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In 1989, research into necessary renovation of the organ chamber helped lead the parish to a significant course of restoration work to its building, and 1847 Gothic edifice designed by the noted architect Richard Upjohn. Over several years, the entire brownstone exterior was painstakingly repaired and repointed, all stained glass windows were completely restored, a new roof was placed over the entire church, and a standing-seam, lead-coated copper roof placed over the organ chamber. Structural work beneath the east end of the church afforded the possibility of usable space - and of a new room for the east organ's blowing plant immediately under the organ chamber.

Following removal of the Tellers instrument in 1999, the interior of the east organ chamber was stripped to its stone structure. New, substantial inner walls and ceiling surfaces were constructed to improve projection of the organ's tone into the church. An inner roof surface over the new chamber ceiling was added and will give an extra measure of moisture protection to the new organ, whose predecessor was soaked by roof leaks on several occasions. A new concrete chamber floor was poured and finished in oak. The former window-like nave aisle chamber opening was enlarged by extending it to the church floor providing the new organ with an ease of tonal projection unknown to the earlier instruments. Marble and limestone replaced carpeted wood in the chapel area in front of the nave aisle organ casework.

The final tonal scheme for the organ reflects detailed planning between Paul Richard Olson, organist and choirmaster since 1992, Douglass Hunt, Consultant since 1987, and Bruce Buchanan, Tonal Director and Vice-President of Austin Organs, Inc. since 1999.

Briefly, it was our aim to provide a large selection of accompanimental and color stops within a scheme of moderate size. Each manual division in the East organ contains multiple flue voices at 8' pitch. The Great division contains the four elements of the traditional French Romantic "fonds." In addition, the principal chorus of the Great is complete from 16' double through mixture, and includes a separate-drawing Seventeenth. The Swell division has all of the elements normally required of this section, as well as mutations composed of harmonic-length pipes, and includes five reed stops. Because of its placement, and the arrangement of the two mixtures, the Swell flue chorus can be an effective foil to the Great when required. The Choir division is designed and placed to be of greatest effectiveness in support of voices singing in the chancel. A minor set of foundations, several flute stops, and a chorus based in tapered ranks are complemented by principal-scaled Larigot and Fife ranks. Two undulants - Unda Maris and Cor de Nuit Celeste - offer contrasting effects with the Voix Celeste of the Swell. Choir reed stops include the Cor Anglais, Clarinet, French Horn, and Tuba, the last two also available by duplex from the Great manual. The Pedal division provides ample, prompt-speaking bass tone at several dynamic levels, as well as a developed flue chorus and assertive reed tone including a 32' Contra Bombard.
An entirely new West organ, standing in the rear gallery of the church, is housed in attractive mahogany casework. Façade pipes are painted and stenciled to harmonize with the East fronts. The West Pedal Bourdon is painted in a subdued red, highlighted in gold banding. These pipes, against the rear wall at either end of the gallery, bracket the manual division standing in the center at the gallery rail. The Grand Trumpet is hooded, and placed within casework of the manual section. Of moderate power, this stop is useful in solo passages and as a cap to the full ensemble.

The design of the organ supports the musical elements of Episcopal worship, with appropriate re-use of many of the fine voices from the Roosevelt and Tellers organs providing a musical link to Grace Church's past. To provide a visual tie, pipes for the two East facades were restored and freshly decorated in a manner appropriate to the church's architecture. New mahogany casework, designed to harmonize with the interior appointments of the church, projects from the enlarged nave aisle arch. The restored façade pipes retained from the Roosevelt organ once again provide basses for the several stops of the Great division. The old Great division was placed well back of the old nave opening and, along with much of the Pedal division, partially buried behind a stone wall. The new Great physically projects into the nave aisle surrounded by the restored façade pipes and casework.
The three-manual and pedal drawknob console is placed on a new platform at the south side of the chancel arch, just outside the choir stalls. Following a similar plan from the previous instrument, the new console is now placed so that the player faces the east wall of the nave, but sees the choir and hears the organ and choir in balance. The console is of mahogany, with boxwood ornamentation, and is designed to complement the furnishings of the chancel. Solid-state technology offers multiple memory levels in the combination action, crescendo functions, and the possibility of performance recording and playback.

Under the artistic direction of Bruce Buchanan, Austin Organs assembled a team for this project that included personnel beyond the firm's Hartford, Connecticut, factory. The level of quality achieved throughout the new organ is the result of hard work by several talented professionals who labored patiently over a near three-year period.

