2018 Piccolo Spoleto L'Organo Program Book

L’ORganO PiccOlO SpOlEtO 2018 ChaRlEstOn, SOuth CaROlina

COntEnts Recital Schedule .................................................................................................. 4 A Brief History of the Organs ............................................................................ 18 Bethel United Methodist Church; Augustus Barnard Felgemaker ..................... 23 Cathedral Church of St. Luke and St. Paul; Theodore Charles Bates ................ 24 Cathedral of St. John the Baptist ........................................................................ 25 First (Scots) Presbyterian Church ...................................................................... 26 French Protestant (Huguenot) Church; Henry Erben ......................................... 27 Holy Spirit Lutheran Church ............................................................................. 28 St. Matthew’s Lutheran Church ......................................................................... 29 John Baker; John L. and Arthur W. Hinners ...................................................... 30 St. Michael’s Church ......................................................................................... 31 Charles Pelot Summerall Chapel at The Citadel ................................................ 32 Endnotes ............................................................................................................ 33 Acknowledgments ............................................................................................. 35 Recital Venues Parking Information .................................................................. 35 Edward Allen, Artist .......................................................................................... 35

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WElcomE As L’Organo begins its 39th year, I would like to extend a warm welcome to everyone. We are fortunate to offer a diverse array of recitalists including those from academia, seasoned professionals, and gifted young artists.

The wide-ranging music selections include old favorites, works that are thrilling but less familiar, and several commissioned pieces.

The series opens with the newly rebuilt organ at a suburban church, Holy Spirit Lutheran. Performing the second Sunday afternoon recital in Summerall Chapel at The Citadel is Dr. Wilma Jensen. Her remarkable longspanning and successful career has been, and still is, an inspiration to so many organists.

To the clergy, staff, and church organists, thank you for being hospitable hosts and providing a friendly environment to our musicians.

Especially to our audience, I am very grateful for your attendance over the years. Your free-will offerings make it possible for L’Organo to present quality recitals at no charge as an outreach to the community and remain a continual series in the Piccolo Spoleto Festival. Our success is a testament to your enthusiasm and support.

Best wishes,

Robert E. Gant, DMA Chair, L’Organo

COmmittEE MEmbERs Julia Harlow, DMA Nancy Lefter, MA Jennifer McPherson, MM Jason Pedeaux, MM Daniel Sansone, MM Paul Thomas, MM

CO-fOundERs William D. Gudger, PhD W. Benjamin Hutto III (1947–2015) 3

REcital SchEdulE

May 27 - JunE 1

Sunday, May 27

Anthony Rispo Sasha Ono, cello Holy Spirit Lutheran Church Page 6

Monday, May 28

Guy Whatley Cathedral Church of St. Luke & St. Paul Page7

Courtesy of the Artist

Tuesday, May 29

Patrick Parker Cathedral of St. John the Baptist Page 8

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Persephony Photography

S Seven Eight Artists

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he

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Thursday, May 31

Wednesday, May 30

The Lafayette Square Duo St. Matthew’s Lutheran Church Page 9

Brennan Szafron Bethel United Methodist Church Page 10

Episcopal Church of the Advent

Courtesy of the Artist

Friday, June 1

Carina Sturdy First (Scots) Presbyterian Church Page 11

Courtesy of the Artist

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JunE 3 - JunE 8 Sunday, June 3

Wilma Jensen Summerall Chapel at The Citadel Page 12

Monday, June 4

Hazel & Murray Somerville French Protestant (Huguenot) Church Page 13 Wilma Jensen Gallery

Tuesday, June 5

Parker Ramsay Cathedral of St. John the Baptist Page 14 sCourtesy of the Artist

Wednesday, June 6

Jillian Gardner

SC Arts Daily

First (Scots) Presbyterian Church Page 15

Thursday, June 7

Kirk Michael Rich Cathedral of St. John the Baptist Page 16

Thomas Waggener

Seven Eight Artists

Friday, June 8

Damin Spritzer St. Michael’s Church Page 17

Tania Khouri

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Sunday, May 27, 3:00 p.m.

Holy Spirit Lutheran Church Robert Noehren Organ (1963); rebuilt in 2016 by John-Paul Buzard Pipe Organ Builders, Page 28

AnthOny RispO Sasha OnO cello

Joseph BONNET I(1884–1944) Felix MENDELSSOHN I(1809–1847)

Variations de Concert, op. 1 (1908) Lied ohne Worte, op. 109 (1845) (Song without Words)

arr. by Anthony Rispo for cello/organ

Max REGER (1873–1916)

Antonín DVOŘÁK (1841–1904) arr. by Anthony Rispo for cello/organ

Introduction and Passacaglia in D minor, WoO IV/6 (1899)

The Bohemian Forest, op. 68 (1883-84) Silent Woods

Anthony RISPO I(b. 1989)

Daydream, op. 1 (2013)

Craig PHILLIPS I(b. 1961)

A Song Without Words (2002)

Joseph JONGEN I(1873–1953)

Toccata, op. 104 (1937)

Songwriter, composer, organist, and pianist, Anthony Rispo works and performs in various musical settings ranging from concert halls and churches to rock venues. He has written several original works that have been broadcast on American Public Radio and premiered at Lincoln Center, NYC. He is Organist and Choirmaster at Emanuel Lutheran Church in Pleasantville, NY, where he oversees and develops a traditional and contemporary music program. Anthony has launched a songwriting project entitled “Stories To Songs.” This project offers individuals an opportunity to have their stories and experiences transformed into songs and to build connections with others through the sharing of these musical vignettes. anthonyrispo.com Sasha Ono is a cellist and teacher in the New York area. She performs chamber music and solo recitals internationally, and in the United States at venues such as Avery Fischer Hall, NYC; Temple University, PA; and Soka University Performing Arts Center, CA. Recent performances include collaboration with Grammy Award-winning jazz musicians, work on Mozart in the Jungle, and the Little Kruta orchestra.

Sasha received a Bachelor of Arts in Cello Performance at SUNY Purchase College Conservatory of Music under the direction of Julia Lichten and a master’s degree in music education from Manhattanville College, where she received the Fromkin Award. As an active musician in Westchester County, NY, Sasha is bringing chamber music to informal venues for the goal of uniting communities together through engaging performances. cellosasha.com The recital honors the memory of William (Billy) Quarterman, whose generous contribution made possible the renovation of the organ. Sponsored in part by John-Paul Buzard Pipe Organ Builders.

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Monday, May 28, 10:00 a.m.

Cathedral Church of St. Luke & St. Paul Gabriel Kney Organ (1976), Page 24

Guy WhatlEy Hieronymus PRAETORIUS Magnificant Primi Toni (ca. 1611) (1560–1629) in Tenore in Discantu in Basso Heinrich SCHEIDEMANN Vater unser im Himmelreich I(ca. 1595–1663) (Our Father in Heaven) Felix MENDELSSOHN Organ Sonata No. 6 in D minor, op. 65 (1845) (1809–1847) Chorale Fuga Finale Johann Sebastian BACH Prelude and Fugue in E minor, BWV 548 I(1685–1750) (the “Wedge”)

(ca. 1735)

Dr. Guy Whatley enjoys an unusually diverse international career as a harpsichordist and organist.

Equally at home as a soloist, collaborative artist, and ensemble director, Guy has played in some of the most prestigious venues across the globe and with some of the finest musicians. Recent engagements have included concerts in Japan, China, Argentina, Brazil, Central America, and Europe. He is a specialist in the art of keyboard continuo, baroque improvisation, choral accompaniment, and is in constant demand as a teacher and practitioner of these arts. Originally from Wales, Guy held organ scholarships at Cardiff Metropolitan Cathedral and at Clifton Cathedral. While completing a degree in musicology at the University of Bristol, he studied privately with early music pioneers Maria Boxall and Ton Koopman. A generous grant from the Countess of Munster Musical Trust allowed him to move to Stuttgart, Germany, where he attended the Staatliche Hochschule für Musik, studying organ with Ludger Lohmann and harpsichord with Jon Lauqvik. Guy undertook further study in France with Jean Boyer and Marie Claire Alain, and travelled across Europe studying national styles of organs and organ music, making a special study of Italian and British keyboard music with Christopher Stembridge. In 2005, Guy completed a DMA at Arizona State University, studying with Kimberly Marshall. He is the Organist of Camelback Bible Church in Paradise Valley, Arizona, a member of the teaching faculty at Arizona State University, and sits on the boards of various arts and early music organizations across the Southwest. He is a speaker for the National Endowment for the Humanities and is the harpsichordist and organist for the Grammy-nominated True Concord Voices and Orchestra. Seven Eight Artists represents Guy worldwide. seveneightartists.com/guy-whatley 7

Tuesday, May 29, 10:00 a.m.

