’ Viola 8’ Viola Celeste 8’ Erzähler 8’ Erzähler Celeste 4’ Harmonic Flute 4’ Cromorne 8’ French Horn (So)++

SWELL 8’ Erzähler Celeste (Ch) 4’ Octave Geigen 4’ HohlflÜte 2⅔’ Nazard 2’ Super Octave 2’ Nachthorn 1⅗’ Tierce Plein Jeu IV Scharf III 16’ Trumpet 16’ Contra Oboe 8’ Trumpet 8’ Trompette 8’ Tuba (So)++ 8’ Oboe 8’ Vox Humana 4’ Clarion

SOLO 8’ Quintaton (Pos)++ Cornet III (Gt) 16’ Tuba (TC)++ 16’ Double Trumpet (Gt) 16’ Trumpet (Sw) 16’ Tuba++ 8’ French Horn++ 8’ English Horn++ 8’ Trumpet (Gt) 8’ Trompette (Sw) 8’ Trumpet (Sw) 8’ Oboe (Sw) 8’ Vox Humana (Sw) 4’ Clarion (Sw) 16’ Trompette en Chamade 8’ Trompette en Chamade (16’, 8’ Ant)

PEDAL 8’ Violone (Gt) 8’ RohrflÜte (Sw) 4’ Choral Bass 4’ Subbass (Ext) 4’ Harmonic Flute (Gt) Mixture IV 32’ Trombone 16’ Double Trumpet (Gt) 16’ Trumpet (Sw) 16’ Contra Oboe (Sw) 8’ Trumpet (Gt) 8’ Trumpet (Sw) 8’ Oboe (Sw) 4’ Clarion (Sw) 8’ Trompette en Chamade (Ant) 8’ Tuba (So)

POSITIV 16’ Quintaton++ 8’ Gedeckt 4’ Principal 4’ Quintaton (Ext.)++ 2⅔’ Twelfth++ 2’ Principal 1⅗’ Seventeenth++

Positiv, cont.

1⅓’ Larigot 1đ?&#x;?â „đ?&#x;• ’ Septieme Cymbal III 16’ Tuba (So)++ 8’ Tuba (So)++ 8’ Trompette en Chamade (Ant) 8’ English Horn (So)++

ANTIPHONAL 8’ Principal++ 8’ Bourdon++ 8’ Dulciana++ 4’ Octave++ 4’ FlachflÜte++ 2’ FlachflÜte (Ext)++ 16’ Bourdon(Pedal Ext)++ 8’ Bourdon(Pedal)++ ++ changes/additions

John Baker (1814–1882) A native of Bath, England, John Baker’s early referral as an organ builder was printed in Dwight’s Journal of Music, 1852.39 In 1853, he worked on the Wm. Gray organ at Harvard and was noted as “John Baker, Organ Builder at Erben’s Establishment, NY, from Gray’s Establishment, London.� 40 Archival sources indicate Baker had moved to Charleston by 1854 and was repairing, tuning, and building organs. Documentation of business dealings with Baker are in records from St. Matthew’s Lutheran Church in 1854, 1864, and 1872, St. Michael’s Church in 1855, 1864, 1865, and 1871, Grace Church in 1867, and “Huguenot� Church in 1859–76. The Charleston Daily News and Abbeyville (SC) Press printed advertisements for “John Baker Organ Manufactory, Charleston, S.C.,� in 1861, 1867, and 1869. The Charleston Daily News wrote with praise of his work: THE ORGAN AT ST. PHILIP’S—The organ at St. Philip’s Church, which has been undergoing rebuilding for the past four months, at the hands of Mr. John Baker, an experienced organ builder of this city. . . . The greatest credit is due to Mr. Baker for the careful and scientific manner in which he has made the changes in the musical and mechanical arrangement of this fine organ. (February 18, 1869) A CHARLESTON MECHANIC ABROAD— The Savannah Advertiser pays a high compliment to Mr. John Baker, skilled organ builder of this city, for the thorough and satisfactory manner in which he has repaired the organs of the four churches in Savannah, and states in substance that Mr. Baker has made a good reputation in that city. (March 23, 1869) Two organs built by Baker still exist in their original locations: Trinity Episcopal Church, Abbeville, SC, built in 1860, with one manual, seven stops, and eight ranks, was restored 1979-80 by Blakely Organ Builders, Charlotte, NC, with pipes repaired by Knowlton Organ Company, Davidson, NC, under subcontract to Blakely c. 1991, and St. Mary of the Immaculate Conception, Edgefield, SC, with one manual and ten registers.41 The funeral for John Baker was at St. Paul’s Church, Radcliffeborough, on January 18, 1882. The burial of Baker was in the section of Charleston’s historic Magnolia Cemetery known as “Outer Circle Old.�42 21

