Organ in the Equestrian Court: Thomas Appleton Boston, Mass. (1830) Mechanical key and stop action 2 manuals, 14 stops, 16 ranks The organ on the north gallery of the Equestrian Court in the Metropolitan Museum of Art was built by Thomas Appleton of Boston in 1830. It is believed that Appleton originally built the organ for South Church in Hartford, Conn. In 1833, the organ was relocated by Emmons Howard to Sacred Heart Church in Plains, Penn., where it was discovered, unused and neglected, in 1980. Appleton built 40 organs between 1821 and 1833. A façade of gold-leafed diapason pipes is displayed in a mahogany Greek Revival case, which stands nearly 15 feet tall. The blowing apparatus, bellows, and key and stop mechanisms occupy the lower part of the case, while the pipes of the Great and enclosed Swell divisions are above, with the Pedal Subbass located behind the case. Tuning is in mean tone temperament pitched at A=435.7 Hz. The Met Museum restored the instrument which "stands unsurpassed as a working monument to the vitality of music and technology in 19th-century New England," according to Philippe de Montebello, director of the Met. Daniel Chorzempa performed the first concert on the restored instrument on November 16, 1982. His program was William Selby's "Voluntary in A" and "A Lesson," John Stanley's "Voluntary" (Op. 5, No. 8), Mozart's "Andante in F" (K. 616) and "Fantasie in F minor" (K. 608), August Wilhelm Bach's "Concert-Piece in A" and "Prelude and Fugue in D" and Mendelssohn's "Andante in D" and "Sonata in C minor." On November 16, 1982, the Organ Historical Society awarded its distinguished Historical Citation No. 40 in recognition that the Appelton Organ is an outstanding example of organbuilding and worthy of preservation. In 2001, the pipes were removed for cleaning and upon reinstallation were retuned from the ill-advised 'meantone' temperament to the happier (on the road to equal) 'Young 1800' temperament. The Young tuning is actually documented in the Appleton notebooks and the pipes were physically happier being cone-tuned to this temperament.
Great Organ (Manual I) – 58 notes
8		Open Diapason	58	2 2/3		Twelfth	58
8		Stopd Diapason treble (TG)	39	2		Fifteenth	58
8		Stopd Diapason bass	19			Sesquialtera, 3 ranks	174
8		Dulciana	58	8		Trumpet treble (TG)	39
4		Principal	58	8		Trumpet bass	19
4		Flute	58
Swell Organ (Manual II) – 58 notes, enclosed
8		Open Diapason	58	4		Principal	58
8		Stopt Diapason treble (TG)	39	8		Hautboy	58
8		Stopt Diapason bass *	19			* unenclosed
Pedal Organ – 27 notes
16		Subbass	27
Mechanicals
		Swell to Great				Swell Pedal
		Swell to Pedal
		Great to Pedal

Organ in the Grace Rainey Rogers Auditorium: Holtkamp Organ Company Cleveland, Ohio – Job 1796 (1965) Electric key, stop and combination action 2 manuals, 21 stops, 30 ranks, 1,540 pipes The two-manual Holtkamp organ in the Grace Rainey Rogers Auditorium of The Metropolitan Museum of Art is installed in a chamber behind the left stage wall. When not in use, the organ pipes are concealed by movable African korina wood panelling, and the console is stored in an area below the chests. E. Power Biggs opened the organ on Saturday, December 18, 1965, in a concert with the Musica Aeterna Orchestra, Frederic Waldman conducting. Mr. Biggs' program included Handel's "The Cuckoo and the Nightingale," Mozart's "Epistle Sonata" in C major, K.317a, and Poulenc's "Concerto in G minor" for organ, strings and timpani. It is believed that the organ was last used ca. 1996. In the Fall of 2006, the organ was found to be in very good working condition.
Great Organ (Manual I) – 61 notes
8		Copula	61	2		Doublette	61
8		Quintadena	61	1		Mixture (IV ranks)	244
4		Octave	61	8		Schalmey	61
4		Flute	61
Positiv Organ (Manual II) – 61 notes
8		Copula	61	2 2/3		Sesquialtera (II ranks)	122
4		Rohrflöte	61	1/2		Scharf (III ranks)	183
2		Octave	61	8		Krummhorn	61
1 1/3		Quinte	61
Pedal Organ – 32 notes
16		Coppel	32	2		Rauschpfeife (IV ranks)	128
8		Gedackt	32	16		Fagott	32
4		Choral Bass	32	4		Schalmey	32
2		Octavin	32
Couplers
		Great to Pedal				Positiv to Great
		Positiv to Pedal
Combinations (adjustable by setterboard)
		Great Organ 1-2-3-4 (thumb) Positiv Organ 1-2-3-4 (thumb) Pedal Organ 1-2-3-4 (toe) Entire Organ 1-2-3-4 (thumb & toe)
Reversibles
		Great to Pedal	(toe and thumb)
		Full Organ	(toe)
Pedal Movements
		Crescendo Pedal
Setterboard