Cathedral of St. John the Baptist Bedient Organ (1986), Page 25

PatRick PaRkER

Josef RHEINBERGER (1839–1901)

Johann Sebastian BACH (1685–1750)

Sonata No. 4 in A minor, op. 98 (1876) Tempo moderato Intermezzo Fuga cromatica Canonic Variation on “Vom Himmel hoch da komm’ ich her,” BWV 769 (1747) (“From Heaven above to earth I come”)

Maurice DURUFLÉ I(1902–1986) Louis VIERNE (1870–1937)

Théodore DUBOIS (1837–1924)

Prélude à l’Introït de l’Épiphanie (1961)

24 Pièces de Fantaisie, Suite No. 2, op. 53 (1926-27) Clair de Lune

Douze Pièces Pour Orgue (1886) Toccata

Dr. Patrick Parker “steals the show by demonstrating his formidable prowess as an organist” (Early Music America) and was recognized in The Diapason’s Class of 2017 “20 under 30” artists setting the pace for the next generation of organ and church music. He has been heard on five commercial recordings, radio and television, with orchestras across the United States, and in solo recital at churches and cathedrals throughout the world. He currently serves at Covenant Church in Houston’s Museum District, where he plays the 1893 Hook and Hastings organ. While completing doctoral studies at the University of Houston, Patrick founded and for three seasons was Artistic Director of Houston Baroque, which was featured in the Houston Chronicle and performed over twenty concerts at churches throughout Houston. The British Organists’ Review commented that Houston Baroque’s My Soul Sees and Hears! is “an exuberant album…joyous and often beautiful from start to finish.” In the spring of 2018, Patrick will record songs and sonatas of Josef Rheinberger with mezzo-soprano Katie Pollorena at St. Peter Catholic Church in Memphis, as well as the complete chorale partitas of J. S. Bach at St. Philip Presbyterian Church in Houston. In 2019, he plans to record the complete works of Brahms and of van Eijken. Patrick has performed at major churches and cathedrals throughout the world, such as Notre Dame and La Madeline, Paris; New Church (Nieuwe Kerk), Amsterdam; St. Michael and Church of the Resurrection, Leipzig; St. John the Divine and St. Thomas Fifth Avenue, NYC; Cathedral of St. Philip, Atlanta; and various Catholic and Episcopal cathedrals in Houston. patrickaaronparker.com 8

Wednesday, May 30, 10:00 a.m.

St. Matthew’s Lutheran Church Austin Organ (1967), Page 29

thE LaFayEttE SQuaRE DuO Johann Sebastian BACH (1685–1750) arr. by Daniel Burton

Peter MATTHEWS (b. 1944)

Daniel PINKHAM I(1923–2006)

Cantata No. 208 (1713) Aria: “Sheep May Safely Graze” Three Hymn Tune Arrangements CRUCIFER (2005) WINDSOR (2005) WONDROUS LOVE (1956)

arr. by Burton/Lodico

Peter MATTHEWS

Passacaille (2017) World Premiere commission–grant from the American Harp Society

César FRANCK I(1822–1890)

Prélude, Fugue et Variation, op. 18 (1873)

arr. by Dewey Owens

Rachel LAURIN (b. 1961)

Fantasia for Organ and Harp, op. 52 (2010) Misterioso–Allegro giocoso Recitativo–Andante pastorale Presto con spirito

The Lafayette Square Duo offers the rare and exquisite combination of the organ and harp in recitals of familiar and contemporary works. Michael and Rebecca have performed together for over seven years at District of Columbia venues such as St. John’s Church at Lafayette Square, Washington National Cathedral, and The Basilica of the National Shrine of the Immaculate Conception. The duo continually enhances their repertoire with original and commissioned works as well as their own transcriptions. In 2017, they received a grant from the American Harp Society for a composition by Peter Matthews.

Michael Lodico Jr., organist, is a graduate of the Curtis Institute of Music, and was awarded a Fulbright Grant to the Netherlands to obtain a master’s degree from the Conservatorium van Amsterdam. Michael serves as Director of Music Ministry and Organist at historic St. John’s Church at Lafayette Square, and Artistic Director of the popular First Wednesday Concert series. He was Assistant Chapel Organist at St. Albans and National Cathedral Schools for many years, and is currently Director of Choral Activities at St. Anselm’s Abbey Schools in Washington, DC. Rebecca Anstine Smith, harpist, earned degrees in French and music, magna cum laude, from Dickinson College, Carlisle, PA. She received a Master of Music from the Peabody Conservatory of Music studying with Jeanne Chalifoux. Formerly Principal Harpist for the Kennedy Center Opera House Orchestra, Rebecca continues as second harpist, remains in demand as chamber and orchestral musician, and teaches at St. Mary’s College of Maryland. marylandharpist.com 9

Thursday, May 31, 10:00 a.m.

Bethel United Methodist Church

A. E. Schlueter Organ (2004), Page 23

BREnnan SzafROn Robert J. POWELL I(b. 1932) Louis VIERNE (1870–1937)

Introduction and Passacaglia (1963)

24 Pièces de Fantaisie, Suite No. 1, op. 51 (1926-27) Prélude Andantino Intermezzo Marche nuptiale

Johann Sebastian BACH I(1685–1750)

Aria in F major, BWV 587 (ca. 1726)

Alexandre GUILMANT I(1837–1911)

Scherzo in F major

Denis BÉDARD (b. 1950)

Suite Romantique (2005) Prélude–Choral Allegro giocoso Intermezzo Final–Toccata

A native of Saskatchewan, Canada, Dr. Brennan Szafron is the organist and choirmaster of the Episcopal Church of the Advent in Spartanburg, SC, a position he has held since August 2003. Over that time, he has expanded the church’s musical offerings and taken choirs on several trips abroad, including Grace Church, NYC; the Basilica Shrine of the Immaculate Conception, Washington, DC; and Lincoln Cathedral, Lincolnshire, England. In Spartanburg, he is also in demand as an organist and pianist for large and small ensembles, namely the Spartanburg Festival Chorus and the Spartanburg Philharmonic Orchestra. Since 2010, Dr. Szafron has also been the adjunct instructor of organ at Converse College.

Prior to his arrival in Spartanburg, he was the assistant organist and choirmaster of Christ Episcopal Church, Grosse Pointe Farms, MI. He holds a Bachelor of Music, with distinction, from the University of Alberta, a Master of Music from Yale University, and a Doctor of Musical Arts from the University of Michigan. Former teachers include Jacobus Kloppers, Marnie Giesbrecht, Thomas Murray, Martin Jean, and Robert Glasgow. Dr. Szafron has performed in major venues in North America and has been broadcast on the South Carolina ETV radio show On the Keys. YouTube features several of his videos.

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Friday, June 1, 10:00 a.m.