(Huguenot) French Protestant Church Henry Erben, New York, NY (1845) Henry Erben, “undoubtedly the most eminent organ builder in America,” built the Huguenot organ in 1845.43 Located in the east gallery over the pulpit, the two-manual, 14-stop, mechanical key and stopaction instrument was enclosed in a three-section Carpenter’s Gothic-style case with florid carvings, and Erben voiced it in a “gentle and refined manner”; it was insured for $2,000.44 During the War Between the States, shellfire damaged the church but the organ was seemingly intact. That is, until this organ attracted the attention of certain members of the Union Army, who determined to send it to New York. The organ was taken apart, and more than half the parts were removed from the Huguenot Church, and placed on a boat for shipment, when Mr. T. P. O’Neale, organist of the Huguenot Church, with influential friends, persuaded the soldiers not to take the organ away from Charleston. The organ was then brought to Grace Church where it was used until the spring of 1866, when it was returned to the Huguenot Church. Mr. O’Neale served as organist while the organ remained in Grace Church. He then returned to the Huguenot Church with the organ.45 John Baker added a Bourdon 16’ sometime between 1859 and 1876; over a half-century later, James N. Reynolds from Atlanta replaced the Trumpet 8’ with a Keraulophon 8’ and enlarged the compass of the pedal clavier in 1929.46 Hartman–Beaty Organ Company, Englewood, NJ, replaced the 1929 Keraulophon 8’ with a Trumpet 8’, installed a Bassoon 8’, and extended the Pedal division by adding five treble pipes in 1969.47 James Polzois replaced the 20-note pedalboard with a new 27-note clavier in 1984.48 Knowlton Organ Company, Davidson, NC, restored the instrument to its original specification in 1997.49 It is the most historically intact working instrument of its period in Charleston. This organ received the “Historic Organ Citation Number 2, 09-03-1975,” given by the Organ Historical Society in recognition of its value worthy of preservation.

GREAT 8’ Open Diapason 8’ Stop’ᵈ Diapason Treble 8’ Stop’ᵈ Diapason Bass 4’ Principal 2⅔’ Twelfth (from C) 2’ Fifteenth (from C) 8’ Trumpet (TC)

SWELL (treble stops from Tenor F) 8’ Stop’ᵈ Diapason 8’ Dulciana 4’ Principal 4’ Flute 8’ Hautboy

CHOIR (bass stops) 8’ Stop’ᵈ Diapason 4’ Principal 8’ Bassoon PEDAL 16’ Bourdon Hitch-down Swell Pedal

Henry Erben (1800–1884) The City Gazette, Charleston, South Carolina printed an announcement for organ building: HALL & ERBEN, Church and Chamber ORGAN BUILDERS, New-York, respectfully inform their

Southern Friends, that having considerably enlarged their Establishment, they are prepared to execute orders for Organs of every description upon shortest notice, and upon the most accommodating terms. All organs built at this Establishment, are warranted. (June 1, 1824) Around the age of 16, Erben began an apprenticeship in the shop of Thomas Hall. By 1824, Hall and Erben, now brothers-in-law, had formed a partnership; it lasted only three years. From 1827 to 1874, Erben managed his own business, Henry Erben–Organ Manufacture. From 1874 to 1879, Erben was in partnership with William M. Wilson under the name of Henry Erben & Co. In 1880, Erben’s son, Charles, joined the business and the name became Henry Erben & Son. Throughout his career of more than six decades, many of the largest, most prestigious churches and cathedrals in the nation sought after his instruments. Erben stated, “It is unnecessary for us to EULOGIZE our instruments, as they are well known. The unprecedented number of first-class Organs that we have turned out and distributed . . . [are] not only the LARGEST, but also the most superior instruments.”50 His work, numbering between 1,250 and 1,875 (his obituary cited 1,734 organs), was to be found throughout the Americas.51 The order from Erben’s 1877 Organ Manufactory catalog listed 17 organs for Charleston: French Protestant, 1845; St. Philip’s, 1833; St. Stephen’s, 1852; St. Peter’s, 1836; Grace, 1837;52 Grace, 1848; St. Finbar’s Cathedral, 1840; Charleston Cathedral, 1854; St. Patrick’s Church, 1848; St. Mary’s, 1867; Hebrew Synagogue, 1841; Congregational, 1854; Baptist Church, 1832; Odd Fellow’s Hall, 1848; German, 1847; German, 1855; Second Presbyterian Church, 1857.53 22

