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!
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.
