The Organ at Miami Shores Presbyterian Church

The main sanctuary organ at Miami Shores Presbyterian church has been widely recognized as one of the best instruments in the southeast. The church had a rare opportunity in the mid sixties: design of an organ simultaneously with the building it sits inside of. This also provided an unusual challenge for the organ builder, having no actual building to measure and evaluate acoustically when planning the organ’s layout and scaling. Admittedly, this situation could have proven disastrous upon completion. But, organists such as Virgil Fox, Pierre Cochereau, Dame Gillian Weir and other famous musicians have performed on this instrument and have praised its beautiful tone.

" The instrument sits entirely within the room"

In a 1984 letter to me, Larry Hedgpeth pointed out that the instrument sits entirely within the room. This allows the organ to speak freely without being forced, and allows the tuning to remain relatively stable. In 1984, after the organ had already been playing fifteen years, Larry mentioned that the instrument only needed occasional tuning and regulating. How refreshing this is to someone who has seen far too many organs buried in chambers off the main sanctuary as an afterthought, with resulting tonality and tuning problems.

Larry Hedgpeth’s foresight and musical sensibility is also obvious in his design of an American Classic specification, during a time in history when extremes were prevalent in organ building. The most prominent of these was the so-called Neo-Baroque school, which has left our country littered with impotent, wheezing examples of instruments unable to play Romantic or modern literature. The American Classic organ has withstood the test of time, and can convincingly play organ literature of any period. Some famous examples of American Classic design are the Æolian-Skinner
organs at the Mormon Tabernacle in Salt Lake City, and Grace Cathedral in San Francisco.

Larry also wrote me that the church considered three different organ builders when planning; Austin Organs of Hartford, Connecticut, an unknown second builder and M.P. Möller of Hagerstown, Maryland who was awarded the job.

Larry had a lot of experience playing Austin Organs in the northeast, especially at First Presbyterian Church (formerly second) in Philadelphia. His teacher, Alexander McCurdy was organist there. He was very fond of that instrument, and praised Austin’s quality. Austin already had instruments in the Miami area, according to the Organ Historical Society’s webpage. I speculate that the reasons why Austin did not build MSPC’s organ could have been at least twofold: price or Austin’s Universal Windchest design. The later reason would have changed the layout and final appearance of the organ substantially.

The unknown second builder MSPC considered could have been a number of companies in the sixties capable of an American Classic design. Among these were Holtkamp, Schantz and Æolian-Skinner. Had the Æolian-Skinner company still been under the direction of G.. Donald Harrison, their tonal director until his death in 1957, it is possible that Larry might have opted for that company. Harrison was the designer of all of that company’s important instruments including the Mormon Tabernacle in Salt Lake City, Grace Cathedral in San Francisco, St, Thomas Church, New York (his last job), and several prominent organs in the Boston area. After Harrison’s death Æolian-Skinner underwent some changes in their tonal philosophy.

When looking at the number of instruments already extant in Miami in the sixties from M.P. Möller, including St. Mary’s Cathedral, it becomes more obvious why they were awarded the contract. In addition to their excellent reputation, they would have had adequate sales and support staff nearby to oversee the installation and maintenance needs that were to come while the organ was still under warranty. To be honest, M.P. Möller was a prolific builder nationwide, from their small three and a half rank Artiste practice organs to the huge instrument in the Cadet Chapel of the United States Military Academy at West Point, New York. This was Möller Opus (serial number) 1200. This high production of instruments led the late Virgil Fox to describe M.P. Möller as the “Ford” of organ builders. If this was true, then Miami Shores Presbyterian Church got a fully loaded Lincoln Presidential Limousine!

The Specification

In our correspondence, Larry Hedgpeth kindly shared some of his philosophy and experience regarding organ building and color. I had wanted to know all about his experience studying with Marcel Dupre in Paris, and what he knew of the French tradition of organ playing, as I have always been enamored of that literature. His answers surprised me a little. He wrote, “I personally do not/did not care at all for the so-called GREAT TRADITION (capitals Larry’s) that Dupre represented in Bach playing. I find it technically marvelous and thrillingly CORRECT, but BORING in registration and attendant colorings. However, I am certainly a disciple of Marcel Dupre in every other way. He was a most lovable and charming man, generous in every way almost to a fault and he possessed the proverbial patience of Job!”

Having learned a little since then about the construction of the French Cavaillé-Coll organs in France, Larry’s answer makes perfect sense. The only unaltered example left is in the church of Saint Sulpice in Paris, Dupre’s church. It was originally built in the 1860s, and was limited by the technology of the time. The Cavaillé-Coll organs derived much of their power from the reed stops (Trompette, Hautbois, etc.) ,which were usually added all at once with a foot lever called a “ventil.” The gradual buildup of ensemble that we enjoy on modern organs, was practically impossible on early organs without an army of assistants manually adding or subtracting stops sequentially.