St. Matthew’s Lutheran Church Austin Organs, Inc., Hartford, CT, Opus 2465 (1967) Founded on December 3, 1840, by German-speaking citizens wishing to worship in their native language, the members occupied a newly built Greek Revival edifice at 48 Hasell Street in 1842. On March 14 of that year, Council voted to purchase an organ for $850. On April 8, 1854, it was decided to purchase “a new quality organ . . . to help improve our singing in church,” and by July 12, 1854, “the church had acquired the Cathedral Organ for $1,200 in cash, which is in excellent condition . . . we call a beautiful organ our own.”54 John Baker, organ builder, contracted a fee of $50 for weekly inspections and tuning the organ to keep it in working condition. On July 14, 1864, during the War Between the States, Council deliberated to have it removed for safekeeping. Due to Mr. Baker’s high moving expenses of $650, and difficulty finding a safe place, this did not materialize.55 By October 6, 1864, with limited funds to repair damages caused by the war, Council acknowledged an unforeseen need: The heaviest loss we have endured is that of our organ. Mr. Baker tells us that the main part of it has been taken out by thieves and what is left is only a secondary part or second register. It will be virtually impossible for us to replace this loss anytime soon. Even if we could repair some of the damage, we would not have the money to dismount and remount the instrument. 56 On March 3, 1872, Council conferred on where to place an organ in the newly constructed Gothic Revival sanctuary at 405 King Street. Mr. Baker contracted to build and install the instrument by May 1, 1872, at a cost of $1,100.57 The Great Gale in September 1874 damaged the roof and organ; repairs to the organ required $30–$50.58 On June 1, 1916, Council elected a Ladies’ Committee dedicated to replacing the organ built by Baker. Because of the women’s enthusiastic efforts, by February 1918: The most important occurrence of the entire year was, to our greatest joy, the manufacture, and installation of our new and melodious organ, which has been accomplished in a short time by the amiable and hardworking Ladies’ Committee of the congregation.59 Built by Hinners Organ Company, Pekin, IL, 1918, the three-manual electro-pneumatic action chancel organ cost $5,250.60 In use until 1948, the Hinners organ was replaced with a gallery organ built by Austin Organs, Inc., Opus 2085, having three manuals and 55 ranks.61 On January 13, 1965, a fire destroyed the roof, steeple, interior sanctuary, and the Austin Opus 2085. For the next two years, an electronic organ was in use for services in the church parish hall during the rebuilding of the sanctuary.

An Austin gallery organ, Opus 2465, with three manuals, 61 ranks, and 3,464 pipes, was dedicated in 1967.62 Austin installed the Trompette en Chamade in early 2000; six years later, Bedient Pipe Organ Company restored the organ and digitalized the Contra Lieblich Gedeckt 16’ and Contra Bombarde 16’ to a 32’ pitch.63 From 2013 to 2015, while the sanctuary was closed for renovations, Austin restored the console by installing solid-state electronics with new combination action, added two stops to the Chancel division (wooden Principal 8’, 4’), and replaced the Pedal Gedeckt 16’.64 The highly anticipated celebratory service to rededicate the sanctuary and restored Austin console was on June 28, 2015.

GREAT 16’ Gemshorn 8’ Principal 8’ Bourdon 8’ Gemshorn (Ext) 4’ Octave 4’ Splitzflöte 2’ Waldflöte Rauschquint II Fourniture IV 8’ Trompette en Chamade (Ch) Zimbelstern Chimes CHANCEL 8’ Diapason 8’ Gedeckt 8’ Viole d’Amore

CHOIR 8’ Nason Flute 8’ Flauto Dolce 8’ Flute Celeste 4’ Koppelflöte 2⅔’ Nazard 2’ Blockflöte 1⅗’ Tierce 8’ Krummhorn 8’ Bombarde 8’ Trompette en Chamade Chancel, cont.

8’ Viole Celeste 4’ Principal 4’ Chimney Flute Mixture III 8’ Trompette

SWELL 16’ Lieblich Gedeckt 8’ Geigen Principal 8’ Hohl Flöte 8’ Gamba 8’ Gamba Celeste 4’ Principal 4’ Rohrflöte 2’ Flautino Plein Jeu IV 16’ Conta Fagotto 8’ Fagotto (Ext.) 8’ Trompette 4’ Clairon 8’ Trompette en Chamade (Ch) Chancel, cont. (2015) 8’, 4’ Principal 23

PEDAL POSITIV 32’ Contra Lieblich (Dig) 8’ Suavial 32’ Resultant (Ext) 4’ Prestant 16’ Principal 2’ Principal 16’ Bourdon 1⅓’ Larigot 16’ Gemshorn (Gt) Cymbal III 16’ Lieblich Gedeckt (Sw) 4’ Schalmei 16’ Flauto Dolce (Ch Ext) 8’ Octave 8’ Gemshorn (Gt) CHANCEL PEDAL 8’ Gedeckt (Ext) 16’ Gedeckt 4’ Choralbass 8’ Flute Mixture III 32’ Contra Bombarde (Dig) 16’ Bombarde (Ch Ext) 16’ Fagotto (Sw) 8’ Bombarde (Ch) 8’ Trompette en Chamade (Ch) 4’ Krummhorn (Ch)

St. Michael’s Church Kenneth Jones and Associates, Bray, Ireland (1994) Casework by Johann Snetzler, London, England (1767)