First (Scots) Presbyterian Church Ontko & Young Organ (1992), Page 26

CaRina StuRdy Nicolaus BRUHNS I(1665–1697) Jan Pieterszoon SWEELINCK I(1562–1621) Johann Sebastian BACH (1685–1750)

Camille SAINT-SAËNS I(1835–1921) Charles-Marie WIDOR (1844–1937)

Jeanne DEMESSIEUX I(1921–1968)

Praeludium in E minor

Onder een linde groen, SwWV 325 (Under the green linden tree)

Trio Sonata No. 5 in C major, BWV 529 (1730) Allegro – Largo Prelude and Fugue in E-flat major, op. 99, no. 3 (1894)

Symphonie Gothique, op. 70, no. 9 (1894-95) Andante sostenuto Te Deum, op. 11 (1957-58)

Carina Sturdy, a recent graduate from the University of North Carolina School of the Arts, studied organ performance under Dr. Timothy Olsen and serves as organist at Main Street United Methodist Church in Kernersville, NC. In addition to playing numerous solo concerts in Virginia, North Carolina, and New York, Carina has placed in both regional and national music competitions. She has competed in three cycles of the Quimby/AGO Competition for Young Artists, placing second in the Mid-Atlantic regional competition and first in the Tidewater Chapter competition in 2017, second in the Potomac Chapter competition in 2015, and first in the Harrisburg Chapter competition in 2013. She recently placed second in the Best Saint-Saëns Performance competition. In 2016, she was awarded the American Guild of Organists Commissioning Grant to work with composer and fellow UNCSA student, Alexander Umfleet. Carina premiered the piece in February 2017, and has begun working on another composition with composer Thomas Little. The piece from that collaboration will be premiered in 2018. Carina has served as the Organ Scholar for Bruton Parish Church in Williamsburg, VA, Music Intern at Augsburg Lutheran Church in Winston-Salem, NC, and Interim Organist and Music Director at Williamsburg Baptist Church. Additionally, she has worked as a fifer and harpsichordist for the Colonial Williamsburg Foundation. During her first year at The College of William and Mary, she played harpsichord with the William and Mary Early Music Ensemble, Gallery Players, and accompanied the Opera Workshop.

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Sunday, June 3, 3:00 p.m.

Summerall Chapel at The Citadel Cornel Zimmer Organ Builders (2014), Page 32

Wilma JEnsEn I Louis VIERNE (1870–1937)

Michael McCABE

24 Pièces de Fantaisie (1926-27) Suite No. 2, op. 53: Hymne au Soleil (Hymn to the Sun) Suite No. 3, op. 54: Étoile du Soir (Evening Star)

Flourish and Chorale (1987)

(b. 1941)

Gerald NEAR

II Sarabande on LAND OF REST

(b. 1942)

Aaron David MILLER

Folk Prelude on AFTON WATER

(b. 1949)

Alfred FEDAK

Improvisation on VENI CREATOR SPIRITUS

(b. 1953)

Emma Lou DIEMER

Hymn Setting on HANKEY

(b. 1927)

Dan LOCKLAIR

Phoenix Processional (2011)

(b. 1949)

Philip JAMES

III Méditation à Sainte Clotilde (1915)

(1890–1975)

Charles TOURNEMIRE (1870–1939) reconst. by Maurice Duruflé (1958)

David BRIGGS (b. 1962)

Cinq Improvisations

(recorded 1930-31)

Petite rapsodie improvisée Introduction, Chorale and Fugue on a British Theme Commissioned by Wilma Jensen, 2017

Dr. Wilma Jenson has been heralded as an outstanding recitalist, church musician, and teacher, having been named Distinguished Artist of 2015 by the American Guild of Organists. An extensive career as a concert organist has taken Dr. Jensen throughout the United States to play on such well-known instruments as those at the National Shrine of the Immaculate Conception in Washington, DC, the Mormon Tabernacle in Salt Lake City, The Riverside Church in NYC, and the West Point United States Military Academy. Numerous European tours have taken her to Norway, Sweden, Denmark, West Germany, France, Poland, The Netherlands, and England. Dr. Jensen earned a Bachelor and Master of Music from the Eastman School of Music in Rochester, NY, where she was a student of Catharine Crozier and Harold Gleason. During that time, she received the Performer’s Certificate in Organ. Dr. Jensen has been on the faculties of Oklahoma City University, the Blair School of Music of Vanderbilt University, Scarritt Graduate School, and Indiana University, where she was a tenured professor. She has recorded professionally and released a 2-DVD set teaching video entitled ORGANIZING NOTES IN SPACE – Developing Organ Technique and Musicality. Dr. Jensen has recorded professionally with the St. George’s Episcopal Church choir, Nashville, TN, where she is Choirmaster/Organist Emerita, building them to a level for both a European tour and performance at an American Choral Directors Association convention. With a long and active musical career, she has always had a focus in three areas: church music, teaching, and performance. wilmajensen.com Sponsored in part by Cornel Zimmer Organ Builders.

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Monday, June 4, 10:00 a.m.

French Protestant (Huguenot) Church Henry Erben Organ (1845), Page 27

HazEl & MuRRay SOmERvillE John STANLEY (1712–1786)

Johann Sebastian BACH (1685–1750)

William RUSSELL (1777–1813)

Carson COOMAN (b. 1982)

Voluntary in G minor, op. 5, no. IX Largo–Allegro

“Herr Jesu Christ, dich zu uns wend,” BWV 709 (“Lord Jesus Christ, draw nigh to us”)

No. II of Twelve Voluntaries, Set Two (1812) Voluntary in C: Largo

York Concertato, for two organs (2014) Exordium – Cantilena – Fantasia Written for Hazel and Murray Somerville

Francis LINLEY (1771–1800)

Pierre PHALÈSE (1545–1629)

George W. CHADWICK I(1854–1931)

Johann Sebastian BACH Gaetano PIAZZA

Voluntary in G major, op. 6, no. 4 Adagio – Allegro

Suite of Dances (1583) Almande Poussinghe Schiarazula Marazula Bella Angleses and Saltarello Ballo Milanese Branle 5

Ten Canonic Studies, op. 12 (1885) Three Canons in the Octave (E♭, E♭, A♭)

Prelude and Fugue in C major, BWV 545 Sonata in F for two organs

(ca. 1725–after 1775)

Hazel Somerville, native of York, SC, performed for L’Organo on the Erben organ at the French Protestant (Huguenot) Church in 1980. A graduate of Winthrop University in Rock Hill, SC, where she studied with David Lowry, she also gained a master’s degree from the School of Sacred Music, Union Seminary, NY, studying with Vernon de Tar. She subsequently held church positions in Connecticut, Florida, and Boston before specializing in youth choirs, directing Boston’s Youth pro Musica, then retiring from the faculty at Vanderbilt, where she directed the Blair School of Music Children’s Choruses, performing frequently with the Nashville Symphony Orchestra. She currently chairs the International Organ Recital Series committee at Winthrop.

Dr. Murray Somerville’s previous appearances at L’Organo were at St. Michael’s Church and the Cathedral Church of St. Luke and St. Paul. Born in London, raised in Africa, he studied in Germany, Oxford, New York, and Boston; his doctorate is from New England Conservatory. For thirteen years he held the post of University Organist and Choirmaster at Harvard. Now Artistic Director Emeritus of Nashville’s Music City Baroque, he also founded the Orlando Deanery Boychoir and the Harvard Baroque Chamber Orchestra. As solo organist, he has performed and recorded widely, as well as playing continuo with the Charlotte Symphony and Chamber Music Charleston. He serves on the Board of the Bach Society of Charleston; his edition of the complete organ works of George Chadwick is to be published shortly. The Somervilles make their home in York, SC, and in Charleston.

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Tuesday, June 5, 10:00 a.m.

