In addition to working as an Associate Archivist at Cranbrook, I am also a fledgling volunteer docent at Christ Church Cranbrook. Recently, I gave a tour of the Chancel to test my skills with my teachers. As I prepared, I found there was very little written about the history of the pipe organ at the church. So, where to turn for more information? Cranbrook Archives, of course.

In August of 1925, George Booth and Oscar Murray (of Bertram G. Goodhue Associates, the church architect), started in earnest to finalize their thoughts and feelings about the choice of organ for the church. While the organ itself was installed in January 1928, plans for its ducts and conduits had to be decided early, before the concrete floors were poured.

The correspondence suggests that the E.M. Skinner Organ Company was the only company considered. The Boston-based firm was considered America’s finest and most technologically advanced organ builder. Skinner’s specifications for the organ, console, and bench were submitted in October 1925.

George Booth inquired of his colleague Cyril Player to provide comments on the specifications, and Player begins his commentary saying,

“I think I would emphasize gently to them that you want gravity, dignity and softness—the three prime essentials of any church organ, large or small… [gravity] is secured by an adequate and properly-balanced pedal department; dignity by volume of foundation tone in the basic divisions of the instrument; and softness and refinement by skillful voicing with a copious wind stream at a moderate pressure.”

Cyril Player to George G. Booth, November 1925

In passing along the comments to Murray, Booth remarks that, “the desired qualities, viz; gravity, dignity and softness; seems to me peculiarly to express my own feelings and desire.”

William Zeuch of Skinner Organ Company revised the specifications following some of Player’s suggestions, while some revisions were the suggestion of Henry Willis, the great English organ builder who was a consultant to the firm. The contract for the organ (including the Great, Swell, Choir, and Pedal pipe divisions) was duly signed in December 1925 and work proceeded.

At the same time, a separate contract was made with Alfred Floegel to decorate the organ case doors. Booth wished to confine the oak finish to the exterior of the doors while having the rest richly decorated with color. Booth imagined the opening of the organ doors to represent the opening of the mind. He also envisioned the organ case to read as a triptych (a picture or altarpiece on three hinged panels) when open.  

In July 1927, work on the organ console began. The console is where the organist sits to play the instrument, distinguished by its multiple hand keyboards (called manuals), pedalboard, and other controls. Rev. Dr. Marquis requested a change from a 3-manual (Great, Swell, and Choir pipe divisions) to a 4-manual, by adding the Solo division. Zeuch responded positively as it was not too late to build a 4-manual console; however, having already instructed the architect to reduce the dimensions of the organ chamber, which had been too large and would have interfered with the proper effect of the sound in the church, the architect would now need to find space for the Solo division. Room was found above the Sacristy.