St. Michael’s Church borrowed a small organ for the opening ceremony in February 1761. The next year, Sampson Neyle loaned the church “a very neat chamber organ, front pipes gilt, and has four whole and two half Stops.”65 In 1767, a three-manual organ with 21 stops, 21 registers, and 900 pipes built by Johann Snetzler, “who is now the most considerable, and the most reputable Organ Builder in England,” was purchased for £528 sterling, including shipping and installation.66 William Goodrich of Boston repaired the instrument in 1816.67 In 1833, New York organ builder Henry Erben examined the instrument and presented his assessment to the vestry: “The Organ is much in want of Bass, and the deep and Sonorous tones of the Pedals will give a grand effect.”68By March 1834, John Faucett, an agent from Erben’s shop had installed an octave of pedals and a new wind chest; in 1859, the organ was "expanded again and several new stops were added.”69 During the War Between the States: After a Thanksgiving service November 19, 1863, punctuated by the explosion of falling shells, the Church was ordered closed, the organ . . . [was] removed, and services ceased until November 26, 1865. . . . The organ was stored in the Sunday-school building of St. Paul’s Church, Radcliffeborough, where it remained until replaced in this Church in the late fall of 1865.70 In 1871, John Baker overhauled the organ at a cost of about $1,900; “worn out action was replaced; a combination stop, known as the ‘furniture stop’ [sic] and the ‘bassoon’ were removed.”71 Baker modernized the keyboard by reversing the colors of the sharps, which had been white, and the naturals black; the console, which was en fenêtre, was brought outside the case.72 The Great Earthquake of August 1886 damaged the building, necessitating the dismantling and removal of the organ for approximately ten months. The vestry discussed repair issues in 1894; an expert urged that it would be injudicious to put modern improvements into an old organ, and that it would be really much more economical to build a new one. . . . We had the opinions of probably not fewer than ten to twelve representatives of organ manufacturers, and whilst every one of them recommended a new organ, not one of them would agree to undertake and guarantee a renovation of the old instrument.73 Preservation efforts were unsuccessful. In June 1910, the vestry awarded a contract to Austin Organ Company, Hartford, CT, which considered the proposed estimate to be for “an excellent instrument”: Though the pipework could no longer be repaired, the mahogany case-work was still in such good condition that it could be utilized as the case of the new organ. In the rebuilding, the sides of the old case were swung on line with the front of the organ, and new sides and rear were added. . . . The proportion and grace of the old Snetzler organ were retained; at the same time, the requirements of the modern organ were met.74

By January 27, 1911, Opus 308 with three manuals and 26 ranks was installed, at a total cost of $6,840.76.75 Needing more repairs in 1939, plans were made to electrify a new console and replace the action; Austin Organ Company completed the work by January 1940.76 In 1993, Kenneth Jones and Associates crated the surviving pieces of the original 1767 casing and shipped them to Bray, Ireland, where work began on an instrument for the recreated case. 77 Jones shipped the new organ back to Charleston in March 1994. It has three manuals, 40 stops, 51 ranks, 2,519 pipes, tracker key action, and mechanical stop action with parallel electric stop action.78 The service of thanksgiving and blessing of the Kenneth Jones organ was on June 5, 1994, and the dedicatory recital was on September 24, 1994.

GREAT 16’ Lieblich Bourdon 8’ Open Diapason 8’ Stop’ᵈ Dipason 4’ Principal 4’ Open Flute 2⅔’ Twelfth 2’ Fifteenth 1⅓’ Mixture IV Cornet V (mid C) 8’ Trumpet

SWELL 8’ Stop’ᵈ Diapason 8’ Salicional 8’ Voix Celeste (TC) 4’ Principal 4’ Wald Flute 2’ Doublette 2’ Mixture III-IV 16’ Double Trumpet 8’ Cornopean 8’ Oboe

CHOIR 8’ Stop’ᵈ Diapason 4’ Principal 4’ Flute 2⅔’ Nazard 2’ Fifteenth 2’ Blockflute 1⅗’ Tierce 1⅓’ Cymball II 8’ Cromorne 8’ Grand Trumpet 24

PEDAL 16’ Open Wood 16’ Sub Bass 16’ Lieblich Bourdon 10⅔’ Quint 8’ Principal 8’ Bass Flute 5⅓’ Twelfth 4’ Choral Bass 4’ Mixture III 16’ Trombone

Charles Pelot Summerall Chapel at The Citadel Cornel Zimmer Organ Builders, Denver, NC, Four-manual Console, Opus 135 (2014) The Reuter Organ Company, Lawrence, KS, Opus 500, Pipes (1937)

The organ in the chapel at The Citadel has provided music for thousands of cadets. Built in 1936, Summerall Chapel has held a special place in the life of the Corps of Cadets since its dedication.

The cornerstone of the chapel was laid on September 7, 1936. The first service was held almost a year later on September 9, 1937, and the chapel was dedicated on April 10, 1938 as the Cadet Chapel. After General Summerall's retirement as president of The Citadel in June of 1953, the name was officially changed to General [Charles] Pelot Summerall Chapel.79 The Reuter organ, Opus 500, “worthy of the magnificent construction of our chapel,” was installed in 1937; it had three manuals, 31 stops, 34 ranks, and 2,156 pipes.80 Six ranks of pipes were added in 1949. Reuter altered the console to four manuals in 1960 and rebuilt it as Opus 1507 with an additional 28 ranks in 1965.81 The organ was essentially unplayable by 1985; without available funds to restore the instrument, the decision was made to purchase a two-manual electronic Allen organ.82Plans to restore the Reuter were initiated in 2004; The Citadel Class of 1963 undertook the project to “bring back the glory of a Pipe Organ befitting of the grandeur and majestic history of Summerall Chapel.”83 Campaigning to raise funds began and by July 2014, the first step in the multi-phase project of restoring the historic Reuter organ started with the removal of all pipes from the north and south chambers.