Cathedral of St. John the Baptist Bedient Organ (1986), Page 25

PaRkER Ramsay Johann Sebastian BACH I (1685–1750) Georg BÖHM I (1661–1733) César FRANCK I (1822–1890) Louis VIERNE I (1870–1937) Olivier MESSIAEN (1908–1992)

Prelude and Fugue in D major, BWV 532 Vater unser im Himmelreich (ca. 1700) (Our Father in Heaven)

Choral No. 3 in A minor (1890)

24 Pièces de Fantaisie, Suite No. 4, op. 55 (1926-27) Naïdes

Messe de la Pentecôte (1949-50) Communion (Les oiseaux et les sources) Sortie (Le vent de l’Esprit)

Parker Ramsay is known in the United States, Europe, and Asia both as an accomplished soloist and accompanist. In 2014, he was awarded First Prize at the Sweelinck International Organ Competition (NL). He has performed in venues including the Concertgebouw in Amsterdam, Washington National Cathedral, Princeton University Chapel, the National Center for the Performing Arts in Beijing, and the Kimmel Center in Philadelphia. Festival appearances have included the Gergiev Festival in Rotterdam, the Dubrovnik Summer Music Festival, the Cambridge Summer Music Festival, the Cambridge New Music Project, the 800 Jahre Thomana Celebration in Leipzig, and the 2012 American Guild of Organists National Convention, premiering a newly commissioned work, Phos, by Diana Burrell. Parker recently completed a master’s degree in harp performance at the Juilliard School where he studied with Nancy Allen. Prior to his studies in New York City, he served as Organ Scholar at King’s College, Cambridge, while undertaking undergraduate studies in history. His tenure as organ scholar included two international tours, four recordings, as well as numerous television and radio broadcasts. In addition to accompanying the choir of King’s College, Parker played for the Royal School of Church Music America summer programs, and accompanied the Vienna Boys Choir and the Choir of Clare College, Cambridge. Following his tenure at Cambridge, Parker completed a master’s degree in historical performance at Oberlin Conservatory, where he studied organ with James David Christie and harpsichord with Webb Wiggins and Lisa Crawford. He continues his studies at Oberlin Conservatory, where he is pursuing an Artist Diploma in organ performance. He currently serves as Organist and Choirmaster at Christ & Saint Stephen’s Episcopal Church, New York City. parkerramsay.com 14

Wednesday, June 6, 10:00 a.m.

First (Scots) Presbyterian Church Ontko & Young Organ (1992), Page 26

Jillian GaRdnER Ernest MacMILLAN I(1893–1973) Antonín DVOŘÁK (1841–1904) transcr. by Edwin Lemare

Johann Sebastian BACH I(1685–1750)

Cortège Académique (1953)

Symphony No. 9 in E minor, op. 95 (1893) Largo Fantasia and Fugue in G minor, BWV 542 (ca. 1720)

Albert Lewis BARNES

Sonata Cromatique

(1861–1906)

Scherzo Toccata–Finale

Charles-Marie WIDOR (1844–1937)

Rachel LAURIN I(b. 1961)

(1899)

Symphonie No. 6 in G minor, op. 42, no. 2 (1879) Adagio Étude Héroïque (2004)

Jillian Gardner is currently studying in the Artist Diploma program at Baylor University, Waco, TX. She began her study of the organ at age fourteen with Stephen Best of Utica, NY, and completed a bachelor’s degree in organ performance with a minor in historical performance from the Oberlin Conservatory in May 2015, working with James David Christie. In May 2017, she completed a Master of Music in Organ Performance at Baylor with Dr. Isabelle Demers. Jillian has been an active recitalist across the United States and Europe. To name a few, she has performed at the Cathedral of the Immaculate Conception, Syracuse, NY; the Cathedral of St. John the Divine and St. Thomas Church, NYC; Methuen Memorial Music Hall, MA; Fourth Presbyterian Church, Chicago; Trinity Episcopal Cathedral, Phoenix; Chester, Coventry, and Truro Cathedrals, UK; and St. Paul’s Cathedral, London. In March 2015, The Diapason magazine selected Jillian into the first class of the “20 Under 30” top organists in the nation and in June 2017, she received second prize in the Québec organ competition. She is currently the Director of Music and Organist at Austin Avenue UMC in Waco and serves as the National Convener for American Guild of Organists Young Organists. Outside of the organ loft, Jillian is an advocate of physical fitness. She believes that a healthy mind and body contribute to the quality of her artistry. She enjoys meeting new people and is enthusiastic to travel and experience different cultures in the US and abroad as she pursues a combined career as a church organist, teacher, and recitalist. jilliangardner.net 15

Thursday, June 7, 10:00 a.m.

Cathedral of St. John the Baptist Bedient Organ (1986), Page 25

KiRk MichaEl RiCh Gaston LITAIZE

Épiphanie (1984)

(1909–1991)

Charles TOURNEMIRE I(1870–1939)

Cinq Improvisations

(recorded 1930-31)

Cantilène improvisée

reconst. by Maurice Duruflé (1958)

Louis VIERNE (1870–1937)

Jacques LEMMENS (1823–1881)

Louis LEFÉBURE-WÉLY I(1817–1869) César FRANCK (1822–1890)

Charles-Marie WIDOR (1844–1937)

Symphonie No. 2 in E minor, op. 20 (1902) Scherzo

Sonata No. 2 in E minor “O Filii” Cantabile Boléro de Concert, op. 166 (1865)

Six Pièces pour Grand Orgue, op. 20 (1860-62) Prière in C-sharp minor

Symphonie No. 6 in G minor, op. 42, no. 2 (1879) Allegro

Kirk Michael Rich has performed organ recitals in venues such as St. Thomas Church, Fifth Avenue (NYC), the John F. Kennedy Center for the Performing Arts (DC), and three national conventions of the American Guild of Organists. A laureate of numerous competitions, Kirk Michael garnered first prize in the 2015 William C. Hall Competition. He has taken both third (2014) and second prize (2016) in the AGO’s National Young Artists’ Competition in Organ Performance, and his playing has been broadcast nationally on America Public Media’s Pipedreams. Currently a Doctor of Musical Arts candidate at the University of Houston Moores School of Music, Kirk Michael holds degrees from the Jacobs School of Music at Indiana University and the Oberlin Conservatory. His organ instructors include Douglas Reed, James David Christie, Christopher Young, and Robert Bates. Additionally, he has studied church music and improvisation with Bruce Neswick. He holds certification in the Lister-Sink Method of WellCoordinated, Injury-Prevention Keyboard Technique from Salem College, where he studied piano with Barbara Lister-Sink. As a harpsichordist, he has played continuo with period instrument-ensembles under the direction of Nigel North, among others. Kirk Michael has served as guest instructor at the Oberlin Conservatory High School Organ Academy, and he maintains a growing studio of organ, harpsichord, and piano students in the Houston metropolitan area. As the Associate Director of Music and Organist at St. John Vianney Catholic Church, Kirk Michael conducts choirs of volunteers, professionals, and treble choristers. He concertizes under the auspices of Seven Eight Artists. seveneightartists.com/kirk-michael-rich 16

Friday, June 8, 10:00 a.m.

St. Michael’s Church Kenneth Jones Organ (1994), Page 31

Damin SPRitzER Dom Paul BENOIT

Allegro vivo e maestoso (1963)

Order of Saint Benedict

I(1893–1979) Johann Sebastian BACH I(1685–1750) Charles-Marie WIDOR (1844–1937)

Fantasia in G (“Pièce d’Orgue”), BWV 572 (ca. 1723)

Bach’s Memento (1925) Miserere Mei, Domine Composition from J. S. Bach, Prelude in D minor, BWV 851

René Louis BECKER I(1882–1956)

Postlude in D minor, op. 75a (1923)

René Louis BECKER

Cantilène, op. 63 (1918)

Henri DALLIER (1849–1934)

Cinq Invocations

(1925)

Pulchra ut luna (Beautiful even as the moon) Electa ut sol (Chosen even as the sun)

Since 2015, Dr. Damin Spritzer, has served as Assistant Professor of Organ at the University of Oklahoma, and continues to serve the Cathedral Church of Saint Matthew in Dallas as Artist-inResidence for the Cathedral Arts series. She formerly served the parishes of University Park United Methodist, and Saint Rita Catholic Community, both in Dallas. For the commercial label Raven Recordings, she has released three world-premiere CDs of the organ music of René Louis Becker, recorded in Pithiviers, France; Orléans, France; and Denver, Colorado. In addition to Becker being the topic for her doctoral dissertation, she has published a monograph of his life and works, and has released Volumes I & II of a continuing multi-volume critical edition of Becker’s organ music, with an extended preface written by Dr. Spritzer. She received a Doctor of Musical Arts from the University of North Texas, a Master of Music in Organ Performance from the Eastman School of Music in Rochester, NY, and a Bachelor of Music in Organ Performance from the Oberlin Conservatory of Music. Dr. Spritzer serves on the Board of Directors for the Leupold Foundation, which is dedicated to the preservation of pipe organ music and culture, and serves presently as Sub-Dean for the Southern Plains Chapter of the American Guild of Organists. daminspritzer.com 17

a BRiEf HistORy Of ThE ORgans

John “Organ Manufactory, Manufactory,Charleston, Charleston,S.S. John Baker, “Organ C.”C.” Charleston CharlestonDaily DailyNews News,,March March8, 8,1861.

