Saint Paul’s Sesquicentennial Organ takes as its inspiration English parish church instruments of the late 19th and early 20th century. Planning for the organ began in earnest in 1995 after the renovation of the church’s interior was complete. With the help of consultant Richard Alexander, an organ was planned that would lead the congregation, accompany the choir, play the great organ literature of the past four centuries, and do it all well while fitting in the limited space available. Austin Organs, Incorporated, of Hartford Connecticut was selected as the builder of the organ. Robert Walker of Zionsville, Pennsylvania and his company produced the electronic voices that were added because of limited space for pipes. Installation was completed and the organ was dedicated in 1997.

The amalgam of a two-division and pedal pipe organ in a modified English style which can stand completely on its own, enriched by electronic orchestral stops, pedal stops, harp, chimes, and midi, has already proven itself a most worthy vehicle for just about any music that comes its way. A glance at the stop list will show how it was done.

The GREAT division is based on a very bold Diapason chorus at four pitches. Since the division lacks a mixture, the upper pitches are scaled and voiced to give a good account of themselves. In this division is also found a lovely gentle flute, a tierce to complete the cornet, and two brilliant English trumpets which cap the full organ. These trumpets were designed specially for this installation by David Broome, Tonal Director at Austin and one of the premiere reed voicers in the world today.

The SWELL division is full of surprises: a second manual Diapason which, with the Gemshorn and Mixture, stand up to the Great chorus for the classical literature, an unusual pair of echo strings, wooden and metal harmonic flutes, a French oboe unit which affords an intense but restrained “full Swell” effect, and a very colorful Clarinet.

The SOLO division, comprised entirely of digital voices, boasts both broad and ethereal celestes, flutes voiced to be equally home in solo or ensemble roles, a pianissimo Vox Humana, and a soulful English Horn. In this division is also a heroic-style Tuba which can easily hold its own against the rest of the organ.

Since there was only space for one full-length Pedal stop, extended two octaves, it was sited most prominently in the installation. Therefore, the PEDAL division is planned around the Violone unit which forms the instrument’s façade. These pipes, so beautifully decorated by Davis d’Ambly and Judith Kursteo, make a rich, incisive sound and properly dominate the ensemble. The Pedal also contains a wealth of digital 16’ and 32’ stops rarely found in instruments and buildings of this size, but all voiced to match their environment. The Swell and Solo divisions were originally planned to be enclosed; Austin Organs subsequently suggested that the Great also be under expression, which has significantly increased its versatility. A beautifully appointed three-manual tilting tablet console, with all the bells and whistles that this computer age has to offer, controls the instrument.

The PORTATIV division, or portable organ, is located in the front of the nave next to the pulpit. This little continuo instrument may be played from its own keyboard or from the gallery console, it can be used either independently, or in conjunction with the main organ for antiphonal effects, the DiGennaro-Hart firm of Washington DC completed this division in the Fall of 2001.