Cornel Zimmer Organ Builders drafted a customized plan for the console. The proposal integrated traditional artistic elements found throughout the chapel, specifically from the existing woodwork of the pulpit, the reredos, and altar; arch motifs and rosettes completed the design.84 On March 15, 2015, as part of Corps Day Weekend, Zimmer debuted the handcrafted four-manual console. A large battery of solo horizontal trumpets will be mounted on the west wall of the chapel in 2016; phases two and three include adding pipes to the Great division and refurbishing all of the original Reuter pipes.85 Upon restoration, the Summerall Chapel organ will be the largest in the state, having over 100 ranks.

GREAT 16’ Sub Principal 8’ First Open Diapason 8’ Second Open Diapason 8’ Principal Flute 8’ Bourdon 8’ Viole de Gamba 8’ Gemshorn 4’ First Octave 4’ Second Octave 4’ Hohlflute 2⅔’ Twelfth 2’ Fifteenth 1⅓’ Fourniture IV 1’ Cymbale III 16’ Double Trumpet 8’ Tromba 8’ Flugel Horn 4’ Clarion 8’ Trompette Militaire (So) 8’ Tuba Major (Ch) Chimes (So) SOLO 8’ Grand Open Diapason 8’ Harmonic Flute 8’ Viola Pomposa 8’ Viola Celeste 4’ Orchestral Flute Grand Cornet IV

SWELL 16’ Lieblich Gedeckt 8’ Diapason 8’ Geigen Principal 8’ Voce Umana 8’ Salicional 8’ Voix Celeste (TC) 8’ Rohrflute 4’ Octave 4’ Flute Triangulaire 2⅔’ Nazard 2’ Flautino 1⅗’ Tierce 2’ Plein Jeu IV 32’ Contre Basson 16’ Basson 8’ Trompette 8’ Oboe 8’ Vox Humana 4’ Clarion

8’ 8’ 16’ 8’ 16’ 8’ 4’

Solo, cont.

French Horn Orchestral Oboe Trompette Militaire Trompette Militaire Tuba Major (Ch) Tuba Major (Ch) Tuba Clarion (Ch) Chimes

PEDAL 32’ Contrabass 32’ Contra Bourdon 16’ Principal 16’ Sub Principal (Gt) 16’ Dulciana (Ch) 16’ Violone 16’ Bourdon 16’ Spitzflute 16’ Lieblich Gedeckt (Sw) 8’ Octave 8’ Gemshorn 8’ Bourdon 8’ Still Gedeckt 4’ Choral Bass 4’ Cantus Flute (So) 16’ Mixture IV 32’ Contre Bombarde 32’ Contra Basson (Sw) 16’ Bombarde 16’ Double Trumpet (Gt) 16’ Basson (Sw) 16’ Fagotto (Sw) 16’ Trompette Militaire (So) 8’ Trompette Militaire (So) 8’ Cornopean (Ch) 4’ Clarion 4’ Flugel Horn (Gt)

CHOIR 16’ Dulciana 8’ Principal 8’ Concert Flute 8’ Dulciana 8’ Unda Maris (TC) 8’ Gedeckt 4’ Octave 4’ Koppelflute 2’ Super Octave 1⅓’ Quinte 1⅓’ Scharf IV 16’ Fagotto 8’ Cornopean 8’ English Horn 8’ Clarinet 8’ Tuba Major Harp ANTIPHONAL 4’ Principal 8’ Bourdon 8’ Erahler Celeste II 4’ Octave 4’ Open Flute 2’ Fifteenth

The various organ consoles represented in the series may have accessories such as inner-and-intra-manual couplers, transposer, multi-level memory, programmable ventil cutouts, expression pedals, tremulants, combination thumb pistons and toe studs, MIDI record/playback, and ITT star facility with read-write capability. Due to space limitation on each page, these accessories have been omitted.

25

NOTES 1. Ann Taylor Andrus, The Name Shall Be Bethel: The History of Bethel United Methodist Church, 1797-1997 (Charleston, SC: Bethel United Methodist Church, 1997), 120.

2. Arthur E. Schlueter, III, “Bethel United Methodist Church, A. E. Schlueter Pipe Organ,” Diapason, August 2005, 23. ©The Diapason, August 2006 (Reprinted). Used with permission.

3. Watson Boone Duncan, “Trials and Triumphs of Charleston Methodism,” Historical Society Addresses, Paper 13 (December 6, 1910), 10; Andrus, Name Shall Be Bethel, 120.