1861.AA12-month 12-monthad for Baker, Organ Builder, Sept.

21 [1860], p. 30. ad John for John Baker, Organ Builder, Sept.

21, [1860].

“Charleston Organ,” Lyre, New York Musical Journal 1, no. 1 (June 1, 1824): 2. Hall & Erben organ for the Presbyterian Church, Charleston, S. C., p. 26 (adapted).

Letterhead “Hinners Organ Company,” Arthur Hinners letter to Prof. Otto Müller, St. Matthew’s Lutheran Church, Charleston, S. C., January 12, 1917, p. 30.

“The Organs,” Sunday News, Charleston, S. C., September 25, 1887. Second Presbyterian Church, Henry Erben double-case organ, 1857 (adapted).

“Yours Respectfully, Henry Erben,” Signature. www.Trinitywallstreet.org.

“Organ Building,” City Gazette, Charleston, S. C., June Samuel Prioleau “To Be Sold At Auction,” Gazette and 1, 1824. Hall & Erben advertisement, p. 27 (adapted). Country Journal, no. 88, August 11, 1767, p. 31 (adapted).

18

“The Organs,” Sunday News, Sept. 25, 1887.

Charlestonians express praise for their fine instruments (Second Presbyterian, Erben large double divided-case organ, 1857)

St. Michael’s Church, Austin Organ, Opus 308, 1911.

Louis I. Schwartz. “West and South Sides Main Floor St. Michael’s Episcopal Church, 80 Meeting Street Charleston, Charleston County, South Carolina,” August 1963. Library of Congress, Historic American Buildings Survey, SC-62, 10-CHAR, 8.

History of St. Paul’s Church, Radcliffebor “Grand Concert,” Daily News, Charleston, S. C., “Oratorio,” Charleston Daily News, Charleston,S.C., Builder’s Nameplate. Austin Organs, Inc., Hartford, December 9, 1868, 3. Program at St. Paul’s Church, Radcliffeborough, Theodore Bates organ (adapted).

Connecticut, Opus 2465, 1967. St. Matthew’s Lutheran Church, Charleston, S. C.

The Cathedral of St. John the Baptist, Ernest M. Skinner Organ, Opus 139, 1906. Alan Laufman, “A Walking Tour of Charleston Churches,” Tracker: Journal of the Organ Historical Society, 29, no. 1 (1985): 25. Photo by Gibbes Art Gallery.

First (Scots) Presbyterian Church Sanctuary, c.1914, Felgemaker Organ, Opus 469, 1887. Edward G. Lilly, Beyond the Burning Bush, First (Scots) Presbyterian Church, Charleston, S. C. (Columbia, S. C.: The R. L. Bryan Company, 1986), Image 5.

19

“New Cathedral Organ,” Sunday News, Charleston, S. C., April 7, 1907. Opening of the new Ernest M. Skinner organ by world-renowned organ virtuoso Clarence Eddy, with program selections.

(ABV) Cathedral of St. John the Baptist, Ernest M. Skinner Organ, Opus 139, May 24, 1906. “Specification of The Organ for The Cathedral. Charlestown [sic] S. C.” Proposal of stop list with handwritten changes/additions. Charleston Diocese Archives 87PA, 1, 2.

(Top R) Cathedral of St. John the Baptist, Ernest M.document Skinner Organ, 139,from Maya24, 1906.

“Specification (This has beenOpus adapted copy of the original.) of

The Organ for The Cathedral. Charlestown [sic] S. C.” Proposal for new organ. Charleston Diocese Archives “New Organ Charleston Evening Post, Charleston, 87PA, 1, 2 (This document has been adapted(L) from a copy of attheBethel,” original).

S. C., October 10, 1934. Announcement of the dedication for the

(ABV) “New Organ at Bethel,” Charleston Evening Post, Charleston, S.the C.,former October 10, 1934, organ, Announcement Austin organ, and mentions Felgemaker 1887. for the dedication of the new Austin organ, and mentions the former Felgemaker organ, 1887.

“Organ recital,” “Organ recital,” News and Courier, Charleston, S. C., October 14, News and Courier, Charleston, S. C., October 14, 1934, 5-B, recital selections (adapted).

1934, 5-B. Recital selections (adapted).

20

(ABV) The Cadet Chapel at The Citadel, Charleston, S.C., Reuter Pipe Organ, Opus 500, 1937.

“Revised Specifications for a Reuter Pipe Organ for The Citadel, Charleston, South Carolina, April 20, 1964.” Proposal for the 1964 revisions on the original 1937 organ in The Cadet Chapel. The Citadel, The Military College of South Carolina Archives, Title, 1.

(This document has been adapted from a copy of the original.)

(L) “Citadel Organ Arrives,” News and Courier, Charleston, S. C., October 13,1937, 6. Reuter Organ, Opus 500, installed in the new Cadet Chapel at The Citadel.

(R) “New Pipes Are Being Added To Summerall Chapel Organ,” Evening Post, Charleston, S. C., May 27, 1965, 5-D. 1,464 pipes were added to the original Reuter Organ, Opus 500, 1937.

(Photo Evening Post staff Evans) 21

“Cathedral of St. John and St. Finbar; another view,” Charleston, South Carolina, April 1865. Library of Congress [B811-3075, Lot 4163]. Destroyed by fire on December 13, 1861, Erben Organ, 1854.

John K. Hillers, “St. Michael’s Church, Charleston, from N. W.” South Caroliniana Library Archives, Charleston Earthquake 1886, 35B. Damaged Snetzler organ located in gallery behind cracked North wall and West portico.

“The Great Charleston Earthquake of August 31, 1886, pictures, stories, facts on display at the SC State Museum,” March 31, 2012. Shoutaboutcarolina.com Bethel United Methodist Church, Damage to building, melodeon replaced.

First (Scots) Presbyterian Church, Gallery organ destroyed.

Grace Episcopal Church, John Baker organ destroyed.

St. Michael’s Church, Damage to Snetzler organ; removed from church for 10 months to rebuild.

Diane Knich, “It was spectacular. And it was horrible,” Post and Courier, Charleston, S. C., January 11, 2015.

A view from above shows the extent of the damage to St. Matthew’s Lutheran Church after a fire destroyed Austin Organ, Opus 2085, 1948, on January 13, 1965.

Ann Taylor Andrus, The Name Shall Be Bethel (Charleston, S. C.: Bethel United Methodist Church, 1997), 43. Pipes from Austin Organ, Opus 1867, 1934, were repaired and repainted during the late stages of recovery after Hurricane Hugo on September 21-22, 1989.