So, I agree with Larry about Bach, but would also add all of the French literature to his observations. The subtleties and nuances of color that make a piece musical have been best achieved, in my opinion, on the American Classic Organ with its adjustable combination action. Of course, this point of view has always been controversial among organists. Chiefly the question whether or not the composers of that time would have composed or played their music differently on modern instruments, had they been available.

In view of all of this, we can explore how MSPC came to possess the instrument it has today, and why Larry designed it the way he did. As we peruse the specification of this organ, we notice right away the large number of stops with French nomenclature. To put it succinctly, Larry designed an American Classic organ with a definite French accent. Most noticeable, is the Montre 8’ on the Great Organ instead of the usual Principal 8’. I do not know yet if it is a genuine Montre in tone and scaling, or simply one in name only. I hope for the opportunity to visit the organ some time in the future to find out.

As one peruses the specification further, we can appreciate the versatility built into this instrument: German stops provide lighter ensembles in the Choir division, and a nicely appointed Solo division with some orchestral sounds. All of this supported with an ample Pedal division.

Another fact about this organ, is that it stands exactly like the builder left it in 1969. It has, thankfully, escaped extremist “improvements” that have afflicted so many other organs worldwide, and could be counted today as one of the few remaining Magnum Opus M.P. Möller organs in existence. The fine article about the organ on the church’s webpage says, “The instrument was built for $105,000. A comparable instrument today would cost over a million dollars.” To be more precise, at today’s prices, sixty five ranks of new organ at $25,000 per rank would cost $1,625,000. The pipe organ is one of the few things in life that appreciates in value over time!


The Future


It has been my experience that usually the Golden Age of a new organ is short-lived without hard work and determination to keep interest alive. Noontime weekday concerts during Advent or Lent accomplish this in part, as well as acting as an outreach to the surrounding community. The local chapter of the American Guild of Organists usually has a number of fine organists who would volunteer their time to play such a concert series. Sunday afternoon concerts once a month are another alternative.

There is also the consideration of funding needs in the future for re-leathering windchests and updating the consoles. The church should also be sure it has adequate insurance coverage as the value of the organ appreciates. Sometimes churches establish a foundation for these purposes. Free-will donations received at the concert series can help augment this fund.

An appreciation for what we have now in instruments like MSPC’s organ, with an eye towards the future, can ensure enjoyment by many for years to come.

Larry Hedgpeth

People, regardless of what happens in the next world, usually try for immortality in this life. It has been observed that humans are the only “animals” who know that one day we will die, and we fight it. In spite of this, most of us pass through this life leaving a very small mark on this world. It only takes a few years to be forgotten completely.

Whether Larry Hedgpeth ever pondered this reality of life is unknown to me. One can tell that his responsibilities at Miami Shores Presbyterian Church kept him extremely busy. He was in charge of several choirs, a bell choir, and an extensive Organ repertoire. I would assume that he took life one day at a time, and didn’t ponder his role in the cosmos too much. However, the legacy he left MSPC and the musical culture of Miami, is monumental.

My first memory of Larry was when my father was in the chancel choir. I remember Larry coming to our house in Miami at least once. Larry, I was told, had played the theatre organ for the early radio and television soap operas in New York. Even though Larry had a classical music background that was second to none, his experience playing “pops” no doubt made him a better musician. One of Larry’s teachers, the great Marcel Dupre, recounted in his autobiography that he believed this was the case with all musicians.

I also remember Larry’s organ playing in the 1950 sanctuary on the old Conn electronic organ, which he referred to as a “bag of whistles.” I heard this instrument several years ago on a tape made of my parent’s wedding in 1958. Considering the technology of the time, it wasn’t too bad. However, after Larry’s experience playing so many fine pipe organs in America and Europe, the Conn must have been quite uninspiring to him. It is likely that, had MSPC not had the long-range planning and foresight for the fine M.P. Möller organ in the current sanctuary, which I shall discuss in a future article, a musician of Larry’s caliper might not have accepted the position at MSPC.

The last time I heard Larry play the Organ, was Christmas week of 1973, when we went home for Christmas. I remember sitting in the gallery next to the console for Christmas Eve, and hearing Larry play a brilliant Bach cantata, which incidentally was hand-written. Even though I had not been inspired to start my own studies yet, that evening started me on my way. I still remember the brilliance of the exposed Principal chorus in the Great division, which sits on the back wall of the church.

Larry recounted to me in a letter in 1984, that he had entered Westminster Choir College as a Piano major. After one year of study, with a minor in Organ, he became so enamored of the Organ, that he changed his major, and thus began a long career in 1942. His organ teacher at Westminster was Alexander McCurdy, who he considered his mentor. He also went to Paris to study Organ for a year with Marcel Dupre.
In spite of Larry’s busy schedule, he found time to communicate with, and encourage me in my own Organ studies in California. He shared valuable insights about musicianship and the different philosophies of Organ playing with me.