4. Mary-Julia Royall, “Felgemaker Organs in South Carolina,” Newsletter of the South Carolina Chapter of the Organ Historical Society II, no. 3, Whole no. 6 (September 1980): 12; Schlueter, “Bethel United Methodist Church,” 23.

5. Andrus, Name Shall Be Bethel, 122; Schlueter, “Bethel United Methodist Church,” 23.

6. Austin Organ Co., Opus 1867, 1934, OHS ID 11486; Andrus, Name Shall Be Bethel, 122.

7. A. E. Schlueter Pipe Organ Co., 2004, OHS ID 19331; Schlueter, “Bethel United Methodist Church,” 23.

8. Schlueter, “Bethel United Methodist Church,” 23.

9. Alan M. Laufman, Organ Handbook 1985: Published for the 30th Annual National Convention of the Society, Charleston South Carolina, 24-27 June 1985 (Richmond, VA: Organ Historical Society, 1985), 14.

10. Royall, “Felgemaker Organs in South Carolina,” 12.

11. Laufman, Organ Handbook 1985, 31.

12. Alan Laufman, “A Walking Tour of Charleston Churches,” Tracker: Journal of the Organ Historical Society 29, no. 1 (1985): 28.

13. W. Benjamin Hutto, III, “The Organ of the Cathedral Church of St. Luke and St. Paul, Radcliffborough, Charleston, South Carolina,” unpublished typescript ca. 1976, Cathedral Church of St. Luke and St. Paul archives.

14. Austin Organ Co., Opus 423, OHS ID 11491; Laufman, Organ Handbook 1985, 31.

15. Hutto, “Organ of the Cathedral Church.”

16. Gabriel Kney & Co., 1976, OHS ID 2642.

17. “Dedication Set for Pipe Organ,” News and Courier/Charleston Evening, September 25, 1976, 13C. 18. Martha Novak Clinkscale, Makers of the Piano, Volume 2, 1820-1860 (Oxford, UK: Oxford, UP 1999), 236.

19. “Notice” (Giles Longman and Theodore C. Bates), London Gazette, August 25, 1829, 1,592.

20. William Ayrton, “Dressler’s Flutes,” Harmonicon: Monthly Journal of Music 10, no.49 (January 1832): 155.

21. Robert J. Allan, “Free Reed Organ in England: The Seraphine, T. C. Bates,” accessed June 20, 2015. tardis.dl.ac.uk/FreeReed/organ_book/node17.html.©creativecommons.org.

22. Cathedral of St. John the Baptist, “A History of Organs at the Cathedral,” Solemn Dedication of the Bedient Pipe Organ, Opus 22 for The Cathedral of Saint John the Baptist, Charleston, South Carolina, Program Book, November 17, 1995; Laufman, “Walking Tour,” 24.

23. Cathedral of St. John the Baptist, “History of Organs”; Laufman, “Walking Tour,” 24.

24. Cathedral of St. John the Baptist, “Specification of The Organ for The Cathedral. Charlestown. [sic] S. C.,” Skinner organ proposal, May 24, 1906, Charleston Diocese Archives, 87PA. 25. The Ernest M. Skinner Co., Opus 139, 1906, OHS ID 19645.

26. Cathedral of St. John the Baptist, “History of Organs.”

27. Bedient Pipe Organ Co., Opus 22, 1987(6), OHS ID 8415.

28. Bedient Pipe Organ Co, Opus 50, 1994, OHS ID 2637.

29. Deirdre Mays, “Charleston Cathedral installs Bedient Organ,” Post and Courier, November 16, 1995, Sect. P. 30. Cathedral of St. John the Baptist, “The Bedient Opus 22,” Solemn Dedication of the Bedient Pipe Organ.

31. William Way, The History of Grace Church, Charleston, South Carolina: The First Hundred Years (Durham, NC: Seeman Printery, Inc., 1948), 140-41.

32. Way, History of Grace Church, 139–41; Henry Erben, 1848, OHS ID 9980.

33. William Way, Seventy-Fifth Anniversary of the Consecration of Grace Church, Charleston, South Carolina, November 9, 1848—November 9, 1923: History of the Parish (Charleston, SC: Grace Church, 1923), 71.

34. Way, Seventy-Fifth Anniversary, 72; John Baker, 1867, OHS ID 55298.

35. Way, History of Grace Church, 142; Laufman, “Walking Tour,” 26.

36. Way, Seventy-Fifth Anniversary, 73; Laufman, “Walking Tour,” 26.

37. Way, History of Grace Church, 142–43.

38. Reuter Organ Co., Opus 994, 1952, OHS ID 20803; Randall Dyer & Assoc., Opus 19, 1983, OHS ID 18992; Randall Dyer & Assoc., 1991, OHS ID 46695; Reuter Organ Co., 2000, OHS ID 46696; Reuter Organ Co., 2008, OHS ID 46697; The Reuter Organ Co., accessed August 1, 2015. www.reuterorgan.com/opus_list.html 39. “Splendid New Organ,” Dwight’s Journal of Music I, no. 16 (July 24, 1852): 127.