Organ in the Grace Rainey Rogers Auditorium: Rieger Orgelbau Schwarzach, Austria – "Model DRP 1" (1952) Mechanical key action 2 manuals, 21 registers, 19 stops, 23 ranks The original organ in the Grace Rainey Rogers Auditorium was built in 1952 by Rieger Orgelbau of Austria. According to the Uwe Pape book, The Tracker Organ Revival in America, the Rieger organ was relocated to the Buffalo, N.Y. residence of Jack Barr in 1975.
Great Organ (Manual I) – 61 notes
16		Quintadena	61	2 2/3		Nazard	61
8		Rohrflöte	61	2		Gemshorn	61
8		Koppelflöte	61	1 3/5		Terz	61
4		Prestant	61			Mixture, 3f	183
Positiv Organ (Manual II) – 61 notes
8		Gedeckt	61	1		Sifflöte	61
4		Holzflöte	61			Cymbel, 2f	122
2		Principal	61	8		Krummhorn	61
1 1/3		Quinte	61			Tremolo
Pedal Organ – 32 notes
16		Subbass	12	2		Loch Gedeckt	32
8		Gedeckt	12			Rauschpfeife, 2f	64
4		Gedecktflöte	32	8		Regal	32
Couplers
		Great to Pedal
		Positiv to Great

Inventory of Pipe Organs The Department of Musical Instruments

• Portative – Leopoldo Franciolini, Florence (late 19th century?)

• Claviorganum – Laurentium Hauslaib, Nürnberg (1598)

• Positive – Germany (early 17th century)

• Chamber organ – Thomas Chapman, London (1779)

• Regal – late 19th century reproduction

• "Book Organ" – Germany (late 19th century)

• Regal – Germany (late 19th century)

• Claviorganum – Herman Willenbrock, Hannover (1712)

• Claviorganum – Eaton Pether, London (1786)

• Regal – Georg Vell or Voll, Nürnberg (1575)

• Portative – German (late 19th century)

• Regal – Germany (19th century)

• Positive – Germany (ca. 1700)

• Positive – Germany (1700)

• Regal – South Germany or Austria (17th or 18th century)

• Chamber Organ – George Clisbie, Marlboro, Mass. (ca. 1845)

• Chamber Organ – William Crowell, Mont Vernon, N.H. (1852)

• Positive – German (17th century)

• Chamber Organ – Richard Ferris, New York (ca. 1850) – off-site

• Chamber Organ – anonymous (ca. 1840-50)

• Chamber Organ – Samuel Green, Isleworth, Middlesex, England (ca. 1790-96) – on loan to church in Pennsylvania

• Musical Automaton Clock – Augsburg (1625) with Claviorganum viet Langenbucher

• I/3 Organ Case – William Geib?, New York City (ca. 1838) – sold

• I/2 Chamber Organ – Henry Erben, New York City (1838) – sold