22

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; costing $1577.45.4 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; fourand-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)

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)

Augustus Barnard Felgemaker (1836–1905) 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 23

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 “fine 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 This organ was sold to make way for an instrument built by Theodore C. Bates of 6 Ludgate Hill, London. In 1853: Mr. John F. Blacklock was Chairman of the Vestry at this time and personally gave the order for the Organ to the Messrs. Bates, Organ Builders, in London. After its completion it was publicly tried and elicited the most favorable notices in the London papers for its fine tone, great power and workmanly construction. The cost at the manufactory was £700, and after duties, transportation and other expenses were paid, was increased to over $5,000. . . . Mr. Reeves, the Organist of the Church . . . out of several plans, forwarded by the Messrs. Bates, selected and put together the combination of stops of which the organ is composed.12 In 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.13 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.14 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.15 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.”16 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.”17 The London Gazette printed a notice stating their partnership as “Music-Sellers and Musical-Instrument-Makers” was dissolved by mutual consent on August 1, 1829.18 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.19 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!” 20 24

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.21 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.” 22 The Great Fire of December 1861 destroyed much of downtown Charleston, including the magnificent 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 “Specification 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)23 Opus 139 had three manuals, 35 stops, 16 ranks, 957 pipes, and electro-pneumatic action.24 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.25 In 1989, Hurricane Hugo damaged the sanctuary and destroyed parts of the Skinner organ. In March 1993, the organ committee recommended purchasing the Bedient Opus 22, originally built for Christ Church Cathedral, Louisville, KY.26 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.27 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.28 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 and 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.29 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*

PÉDALE 32’ Contre Soubasse++ 16’ Contrebasse 16’ Soubasse (G-.O.) 8’ Basse ovuerte 16’ Bombarde* 8’ Trompette*

8’ 8’

Great and coupler on Barker lever ++ added 1994 * ventil control

(replaced by builder 2008) Cornet II* ++ Trompette* Voix Humaine*

25

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

First (Scots) Presbyterian Church Ontko & Young Co., Pipe Organ Builders, Charleston, SC, Opus 21 (1992) The congregation of First (Scots) Presbyterian Church dates to 1731, when some forty-two members from twelve Scottish families wished to govern themselves according to the discipline of the Church of Scotland.30A frame building was finished by June 1734 and used for worship until the current sanctuary was completed and dedicated on December 29, 1814; approximately a decade later, a new organ was installed in the rear gallery. 31 As to the instrument’s builder, there are two possibilities. In the Lyre (New York Musical Journal), an article printed June 1824 regarding a “CHARLESTON ORGAN” states: A fine Organ was lately shipped from the manufactory of Messrs. Hall & Erben, of this city, for the Presbyterian Church in Charleston, S.C. We had not the pleasure of hearing this instrument in its complete state; but can aver that several of the stops are very fine; and have no doubt, from the numerous specimens of Mr. H.’s work in this city, that it is a superior instrument.32 Thomas Appleton also reported a new gallery organ having two manuals, 16–18 ranks, tracker action, and hand-pumped bellows for the “Presbyterian Church, Charleston” in 1829.33 During the War Between the States, nearly all of the church records were taken for safekeeping to Columbia, SC, but were destroyed when Columbia was burned on February 17, 1865.34 Without early church documents, the builder of the first organ remains unknown. The Great Earthquake of August 1886 damaged the building and destroyed the gallery organ.35 After renovations to the building the following year, A. B. Felgemaker Organ Co., Erie, PA, built Opus 469, a two-manual organ with slider chests and mechanical key and stop action.36 Felgemaker installed the organ in the chancel, utilizing a display case with an exposed façade of decorative speaking pipes.37 Over the years, the church building sustained damages from natural disasters, including a hurricane in 1893, 1911, 1940, and a tornado in 1938.38 On August 26, 1945, a fire severely damaged the Sunday school building and part of the chancel, rendering the organ useless. 39 In 1947, Austin Organ Co., Hartford, CT, built Opus 2092, with three manuals, four divisions, 28 ranks, and electro-pneumatic chests.40 Austin placed the pipes and wind chests in the chancel chamber behind three massive iron grilles, which allowed full transmission of the organ sound but reduced the visual display of the pipes.41Austin relocated the console from the chancel to the rear gallery. On September 28, 1947, the church held a dedication service for the new pulpit and organ. By 1967, the Opus 2092 needed considerable repairs. Austin Organ Co. contracted to restore the instrument. Schantz Organ Co., Orrville, OH, performed a tonal rebuild of the organ, and replaced all of the Austin pipework except for portions of two ranks in 1978.42 In 1980, Ontko & Young Co., Pipe Organ Builders, Charleston, SC, assumed maintenance of the organ.43 Over time, the Schantz reed pipes had begun to collapse and the organ required repairs. In May 1989, Allan Ontko contracted to rebuild the Austin/Schantz to 53 ranks; in late September of that year, the “death knell sounded for the organ” during Hurricane Hugo, when two inches of water seeped into its windchest.44 The University of South Carolina loaned the church an “Artiste” organ, Opus 10495, built by M. P. Möller, Hagerstown, MD, for use until a new instrument could be built.45 By late July 1992, Ontko completed the installation of the four-manual organ having six divisions, 48 registers, 71 ranks, and 4,126 pipes, with a combination of direct electric and electropneumatic action.46 Ontko incorporated new pipes, salvaged pipes from the Austin/Schantz, and purchased pipes from an organ built by Estey Organ Co., Brattleboro, VT, for Eastminster Presbyterian Church in Columbia, SC.47 The inaugural recital for the Ontko & Young organ was on October 25, 1992.

GREAT POSITIV 16’ Principal 8’ Gemshorn 8’ Montre 8’ Bourdon 8’ Principal 4’ Prestant 8’ Flûte à Pointe 4’ Flûte à Fuseau 4’ Prestant 2’ Doubelette 2’ Flageolet Tierce-Sept II (TC) Fourniture IV-V Fourniture IV Cymbale III 8’ Cromorne Dessus de Cornet V Zimblestern (7 bells) 8’ Trompette 4’ Clarion II

SWELL I 8’ Flûte à Cheminee 8’ Viole de Gambe 8’ Voix Céleste 4’ Flûte Conique 2⅔’Nazard 2’ Quarte de Nasard 1⅗’Tierce 16’ Basson 8’ Houtbois 8’ Vox Humana

SWELL II 16’ Quintaton 8’ Principal 8’ Quintaton 8’ Dulciane 8’ Unda Maris (TC) 4’ Octave Plein-Jeu V 8’ Trompette 4’ Clairon

Pedal, cont.

Pedal, cont.

Pedal, cont.

Pedal, cont.

PEDAL 32’ Resultant 16’ Contrabass 16’ Principal

16’ 16’ 8’ 8’

8’ 8’ 8’ 4’

Mixture VI 32’ Contre Bombarde 16’ Bombarde 16’ Basson

8’ 8’ 4’ 4’

Soubasse Quintaton Principal Basse

Flûte couverte Violoncelle Octave Flûte 26

SOLO 8’ Flûte en Bois 8’ Violoncelle 8’ Violoncelle Celeste 4’ Flûte harmonique 2’ Octavin 8’ Cor Anglais 8’ Tuba Harp (TC) Chimes

Trompette Basson Clairon Cor-Anglais

French Protestant (Huguenot) Church Henry Erben, New York, NY (1845) Henry Erben, “undoubtedly the most eminent organ builder in America,” built the Huguenot organ in 1845.48 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 $2,000.49 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. 50 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 1929.51 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 1969.52 James Polzois replaced the 20-note pedalboard with a new 27-note clavier in 1984.53 Knowlton Organ Company, Davidson, NC, restored the instrument to its original specification in 1997.54 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 at the 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.”55 His work, numbering between 1,250 and 1,875 (his obituary cited 1,734 organs), was to be found throughout the Americas.56 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;57 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, 1857.58 27

Holy Spirit Lutheran Church Robert Noehren Organ (1963) John-Paul Buzard Pipe Organ Builders, rebuilt (2016) “Robert Noehren (1910–2002) was an influential performer, recording artist, and teacher. He was for many years university organist and head of the organ department at the University of Michigan. Not satisfied with the work of contemporary American Neo-Baroque organbuilders, he founded his own enterprise, which built 21 organs between 1954 and 1978. Noehren described his tonal style as an attempt to meld North German (Schnitger) principals with French classic and romantic reeds (Clicquot and Cavaillé-Coll).

Noehren himself performed the dedication recitals on his organ at St. Richard of Chichester Episcopal Church in Chicago, Illinois, on December 29, 1963. Noehren also made recordings of the organ following its completion, which afford us insight into Noehren’s tonal philosophy and playing style on his own instrument. The organ remained basically unchanged over its 50 years at St. Richard’s. In 1996, the original electro-mechanical relay and setter board combination action were replaced with solid-state equipment. . . .

By 2014 the congregation’s dynamic had changed, as they no longer required their organ and wished to find an appropriate new home for it. Holy Spirit Lutheran Church in Charleston, South Carolina, was in the market for an organ for their new sanctuary building and decided that the available Noehren organ would suit their needs admirably. Holy Spirit purchased the instrument and contracted with Buzard Pipe Organ Builders to remove and rebuild the organ for their new church. . . .