40. Mary-Julia Royall, “Some Notes on John and James S. Baker, Organ Builders,” “Towards a Baker Opus List,” Newsletter of the South Carolina Chapter of the Organ Historical Society II, no.3, Whole no. 6 (September 1980): 7, 9.

41. John Baker, 1860, OHS ID 2641; John Baker, OHS ID 3505.

42. Royall, “Some Notes on John and James S. Baker,” 7; Magnolia Cemetery (Charleston, Charleston County, SC) John Baker, ½ Outer Circle Old, Lot 1184 (purchased April 24, 1877 by John Baker).

43. Charles A. Radzinsky, “Organ Builders of New York, 1800 to 1909,” New Music Review and Church Music Review 9, no. 99 (February 1910): 165-68; Henry Erben, 1845, OHS ID 2643.

26

44. Benjamin K. Williams, “Erben Organ Restoration, Huguenot Church, Charleston, South Carolina, Knowlton Organ Company,” Diapason, February 1998, 15. ©The Diapason, February 1998. Used with permission; John Ogasapian, Henry Erben: Portrait of a Nineteenth-Century American Organ Builder (Braintree, MA: The Organ Literature Foundation, 1980), 42; Daniel Ravenel, Letter, January 13, 1864, The South Carolina Historical Society.

45. Way, History of Grace Church, 141–42.

46. Williams, “Erben Organ Restoration,” 15.

47. Susanne L. Taylor, "Historic Recital Series,” Tracker: Journal of the OHS 17, no. 2 (Winter 1973): 3, 12.

48. Laufman, Organ Handbook 1985, 95.

49. Williams, “Erben Organ Restoration,” organ specifications, 15.

50. Henry Erben and William M. Wilson, Henry Erben & Company, Manufacturers of Church Organs, Factory and Warerooms, Catalog (New York: Wm. N. Jennings, Book & Job Printer, 1877), 1.

51. Robert Delvin, "A Tale of Two Organs: Henry Erben and Apalachicola, Florida" Scholarly Publications, Paper 3 (March 9, 2000), 6; “Obituary Notes,” New-York Daily Tribune, May 9, 1884; Ogasapian, Henry Erben, 11, 14–16.

52. David B. Schneider, “Churches and Religion,” Historic Resources of Sullivan’s Island, South Carolina, National Register of Historic Places, August 2002, section E, 7. Grace Episcopal Church, Sullivan’s Island, est. in 1813. During the War Between the States, shells of U. S. forces on Morris Island destroyed the sanctuary’s roof and most likely an Erben organ (1837). Shortly after, the church disbanded and the property was sold by 1879.

53. Erben and Wilson, Henry Erben & Company, 14–15.

54. St. Matthew’s German Evangelical Lutheran Church (SMLC), Minutes (trans. German, 1840–1918): “A General Meeting” (March 14, 1842), 12; “Regular Meeting of Church Council” (April 8, 1854); “Quarterly Meeting Church Council” (July 12, 1854), 147. Most likely, this is the Erben organ (1840) used in the church of St. Finbar.

The dedication of the Cathedral of St. John and St. Finbar and the new Erben organ (1854) was on April 6, 1854.

SMLC minutes of April 8, 1854 stated, “Luckily the opportunity presented itself to acquire the Cathedral Organ.”

55. SMLC Minutes, “In a Special Meeting Church Council” (July 14, 1864), 262.

56. SMLC Minutes, “Regular Meeting of Church Council” (October 6, 1864), 263.

57. SMLC Minutes, “Special Meeting of Church Council” (March 3, 1872), 281.

58. Julian A. Selby, “The Great Gale of (September 28) 1874,”Daily Phoenix (Columbia, SC), October 1, 1874; News and Courier, September 29, 1874; SMLC Minutes, “Special Meeting after Church Service” (October 4, 1874).

59. SMLC Minutes, “Special Meeting of the Congregation” (June 1, 1916), 336; “Minutes” (1918).

60. SMLC Minutes “Report of Treasurer Organ Fund” (February 5, 1918); Laufman, “Walking Tour,” 27.

61. Austin Organs, Inc., Opus 2085, 1948, OHS ID 11495.

62. Austin Organs, Inc., Opus 2465, 1968(7), OHS ID 11494.

63. SMLC, “Restoration of Austin Opus 2465,” Dedicatory Concert, Program Book, November 6, 2006.

64. Pers. comm., W. Douglas Ludlum, SMLC retired Director of Music/Organist, on organ histories 1948–2015.

65. George W. Williams, “The Snetzler Organ at St. Michael's Church, Charleston,” Organ: A Quarterly Review for its Makers, its Players & its Lovers XXXIII, no. 131 (January 1954): 134; Samuel Prioleau, “To Be Sold At Auction,” Advertisement, S. C. Gazette and Country Journal, August 11, 1767, 3.

