Parkey Opus 16 Jeff Harbin Bach Liebster Jesu Dalton FUMC

Buzard Pipe Organ Builders, Champaign, Illinois; Pilgrim Lutheran Church, Carmel, Indiana, Opus 45, 2017; Central United Methodist Church, Fayetteville, Arkansas, Opus 46, 2018–2019

Opus 45

“What have you done here!?,” asked Todd Wilson as he leapt off the organ bench to greet me the day before Opus 45’s dedication. Hoping this was a friendly question, I asked to what exactly he was referring. “This organ just about plays itself!” Yes, it was a very friendly question and a complimentary one—even better.

Foley-Baker, Inc., Tolland, Connecticut;

Holy Cross Catholic Church, New York, New York

The saga of Aeolian-Skinner Opus 908

St. Alban’s Episcopal Church, Staten Island, New York

In nineteenth-century Russia, secular and sacred music had very little to do with each other, due to a separation in large part imposed by the Orthodox Church. Musicians of the West are familiar with this divorce of musical spheres, having endured a similar division in musical culture from the Middle Ages through the sixteenth century. However, there is a clear difference between the two experiences of division; this can be seen in the role of the organ.