Unfortunately, distance and finances did not permit me to ever hear Larry play again. He attempted to attend the 1984 American Guild of Organists National Convention in San Francisco, but had to cancel at the last minute due to illness. We had planned to meet there, where I was attending with my Organ teacher and other friends.
In 1987, I got a letter from the church treasurer, Gertude Seigel, that Larry had passed away from a massive coronary.

The McArthur Chapel

These photos are re-printed from the History of Miami Shores Presbyterian Church 1936-1969

Any church building program, regardless of the time, consists of vision and sacrificial giving on the part of the faithful. There are times when these projects are easier, such as in a prosperous economy. But a lot of hard work and an eye towards the future are necessary at any time.
Occasionally in the life of the church, a family from the congregation comes forward to donate funds necessary for an entire project, and such is the case of the McArthur Memorial Chapel. The McArthurs were dairy farmers, and members of MSPC.
This beatiful chapel was dedicated in 1965. For several years, the windows were of an opaque gold-colored glass, pending installation of the stained glass windows from the 1950 sanctuary.
Since its dedication, this chapel has been a favorite site of many weddings and other services of the church.

The Fifties

This beautiful building was dedicated on September 3rd, 1950. The plans were drawn for it by my grandfather, James H. Chance. Since the current sanctuary MSPC uses today overlapped the footprint of this sanctuary, it had to be razed before construction could commence on the new building.

My grandfather related to me in later years that he sat in his car, parked on the street, to watch the demolition. As the wrecking ball knocked the cross off the top of the bell tower, he remembered sketching it on his drawing board. The recent death of his daughter and the transiency of life became too much for him at that moment, and he did not stay for the remainder of the demolition.

This is my parents wedding on August 16th, 1958. This photo shows the beautiful window facing N.E. 6th Avenue.

This view shows the chancel with it's Celtic cross. My grandmother related that MSPC donated many items to other churches from this sanctuary when demolition started, including the cross, pews and Conn electronic organ.



My parents, John and Betty Rogers, cut their wedding cake in front of new construction of the Sunday School wings and Fellowship Hall.

The Early Days

My maternal grandparents were integral and important members of Miami Shores Presbyterian Church, almost from its inception, until they moved to California in 1976. My grandfather, James H. Chance was born in 1900 and raised in Salem, Illinois. My grandmother, Vera Veach Chance was born in Simpson, Illinois in 1903 and raised in Centralia, Illinois. Both my grandparents were Presbyterians from birth, though both were raised Cumberland Presbyterian. They married in 1928, and moved to the Miami area in 1929 when my grandfather was hired at Steward-Skinner Associates, Architects. They eventually built their home at 444 N.E. 74th Street, in a then- new subdivision. My grandfather drew the plans for their home. Their daughter, Mary Margaret was born in 1931, and my mother, Betty Ann was born in 1934. What follows in this article are pictures from my family's collection.

Please click on the photos to enlarge them. Thanks!

According to the history book of MSPC 1936-1969, this photo was taken on Easter day in 1943. It shows my grandparents, mother and maternal aunt. The plans for the church were drawn by my grandfather, James H. Chance.

This photo is labeled " Ground-breaking , Miami Shores Presbyterian Church..." . It is actually the groundbreaking for the original building of 1940 for the Northeast Presbyterian Church.The young blonde girl smiling at the camera is my maternal aunt, Mary Margaret May (1931-1961). Directly in front of her is my great-uncle, Robert Veach, brother to my grandmother, Vera Chance (1903-1977). My aunt Mary Margaret died an untimely death at the age of 29 in 1961. The "For I was hungry" stained glass window in the current sanctuary of MSPC was given as a memorial to her by my grandparents, James and Vera Chance.

This picture, labeled as "Women's Auxiliary, Northeast Presbyterian Church," features my grandmother, Vera Chance (1903-1977) , in her late thirties. She is fifth from the right in the back row. Immediately to her left is Bertha Veach (1880-1960), her mother and my great-grandmother.

I will continue to publish photos and other memoribilia as I find them.

"As It Was In The Beginning......"

A wartime bulletin from the Northeast Presbyterian Church, dated November 1st, 1942. Northeast Presbyterian eventually became Miami Shores Presbyterian Church.





It appears that my Grandfather was chairman of the Board of Deacons, and my Grandmother was president of the Woman's Auxiliary at the time.

First Posting

Photo by Joaquin Rodriguez

Today is the inauguration of a new blog which celebrates the history of the Miami Shores Presbyterian Church in Miami, Florida.

After the death of my Mother in June of 2006, who was raised and married at MSPC, I found memoribilia and photos from the church dating back to the early 1940s. My Mother's parents were almost charter members of the congregation, and MSPC was a big part of the life of our family for many years.

I will endeavor to share the historical material I have about MSPC on this blog. Of course, my perspective is heavily influenced by the involvement of my family in the church. Whether you are a current or former member of the congregation, WELCOME! I hope you enjoy your visit.