66. John Snetzler, 1768(7), OHS ID 24999; Laufman, “Walking Tour,” 23.

67. Laufman, “Walking Tour,” 23.

68. George W. Williams, St. Michael’s, Charleston, 1751-1951 (Columbia: University of SC Press, 1951), 226.

69. Williams, “Snetzler Organ,” 135; Williams, St. Michael’s, 227.

70. John Kershaw, History of the Parish and Church of Saint Michael, Charleston (Charleston, SC: Press of Walker, Evans & Cogswell Co., 1915), 53.

71. Kershaw, History of the Parish, 53; Laufman, “Walking Tour,” 23; Williams, “Snetzler Organ,”135.

72. Williams, St. Michael’s, 228; Kershaw, History of the Parish, 53; John Snetzler, 1768(7), OHS ID 24999.

73. Kershaw, History of the Parish, 53.

74. Williams, St. Michael’s, 230; Williams, “Snetzler Organ,” 136.

75. Williams, St. Michael’s, 231; Austin Organ Co., Opus 308, 1913 (1911), OHS ID 11493.

76. Williams, St. Michael’s, 232; Austin Organ Co., Opus 308A, 1939, OHS ID, 49086.

77. Patricia B. Jones, “Repairs of Organ near End,” Post and Courier, June 16, 1994, 1, 13.

78. Kenneth Jones & Associates, 1994, OHS ID 25000.

79. The Citadel, “Summerall Chapel,” accessed June 30, 2015. www.citadel.edu/root/chapel-history.

80. The Citadel Foundation, “Summerall Chapel Pipe Organ Project,” accessed June 22, 2015. foundation.citadel.edu/chapelorgan; Reuter Organ Co., Opus 500, 1937, OHS ID 20275.

81. The Citadel, Office of Chaplaincy, “Chapel Organ Project,” accessed August 5, 2015. www.citadel.edu/root/chapel-organ-project; Reuter Organ Co., Opus 1507, 1966, OHS, ID 20275; OHS, ID 21339.

82. Cadet James McManus, “Organ in Historic Summerall Chapel undergoing complex restoration,” March 12, 2015, accessed June 30, 2015. www.citadel.edu/root/organ-summerall-chapel-restoration; OHS ID 20275.

83. Cornel Zimmer Organ Builders, “Summerall Chapel Organ Project,” accessed August 5, 2015. www.zimmerorgans.com/history.htm; Office of Chaplaincy, “Chapel Organ.”

84. Zimmer, “Summerall Chapel,” Proposed Pipe Organ. www.zimmerorgans.com/proposal.htm.

85. Office of Chaplaincy, “Chapel Organ”; Zimmer, “Summerall Chapel.” www.zimmerorgans.com/why.htm.

27

Jack Cleghorn, MM Nancy Lefter, MA

L’ORGANO COMMITTEE Robert Gant, DMA (Chair) Clara Godshall, BM Jason Pedeaux, MM

Julia Harlow, DMA Daniel Sansone, MA

ACKNOWLEDGMENTS Andrew Byrd, L’Organo assistant Brian Reed, Organ Curator to the Series The Charleston Chapter of the American Guild of Organists Dr. Murray Somerville, for his continued support and assistance AccuPrint, Inc. Mary-Julia Royall, historian and church organist in many Charleston churches for over 60 years and organizer, editor, and researcher of the South Carolina Chapter of the Organ Historical Society 1979–1982, shared copies of her Newsletter research information.

Daniel Sansone, the Director of Music and Choirmaster at the Cathedral of St. John the Baptist, provided research files associated with the organs at the Cathedral.

Nancy Kruger, Archivist, and Douglas Ludlum, retired Director of Music/Organist at St. Matthew’s Lutheran Church compiled and supplied unpublished archival information.

Charleston resident M. L. Layton wrote the histories of the organs and produced the design and layout of the program booklet.

The cover features an original drawing of the Bedient organ at the Cathedral of St. John the Baptist. The interior pages display original drawings of the different organs’ façade pipes, casework, and a console represented in the recital series. All art work by Edward Allen, www.AllenArt.com. ©2016 RECITAL VENUES AND PARKING INFORMATION Bethel United Methodist Church 57 Pitt Street Park on Pitt and in the church parking lot

(Huguenot) French Protestant Church 136 Church Street Park on Church, State Garage at Church and Cumberland

Cathedral Church of St. Luke and St. Paul 126 Coming Street Park on Vanderhorst or in the church lot across Coming

St. Matthew’s Lutheran Church 405 King Street Park on King or Garage on King

Cathedral of St. John the Baptist (Roman Catholic) 120 Broad Street Park on Broad, Legare or in the church lot

St. Michael’s Church 71 Broad Street Park on Meeting Garage at King and Queen

Grace Church Cathedral (Episcopal) 98 Wentworth Street Park on Wentworth, Glebe, Coming Garage at Wentworth and St. Philip

Summerall Chapel at The Citadel 171 Moultrie Street Parking spaces across from the chapel along Avenue of Remembrance Parking lot--turn right at end of Avenue of Remembrance, right again

Those wishing to perform on the L’Organo 2017 series should contact the Office of Cultural Affairs. Information will be available in September. Email: culturalaffairs@charleston-sc.gov.