The new installation required an entirely new layout for the organ as well as casework sympathetic to the beautiful sanctuary. The new casework carries all the new bass pipes of the Great and Pedal principals, replacing collapsed pipes that were formerly shared between both these stops. The organ was redesigned internally with a new layout, new floor and building frames, new Swell box, a new and greatly augmented wind system, and new blower. The action in the organ is electro-mechanical. . . .

Installation of the organ was completed in autumn of 2016, the final stage of which was a comprehensive tonal finishing of the organ in the superb and lively acoustic of the church. The end result is a still-bright but much warmer sound, which fills the handsome sanctuary admirably. The organ can lead the congregation in hymns and liturgy, accompany choral anthems, and serve as a convincing vehicle for a wide range of solo organ repertoire. The sound of the instrument is by no means typical of the sound of a new Buzard instrument, but we are proud to have been able to make this instrument much more versatile and put it into a new condition for the Holy Spirit congregation.

The organ was dedicated in a worship service . . . on February 12, 2017. . . . The organ as rebuilt comprises 26 independent stops, 37 ranks, and 1,853 pipes.”

–Keith Williams Service Director, Buzard Pipe Organ Builders This article was adapted from The Diapason, June 2017.

GREAT

SWELL

POSITIV

PEDAL

16’ 8’ 8’ 4’ 4’ 2⅔’ 2’ 2’

8’ 8’ 8’ 4’ 2’

8’ 4’ 2’ 1⅓’

32’ 16’ 16’ 8’ 8’ 4’ 2’

Quintade Principal Rohrfloete Octave Spitzfloete Nasat Octave Spillfloete 1⅗’ Terz Mixture IV 16’ Dulzian 8’ Trumpet

8’ 4’

Bourdon Gamba Voix Celeste Flute Octaviante Octavin Plein Jeu IV Oboe Clairon

8’

Gedeckt Floete Principal Larigot Scharf III Cromorne Zimbelstern Chimes

Resultant Subbass Quintade Principal Quintade Octave Octave Mixture IV 16’ Posaune 8’ Trumpet 4’ Trumpet

Keith Williams, “Buzard Pipe Organ Builders, Champaign, Illinois, Holy Spirit Lutheran Church, Charleston, South Carolina, 1963 Noehren organ, St. Richard of Chichester Episcopal Church, Chicago, Illinois,” Diapason, June 2017, 26-27. © Scranton Gillette Communications, Arlington Heights, IL. June 2017. Used with permission.

28

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.”59 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.60 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.61 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 $1,100.62 The Great Gale in September 1874 damaged the roof and organ; repairs to the organ required $30–$50.63 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.64 Built by Hinners Organ Company, Pekin, IL, 1918, the three-manual electro-pneumatic action chancel organ cost $5,250.65 In use until 1949, the Hinners organ was replaced with a gallery organ built by Austin Organs, Inc., Opus 2085, having three manuals 55 ranks, and 3,150 pipes.66 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 1967.67 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.68 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’.69 The highly anticipated 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

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 8’ Diapason 8’ Gedeckt 8’ Viole d’Amore 8’ Viole Celeste 4’ Principal

Chancel, cont.

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)

4’ Chimney Flute Mixture III 8’ Trompette 8’ Principal (2015) 4’ Principal (2015)

CHANCEL PEDAL 16’ Gedeckt 8’ Flute 29

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

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, 1852.70 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.”71 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 Abbeville (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 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. . . . We congratulate the vestry, congregation, and choir of Grace Church on the acquisition of such an adjuvant; and congratulate Mr.BAKER on the eminent success which has crowned his labors.

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.

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.72 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.73 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.”74

John L. Hinners (1846–1906) and Arthur W. Hinners (1873–1955) The son of German immigrants, John L. Hinners founded the Perfection Organ Works in Pekin, Illinois, in 1879. Ubbo J. Albertsen became a partner and the firm was renamed Hinners and Albertsen Organ Company in 1881. When Albertsen retired in 1902, the firm was incorporated as Hinners Organ Company. Arthur W. Hinners (son) became the director of the company in 1912.75 The huge success of the company was due to organs built in large numbers and in duplicates with high quality workmanship and sold directly from the factory.76 Marketing was done via catalogs in English and German. All prices included freight and traveling expenses for one man (from Pekin to destination and return) to set up, regulate, and tune the instrument.77 The selection of organs ranged from small parlor reed organs to large church and theater pipe organs. Arthur Hinners solicited business by sending letters to churches throughout the country. Hinners wrote a letter to Professor Otto Müller of St. Matthew’ Luthern Church, Charleston, SC: Having been informed that the St. Mathews Lutheran Church of your city is contemplating the purchase of a pipe organ, we take pleasure in calling your attention to our instruments. . . . We are building organs of the highest class and quality at very reasonable prices. . . . We will be pleased to submit estimates on organs suitable for your church, and send you a copy of our large catalog.78 By 1912, approximately ten thousand reed organs had been manufactured, and 3,097 pipe organs were assigned opus numbers.79 Never fully recovering from the effects of the Great Depression (1929–39), the company ceased organ production and closed in 1942. Two Hinners organs were located in Charleston and five were known to exist in South Carolina. In Charleston: New Tabernacle Fourth Baptist Church, 1905; St. Matthew’s Luthern Church, 1918; In South Carolina: St. John's Protestant Episcopal Church, Florence; St. Mark’s Episcopal, Chester; Church of the Epiphany, Laurens; Holy Apostles Episcopal Church, Barnewll (relocated to FL); St. Andrew’s Episcopal Church, Greenville. 80 30

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.”81 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.82 William Goodrich of Boston repaired the instrument in 1816.83 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.”84By 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.”85 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 1865.86 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.”87 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.88 The Great Earthquake of August 1886 damaged the organ, necessitating the dismantling and removal of the instrument approximately ten months for rebuild.89 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.90 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.91

By January 27, 1911, Opus 308 with three manuals and 26 ranks was installed, at a total cost of $6,840.76.92 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 1940.93 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. 94 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.95 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 31

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 Opus 135: Four-manual Console (2014); Trompette Militaire (2017); Choir Division (2018) Digital Stop Components by Walker Technical Company, Zionville, PA (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 the General [Charles] Pelot Summerall Chapel.96 Known as “The Memorial Organ,” the Reuter organ, Opus 500, “said to be one of the finest of its kind in the south,” was installed in 1937; it had three manuals, 31 stops, 34 ranks, 2,215 pipes, and cost $10,550.97 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 1965.98 The organ was essentially unplayable by 1985; without available funds to restore the instrument, the decision was made to purchase a twomanual electronic Allen organ.99Plans 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.”100 Campaigning to raise funds began and by July 2014, the first step in the multi-phase project of restoring the historic Reuter started with removing all of the Great and Pedal 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 completed the design.101 On March 15, 2015, as part of Corps Day Weekend, Zimmer debuted the handcrafted fourmanual console. A large battery of solo horizontal trumpets was mounted on the west wall of the chapel in March 2017. The Choir division was completed in Summer 2018. Phase three includes adding pipes to the Great and Pedal divisions and refurbishing all original Reuter pipes.102 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

Solo, cont.

8’ 8’ 16’ 8’ 16’ 8’ 4’

French Horn Orchestral Oboe Trompette Militaire Trompette Militaire Tuba Major (Ch) Tuba Major (Ch) Tuba Clarion (Ch) Chimes 32

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

Endnotes 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); Schlueter, “Bethel United Methodist Church,” 23; Andrus, Name Shall Be Bethel, 47, Trustees Book January 1, 1886–March 6, 1888 disbursements for organ $1577.45.

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. History of St. Paul Church, Radcliffeborough. Made up from such Records and Traditions as still survive the Ravages of the War by a Committee of the Vestry (Charleston, S. C.: Lucas & Richardson, Steam Job Print, 1878), 6; Laufman, Organ Handbook 1985, 31.

12. History of St. Paul Church, 25.

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

14. 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.

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

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

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

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

20. 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.

