Pipe Organ

Anderson Memorial Pipe Organ

The first pipe organ in the current church building was a Jesse Woodberry three manual tubular-pneumatic instrument with a magnificent façade, whose pipes swooped under the north rose window; the side-playing console finding close proximity to the central pulpit in the grand Akron-style sanctuary.

It was common for many American churches from the mid-19th century through early 20th century to often replace an entire pipe organ with a new (or larger used) pipe organ, every generation or so. By the mid-1920’s, the late 19th century (then prototype) “modern” 1894 playing system and its patented register action (controlling the movement of the stops) began to fail and the need for a new pipe organ was met by the commission of a new instrument from the Austin Organ Company of Hartford, Connecticut.

The Anderson Memorial Pipe Organ- Austin’s Opus 1406- was dedicated in 1926 and is the second pipe organ to be housed in the Sanctuary. The chancel was reconfigured at this time and the new console moved to the center of the north side of the Sanctuary. Its austere non-speaking pipe façade is concentrated in the center of the instrument, in front of the north rose window.

The three manual electro-pneumatic instrument’s enclosed divisions (speaking through wood grilles), are found to the left (Swell), right (enclosed Great and Choir), and far right (Solo) of the rose window. The unenclosed Great is found under the rose window, and the Pedal division splitting remaining space inside the wide expanse of the central organ case.

Under the guidance of Minister of Music Dr. Robin Dinda, FAGO (1989-99), a new Austin console was designed, prepared, and installed for future expansion of the instrument with a new Solo division, additional stops on other divisions, and a multi-level memory system. This state-of-the art console was dedicated in 1996 to the memory of Claudia Rae Young and will comfortably serve the playing needs of the instrument well into the 21st century.

Under Minister of Music Dr. John Pagett, AAGO (1999-2006), a new 8′ Bourdon, 4′ Principal, 2′ Fifteenth, and IV Mixture was added to the Great division – replacing non-original upper-work additions to the Great from the 1970’s. This magnificent instrument- donated through the generosity of the Anderson family, and carried on in vibrant stewardship of our 21st century congregation- provides a powerful music presence in worship services: leading hymns, accompanying choirs, and allowing ample color resources for organ literature of all periods. In addition to its fiery harmonic reeds, specialty color stops like the Swell Vox Humana, Choir Harp, Great Chimes, and Solo Cor Anglais are signature voices on this Austin instrument.

In late 2014, the Anderson Memorial Organ was removed from The First Church, for a substantial restoration and tonal expansion. Austin Organs, Inc. of Hartford, CT (the organ’s original builder) is returning the organ to its original 1926 specification using existing and vintage pipework, while judiciously adding upper-work to each division in the style and voicing of the instrument’s original era. The restored three-manual instrument over six divisions will include a new floating Solo division, bringing the tonal resources of the organ to 60 ranks, and ca. 4,085 pipes.

Austin Organs, Inc. and The First Church is pleased to collaborate on this historic renovation project. Completion is slated for Fall 2015.

The coming specification of the instrument (Fall 2015) will be:

16′ Major Diapason
8′ Grand Diapason**
8′ Principal Diapason**
8′ Small Diapason^ (ext.)
8′ Flauto Major* (ext.)
8′ Violoncello* (enclosed) – Skinner 1922
8′ Gemshorn* (enclosed) – Austin 1925
8′ Bourdon++ (enclosed)
8′ Flute Celeste^ (Ch)
8′ Unda Maris^ (Ch)
4′ Octave**
4′ Principal++ (enclosed)
4′ Harmonic Flute (enclosed)
2-2/3′ Twelfth+
2′ Fifteenth++
IV Fourniture++ (19-22-26-29)
16′ Tuba (enclosed)
8′ Harmonic Tuba* (enclosed)
8′ Bassoon+
4′ Clarion (enclosed)
Harp (Ch)
Chimes (Ch)
16′ Bourdon
8′ Open Diapason
8′ Rohr Flute
8′ Viole D’Orchestre
8′ Viole Celeste (TC)
8′ Echo Salicional* Midmer-Losh 1930
4′ Fugara
4′ Flauto Traverso
4′ Violina^ (ext.)
2-2/3′ Nasard (original 8′ Echo Salicional)
2′ Flageolet**
1-3/5′ Tierce+ Austin 1965; revoiced
III Mixture+ (15-19-22)
16′ Contra Posaune
8′ Tuba Mirabilis+ (Solo)
8′ Cornopean
8′ Oboe
8′ Vox Humana (separate tremulant)
All Swells to Swell
16′ Quintade+ (ext.) – Austin 1924
8′ Geigen Principal*
8′ Concert Flute
8′ Flute Celeste (TC)
8′ Dulciana
8′ Unda Maris (TC)
8′ Quintadena
4′ Flute D’Amour*
4′ Geigen Octave^ (ext.)
2′ Piccolo+ Austin 1925
1-1/3′ Larigot+ Orgues du Canadienne 1918
16′ Tuba (Gt)
8′ Harmonic Tuba (Gt)
8′ Clarinet
4′ Tuba Clarion (Gt)
Harp Damper
SOLO (floating; 10″ wind pressure)
8′ Doppel Flute+ Austin 1925
8′ Major Gamba+
8′ Gamba Celeste+
4′ Flute Ouverte+ Austin 1942; revoiced
4′ Gambette^ (ext.)
4′ Gambette Celeste^ (ext.)
III Vox Serapqhiue+ (15-17-19) – Austin 1924
IV Mounted Cornet+ (TC) – Austin ’26/Casavant ’29
8′ Cor Anglais+ Austin 1925
8′ Tuba Mirabilis+
32′ Diapason (Resultant)
32′ Bourdon (Resultant)
32′ Lieblich Gedeckt^ (Sw/Resultant)
16′ Open Diapason
16′ Violone (Gt)
16′ Bourdon
16′ Flute Bass^ (ext./Solo)
16′ Quintaten^ (ext./Ch)
16′ Lieblich (Sw)
8′ Octave^ (Gt)
8′ Gross Flute (ext.)
8′ Major Flute^ (Solo)
8′ Flauto Dolce (ext.)
4′ Super Octave^ (Gt)
4′ Flute^ (Gt)
32′ Grand Cornet (Resultant)
16′ Tuba (Gt)
16′ Posaune (Sw)
8′ Harmonic Tuba (Gt)
8′ Tuba Mirabilis^ (Solo)
4′ Clarion (Gt)


** = original 1926 rank restored (new pipework; lead/linen on Great)
* = original 1926 rank restored (vintage pipework)
+ = new rank added in style of 1926 (new or vintage pipework)
^ = new IB (internal borrow) added
++ = rank added in 2006; revoiced in 2015


Standard 16-8-4 couplers on all manual divisions, including unisons off

Standard 8-4 pedal couplers


Manual reverse


12 General, 10 Swell, 8 Great, 8 Choir, 3 Solo pistons

Gt/Enc Gt/Sw/Ch to Pedal in separate toe studs as well; 4 Ped divisional studs

Tutti controls (piston & stud)

Ventil controls (Reeds or Mixtures)


300 levels of memory

Transposer, Clock, Playback System

Chime dynamic controls

Bridal (HCTB) Indicator

Solo – nave shades on/off

Solo – chancel shades on/off


Previous / Next  controls for sequential registrations


Enclosed Great/Choir –  Swell – Solo  expression pedals

Register Crescendo  (programmable)

Digital General display & LED displays for expression pedals and select controls


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