Organ History from the Dedicatory Recital Bullitan (October 22, 1995):
The 1956 Schantz organ, installed in the original Sanctuary (old Fellowship hall), consisted of four ranks of pipes. Two ranks were added when it was moved the present Sanctuary in 1967. These six ranks served Asbury until December 1994 when the purchase of the chests, reservoirs, console and most of the pipes of the 1964 Reuter organ from First Presbyterian were obtained.
Volunteers removed, releathered and combined the two instruments into its expanded form under the supervision of Ed Bruenjes.
There is a total of 1,522 pipes made of wood or metal, ranging from nearly 16 feet to smaller than a pencil. There are 25 ranks of pipes which are divided into three sections or "divisions." The Great division, played from the lower manual, contains twelve ranks, nine of which are functionally exposed on the left side, and is the tonal background of the organ. The Swell division, played from the upper manual contains ten ranks, which are enclosed in the swell box which is enclosed to give dynamic contrast controllable by the organist via expression shutters. The Pedal division contains 3 different ranks, two of which are exposed on the ride side, providing the bass sound for the organ.
Tonally, all the pipes of an organ fall into four general families, namely Principal, Flute, String and Reed. With in each tone-family exist numerous variations usually at two or three different pitch levels. The pitch of the tone depends on the length of the pipe, the longer pipes sounding lower pitches; the shape and material of the pipe influence the color or quality of the tone. Some pipes are closed at the top, producing pitches an octave lower than open pipes of the same length. In reed pipes, the reed and metal trough against which it beats are encased in a short pipe connected to a pipelike resonator, the shape of which affects the color of the sound.
In the specification list, the term 8' indicates a rank of pipes which will sound fundamental pitch (the same pitch as the piano), and whose longest pipe is 8' in length; 4' indicates a rank which will sound an octave higher than fundamental pitch, 16' an octave lower than 8' pitch, etc. Mutations are the ranks sounding at pitches other than the octaves above normal pitch (for example 2 2/3' is two G's above low C). Mixtures are several ranks of very high harmonic pitches sounding simultaneously for each note played. The high pitches of mutations and mixtures blend together to produce the incisive, bright quality that is associated with organ sound.
The original Schantz console had an electro-pneumatically operated switching system. The expanded Reuter console (in photograph) has a new solid-state computer processing switching system and combination action. The buttons under the manuals and above the pedals are called "pistons" and control the 8-level combination action whereby any combination of stops desired can be preset to come on automatically by pushing the proper piston.
Each organ is unique in that it must suit the accoustics and architecture of the room that houses it. Asbury United Methodist's sanctuary has a intimate accoustic relation to the organ, profoundly influencing the sound of the organ by the amount of reverberation it allows and the frequencies which it enhances or inhibits. It is with great satisfaction that the two separate organs have been combined into one cohesive instrument, drawing on the finest attributes available from each and filling in the gaps. The strength and breadth of tone, beauty and variety of color and the range of dynamics make it well suited for the service playing requirements of leading congregational singing, solo and choral accompaniments, and solo organ literature. Those faithful people who gave to make this organ project possible--whether in time, money, or expertise--gave so that together, in concert, we might glorify God and be lifted up in Spirit to go forth in witness to His word.
4' Choral Bass
Rausch Quint II
Great to Pedal 8'
Great to Pedal 4'
Swell to Pedal 8'
Swell to Pedal 4'
8' Stopped Flute
8' Viole De Gambe
8' Viole Celeste
2 2/3' Nasard
2' Super Octave
1 3/5 Tierce
1 1/3 Larigot
Swell to Swell 16'
Swell to Swell 4'
2 2/3' Twelth
1 1/3' Larigot
Great to Great 16'
Great to Great 4'
Swell to Great 16'
Swell to Great 8'
Swell to Great 4'
"Allegro from Suite Gothique" - Leon Boellmann - Ed Bruenjes, Organist
Cantilena - Josef Rheinberger - Ed Bruenjes, Organist
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