21. Alan Laufman, “A Walking Tour of Charleston Churches,” Tracker: Journal of the Organ Historical Society 29, no. 1 (1985): 24; 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.

22. Henry Erben and William M. Wilson, “Charleston Cathedral, 1854,”Henry Erben & Company, Manufacturers of Church Organs, Factory and Warerooms, Catalog, (New York: Wm. N. Jennings, Book & Job Printer, 1877), 15; Cathedral of St. John the Baptist, “History of Organs”; Laufman, “Walking Tour,” 24.

23. 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. 24. The Ernest M. Skinner Co., Opus 139, 1906, OHS ID 19645.

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

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

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

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

30. Edward Guerrant Lilly, Beyond the Burning Bush, First (Scots) Presbyterian Church, Charleston, SC (Columbia, SC: The R. L. Bryan Company, 1986, Second Edition), 27.

31. Lilly, Beyond the Burning Bush, 27, 58.

32. “Charleston Organ,” Lyre, 1, 1 (June 1, 1824): 5 (H 15’; W 9’6”; D 5’); Hall & Erben, 1824, OHS ID 51022.

33. Laufman, “Walking Tour,” 22; Thomas Appleton, 1828(9), OHS ID 2048; Jee Yoon Choi, “Historic Synopsis of First (Scots) Organs,” 1, unpublished typescript ca. 2014, First (Scots) Presbyterian Church Archives.

34. Lilly, Beyond the Burning Bush, VII. 35. Robert Behre, “First (Scots) celebrates building’s big birthday,” Post and Courier, November 14, 2014; Laufman, “Walking Tour,”22; Lilly, Beyond the Burning Bush, 28.

36. A. B. Felgemaker Co., Opus 469, 1887, OHS ID 2712; Choi, “Historic Synopsis,” 1.

37. Laufman, “Walking Tour,” 22; OHS ID 2712; Lilly, Beyond the Burning Bush, 36-37 photograph #5; Choi, “Historic Synopsis,” 2.

38. Lilly, Beyond the Burning Bush, 27; Choi, “Historic Synopsis,” 2.

39. Lilly, Beyond the Burning Bush, 34.

40. Austin Organs, Inc., Opus 2092, 1946(7), OHS ID 2053; Choi, “Historic Synopsis,” 2.

41. Lilly, Beyond the Burning Bush, Grilles were hand wrought by H. W. Dabney of the Savannah Iron and Wire Works, with twelve Scottish thistles (national Scottish emblem) and variety of shapes and curved lines, 16.

42. Austin Organs, Inc., OHS ID 2053; Choi, “Historic Synopsis,” 2.

43. Choi, “Historic Synopsis,” 2.

44. Dorothy Givens, “Couple building biggest church organ in the city,” Post and Courier, June 11, 1992, 1, 8.

33

45. M. P. Möller, Inc., Opus 10495, 1969, OHS ID 38938; Choi, “Historic Synopsis,” 2.

46. Ontko & Young Co., Opus 21, 1992, OHS ID 11149; Givens, “Couple building,” 8.

47. Estey Organ Co., Opus 3226, 1955, OHS ID 30708; Choi, “Historic Synopsis,” 2.

48. 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.

49. 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.

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

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

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

53. Laufman, Organ Handbook 1985, 95.

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

55. Erben and William, Henry Erben & Company, 1.

56. 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.

57. 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.

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

59. 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.”

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

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

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

63. 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).

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

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

66. Austin Organs, Inc., Opus 2085, 1948, OHS ID 11495; “St. Matthew’s Installs New Pipe Organ, Charleston Evening Post, July 2, 1949, 6.

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

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

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

70. “Splendid New Organ,” Dwight’s Journal of Music I, no. 16 (July 24, 1852): 127.

71. 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.

72. “The New Organ,”Charleston Daily News, Volume IV, No. 503 (March 30, 1867), 3; “The Organ at St. Philips,” Charleston Daily News (February 18, 1869); “A Charleston Mechanic Abroad,” Charleston Daily News (March 23, 1869).

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

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

75. Douglas Earl Bush and Richard Kassel, Organ: An Encyclopedia (New York: Routledge, 2006), 254.

76. Bush and Kassel, Organ, 254.

77. John and Arthur Hinners, Hinners Pipe Organs, Catalog (Pekin, Illinois: Hinners Organ Company, 1927), 9.

78. Arthur W. Hinners to Prof. Otto Müller, Letter, January 12, 1917, SMLC Archives.

79. Bush and Kassel, Organ, 254.

80. Mary-Julia Royall, “Hinners Organs in South Carolina,” Newsletter of the South Carolina Chapter of the Organ Historical Society, II, no. 4, Whole no. 7 (December 1980): 4-5; Laufman, “A Walking Tour,” 27; Hinners Organ Company: OHS ID 53192; OHS ID 2726; OHS ID 4773; OHS ID 4486; OHS ID 4044.

81. 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, South Carolina Gazette and Country Journal, August 11, 1767, 3.

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

83. Laufman, “Walking Tour,” 23.

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

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

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

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

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

89. “Organ has Swelled Forth its Music,” Charleston Evening Post, January 28, 1911, 10, 12.

90. Kershaw, History of the Parish, 53.

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

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

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

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

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

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

97. “Citadel Gets $10,550 Organ,” Charleston Evening Post, October 12, 1937, 2; “Citadel Organ Arrives,” News and Courier, October 13, 1937, 6; 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.

98. 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.

99. 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.

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

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

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

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.

Acknowledgments Thanks to the following individuals who supplied archival information for the histories of the organs: Mary-Julia Royall, historian and church organist in many Charleston churches for over 60 years and organizer, editor, and researcher of the Newsletter, South Carolina Chapter of the Organ Historical Society 1979–1982; Daniel Sansone, Director of Music and Choirmaster at the Cathedral of St. John the Baptist; Nancy Kruger, Archivist, and Douglas Ludlum, Director of Music and Organist Emeritus at St. Matthew’s Lutheran Church; and Nancy Lefter, Director of Choral Activities and Chapel Organist at The Citadel, The Military College of South Carolina. Thanks to Dr. William Gudger and the Charleston Chapter of the American Guild of Organists for their continued support and assistance; David Kiser for producing “The Organs of L’Organo,” for SCETV (scetv.org); and Professional Printers, Columbia, SC. M. L. Layton designed/produced the program book and wrote the histories of the organs. ©2018.

Recital Venues Parking Information Bethel United Methodist Church, 57 Pitt Street; park on Pitt or in the church parking lot Cathedral Church of St. Luke and St. Paul, 126 Coming Street; park on Vanderhorst or in the church lot across Coming Cathedral of St. John the Baptist, 120 Broad Street; park on Broad, Legare, or in the church lot First (Scots) Presbyterian Church, 53 Meeting Street; park on Meeting, Tradd, or church lot off King French Protestant (Huguenot) Church, 136 Church Street; park on Church, State, or garage at Church and Cumberland Holy Spirit Lutheran Church, 3075 Bees Ferry Road in West Ashley; park in church lot St. Matthew’s Lutheran Church, 405 King Street; park on King or garage on King St. Michael’s Church, 71 Broad Street; parking garage with entrance from Meeting or Queen Summerall Chapel at The Citadel, 171 Moultrie Street; parking spaces across from chapel along Avenue of Remembrance; parking lot--turn right at end of Avenue of Remembrance, right again

Edward Allen, Artist An artist since childhood, Edward Allen earned a Bachelor of Fine Arts, cum laude, from the University of South Carolina. He soon joined a printing company as artist/production manager. Over the next two decades, he created cover designs, posters, and logos for many clients. Twice commissioned, Edward created artwork for the South Carolina State Library Summer Reading Program. Since 2006, as a freelancer, he has provided artwork for a variety of commercial projects, as well as drawing portraits (including pets) and other fine art. Edward resides in St. Matthews, SC, with his wife Debra and their three cats. The L’Organo cover features his illustration of the trompette militaire in Summerall Chapel at The Citadel. The interior pages display images of the organs represented in the recital series. 8 x 10” prints are available by contacting allenart@sc.rr.com. Illustrations may be viewed at allenart.com.

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