The Zen of Organ Gazing

Last night I attended Bell Choir rehearsal in order to record them. Mostly I just monitored the equipment, located in the balcony, adjacent to the organ so I had time to do other things. I read for awhile, and then decided to go "organ crawling" in the Hook. For the next 45 minutes or so I climbed around within the case simply viewing the historic instrument in my care.

Usually when I go into the organ it is for tuning, and most of the time it is a rush, get-it-over-quick job. While that has its own rewards as I ponder the stability of the Great Trumpet, for example, and note how little care it needs to keep in good voice (compared, at least, to many other reeds I know, or have known), I rarely take time to simply gaze at, and study our musical gem. That is what I did last night.

Sometimes I actively scanned the pipework, correlating actual pipes to the sounds they make, other times I simply stood back and took in the view. I often reflect on the history of this mighty music maker, and there are tantalizing bits that assist in this reverie. There remains stenciling from the original delivery in 1861, on the red painted (lead-based?) wind trunks, and on the Pedal 16' Open Diapason. One of my favorites says: Keep dry - This side up.

Other interesting things exist that the builders and re builders would take for granted and which most people are blissfully unaware, but which I am trying to appreciate. The Swell chests were originally built without a lower octave, as was common practice in the USA in the middle 19th Century. In 1891 Hook & Hastings very skillfully added the bottom twelve notes to the existing windchest, putting extensions on each end (C and C-Sharp side) and integrating them into the existing action. The craftsmanship is exemplary. I also studied the extensions of the Great and Pedal chests that George Bozeman added in order to add the Pedal reed, mixture, quint, and 4', as well as the Great Sharp and 1 3/5. This was also skillfully done.

Having spent over 30 years climbing about various pipe organs, some in my care, some not; some of greater quality, others less so, I continue to try to appreciate the high-quality craftsmanship and innate beauty of this work of art over which I preside. While so many other things in life shift, the beauty of this magnificent music-maker endures.

On a more practical note, the reeds are pretty out-of whack all around and await stable heating before a complete tuning ensues. A recent warming trend has postponed that day a bit longer. The organ recital on November 30 will trigger this big fall tuning whether the temperature settles in or not!