I have been privileged to advise Grace Church, Brooklyn Heights, in this project. It is my fervent hope that many will find in this instrument much of musical value to the worship life of this parish, and that this organ will stand as a vital resource in Grace Church for many years to come.
- DOUGLASS HUNT

From the Builder
The stoplist of the new Austin organ in Grace Church, Brooklyn Heights, was drawn up by the organist, Paul Olson; the consultant, Douglass Hunt; and the builders. Of the 69 ranks in the new instrument, 15 are from the Roosevelt organ of 1887.

Because of the long-standing high reputation of the choirs at Grace Church, it was a principal requirement that the new organ should be equipped in all departments with a wide range of stops suitable for choral accompaniment without compromising the congregational effect of the whole. It was therefore decided that a West gallery division consisting of a Diapason chorus to Mixture and Pedal Bourdon 16', voiced to fill the nave unaided, would accompany the congregation when necessary. This arrangement allowed the East organ to contain more stops of moderate power and varied color than might otherwise be the case for an instrument of this size.

The East organ display pipes are from the original Roosevelt organ. The West organ façade is new and decorated in the same style as the eastern facades. The north aisle façade has been brought forward and placed on casework designed by David Graebe.
- AUSTIN ORGANS, INC.

From the Organist and Choirmaster
Martin Luther wrote, "Next to the Word of God, music deserves the highest praise. The gift of language combined with the gift o song was given to man that he should proclaim the Word of God through music."

Grace Church was established as a parish in 1847. Grace's first organ dates back to March 5, 1849. Designed by the firm of Hall and Labagh of New York, the instrument was purchased for the new Richard Upjohn church building by a generous gift from Mrs. Sarah Gracie. Thus began what developed into a very strong musical tradition at Grace Church.

The original Hall and Labagh instrument was repaired and enlarged in 1878, at a cost of $4,000. In 1887, a new three-manual organ given in memory of Mary A. Marshall Chauncey was built by eminent organbuilders Hilborne and Frank Roosevelt (first cousin of Theodore).

A boy choir was instituted in 1886. The original but by then silent Hall and Labagh organ remained in the gallery until 1892, at which time it was sold to St. Clement's Church in Brooklyn.

In 1909, a new console designed by Robert Hope-Jones was purchased for the Roosevelt organ, and was placed where the present pulpit now stands. At the same time, the Roosevelt playing action was electrified. During the next half-century, the organ was periodically updated, but Mr. Roosevelt's original tonal design remained largely intact.

By the 1960s, the aging Roosevelt required major renovation. The Tellers Organ Company of Erie, Pennsylvania, was chosen to enlarge the instrument, incorporating much of the old Roosevelt pipework and adding a small gallery division.

Although stopgap maintenance work was done, a thorough assessment of the instrument and careful consideration of the parish's needs for the future precipitated a vestry decision to initiate a comprehensive study of the question of whether to continue to repair the Tellers organ or to consider the purchase of a new instrument.

By the late 1980s, organist Mary Monroe, parishioner Craig Whitney, vestryman Edward Turner, and organ consultant Douglass Hunt began to explore the possibilities of a new organ. Their research was narrowed down to six builders, all of whom had international and national reputations and were willing to use the best of the existing Roosevelt pipework - a priceless link with the liturgical history of the parish.

In the late 1990s, organist Paul Olson and Mr. Hunt, working closely with the wardens and vestry and a music and worship committee, refined their choices to three builders based on further investigation of the quality of work and reputation of each company. The final choice was Austin Organs, Inc. of Hartford, Connecticut, under the direction of Bruce Buchanan, Vice President and Tonal Director.
Throughout its history, the music program at Grace Church has sought to preserve the rich history of the Episcopal Church, as well as to celebrate the diversity of music from different traditions and cultures. Special tribute must be given to the following distinguished musicians who have served at Grace Church: Frank Wright, AGO (1897 - 1939), Anne Versteeg McKittrick, FAGO, (1939 - 76), Bradley Hull, AAGO (1976 - 82), Thomas Brown (1985 - 92), Mary Monroe, AAGO, ChM (1985 - 92), and Paul Richard Olson (1992 - ).

Grace's new instrument was consecrated on September 30, 2001, by the Right Rev. Rodney R. Michel, Bishop Suffragan of the Diocese of Long Island. Three inaugural recitals were performed by organists Carole Terry, Nicolas Kynaston, and Paul Olson. Two Evensongs were presented by the combined choirs of Grace Church and Plymouth Church of the Pilgrims, with assisting musicians Robert Poovey and Peter Stolzfus.

I would like to express my deepest thanks to the clergy and vestry of Grace Church; to my predecessor, Mary Monroe, for planting the seed for this project; to our consultant, Douglass Hunt, for his countless hours of guidance and expertise; to Bruce Buchanan and the entire Austin staff; and to the many parishioners and friends of Grace Church and the Brooklyn Heights community who contributed to this project.
- PAUL RICHARD OLSON