Raleigh, North Carolina —Highland United Methodist Church

Raleigh, North Carolina — Highland United Methodist Church
Three manuals and pedals, 35 stops, 45 ranks
Detached drawknob console, compass 61/32
Electro-pneumatic action
Opus 3771, 1998
Photographs: Stanley Scheer
In December of 1953, the North Carolina Conference of the Methodist Church
appointed a minister to organize a new church in West Raleigh to be known as
Ridgewood Methodist Church. Beginning with 99 charter members, church
membership has since grown to over 2000. In September 1954 the church name
was changed to Highland Methodist and a year later the congregation engaged
one of the prominent church architects of the time, Harold Wagoner, to develop a
four-stage building project. Ground was broken for the present sanctuary on
June 30, 1968. Thenavei
st
y
pi
c
alofWagone
r
’
sc
ont
e
mpor
ar
ybui
l
di
ngswi
t
ha
high ceiling and choir situated to the left of the main axis.
Space for an organ was provided above the choir but was not adequate for the size
instrument the church desired for their music ministry. By bringing the Great
and Pedal divisions out into the area above the choir loft, we solved the space
requirements for the organ while addressing an acoustic problem related to
choral performance. Due to a number of factors, choristers always had difficulty
hearing other voices in the ensemble. We designed the underside of the
cantilevered sections of the Grand Orgue and Pédale divisions with an angled
surface that covers the windchest mechanism while serving as an acoustic shell
for the singers in the loft below.
The Trompette-en-chamade is installed at
the back of the nave adjacent to an
impressive colorful stained glass window,
where its polished copper resonators
project from the plain white walls and
reflect the vibrant colors of the window.
Named the Louise Walker Wilson Organ, the
instrument was designed primarily to
s
uppor
tt
hec
hur
c
h’
sa
c
t
i
vemus
i
cmi
ni
s
t
r
y
but also is used for concerts. The console is
located close to the choir for good
communication between the organist,
choral director and choristers and is
mounted on a hydraulic lift to allow the
organist to be seen when the instrument is
used for recitals. Janette Fishell played the
dedicatory recital.
Grand Orgue
Bourdon (Ext.)
Montre
Bourdon à cheminée
Flûte harmonique (common bass)
Prestant
Flûte
Doublette
Fourniture IV
Trompette
Chimes
Tremblant
Grand Orgue Unison Off
Trompette-en-chamade
Harp 1
Celesta 1
Positif
Principal
Bourdon
Flûte douce
Flûte céleste (TC)
Octave
Flûte à fuseau
Principal
Quinte
1
Digital
Récit
16
8
8
8
4
4
2
1-1/3
8
8
8
8
8
8
4
4
2
1-1/3
Flûte majeure
Viole de gambe
Voix céleste (GG)
Principal
Flûte à cheminée
Nazard
Quarte de nazard
Tierce
Plein Jeu IV
Basson (Ext.)
Trompette
Hautbois
Clairon
Tremblant
Ré
c
i
t1
6'
,Uni
s
onOf
f
,Ré
c
i
t4’
Trompette-en-chamade (GO)
Pédale
Contre Bourdon 1
Montre
Soubasse
Bourdon (Grand Orgue)
Octavebasse (Ext.)
Bourdon à cheminée (GO)
Octave
8
8
8
4
4
2-2/3
2
1-3/5
1
16
8
8
4
8
32
16
16
16
8
8
4
Positif (continued)
Cymbal III
2/3
Basson (Récit)
16
Clarinette
8
Hautbois (Récit)
8
Tremblant
Pos
i
t
i
f1
6'
,Uni
s
onOf
f
,Pos
i
t
i
f4’
Trompette-en-chamade (
TC,f
r
om 8’
) 16
Trompette-en-chamade (GO)
8
Clairon-en-chamade (Ext. )
4
Harp (GO)
© Casavant Frères
Pédale (continued)
Flûte (Grand Orgue)
Mixture III
Bombarde (Ext.)
Basson (Récit)
Trompette-en-chamade (GO)
Trompette (Grand Orgue)
Clairon-en-chamade (GO)
Clairon (Grand Orgue)
Hautbois (Récit)
4
2-2/3
16
16
8
8
4
4
4