Irvington-on-Hudson/NY, USA, Presbyterian Church
Irvington-on-Hudson, about twenty miles north of Manhattan, is home of a very special marvel: the Presbyterian Church, Charles Renwick, architect. The magical stained glass windows have been designed and made by Louis Comfort Tiffany who was worshipping here. A complete renovation of the sanctuary made the replacement of the old electronic organ possible.
The new organ was installed in early spring 2001. This 3-manual, 29-stop, 35-rank mechanical-action instrument is the firm’s seventh U.S. installation, the first organ built for an American destination in more than a decade.
Architectural modifications to provide a location for the new organ included the construction of a chamber located in the front and speaking down the central axis of the building, above and behind the choir loft. The Great, Swell, and Pedal divisions stand within the new chamber.
The Choir division is enclosed in a freestanding wooden case, positioned as a Chair Organ, with expression shades on three sides speaking to the singing choir. The close placement supports and encourages the voices and provides a subtle accompaniment for vocal soloists and instrumentalists. The case also serves as a wall behind the communion table.
The key action is mechanical; the stop action is electric. The Great division and the 8' and 4' stops of the Pedal share a common windchest behind the Great Principal 8' facade. The spacious Swell box, which stands directly behind the Great windchest, is framed by the 16' Pedal stops, divided in C and C-sharp.
The freestanding console is detached and located between the main instrument and the Choir case, providing the organist with excellent sight lines for conducting the choir. The Choir and Swell can be used separately for expression, or together as one big Swell that envelops the Great and Pedal sound. The keyboards are of fir with naturals of bone plating and sharps of ebony; the pedalboard is of oak.
Building renovations also included the removal of wall-to-wall carpeting, and through the leadership of Gerald Allen and Jeffrey Harbinson, architects, and Lawrence Kirkegaard and Associates, acousticians, the acoustics were enhanced to provide a warm and resonant environment for both congregational singing and the spoken word. Under the guidance of Philipp Klais, the instrument was designed by Guido Graumann and voiced by Heinz-Günther Habbig. Barbara Owen and McNeil Robinson served as consultants for the project, in close collaboration with F. Anthony Thurman, music director and organist.
to the stop list ...
more pictures on the following pages
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