Unknown - Nave and Chancel (Postcard ca. 1910, courtesy of William Dunklin/Database Manager)
Date unknown - Organ in gallery (Church archives courtesy of Hal Garrison/Jim Stettner)
Note: Not extant. Not playable. (in this location)
2004-10-30 - Consecrated 9 Nov 1800. Delivered by Tannenberg's son-in-law, Philip Bachmann. Tuned and repaired in 1845 by George J. Corrie. Rebuilt and altered in 1870 by William Schwarzee (Erben rep) with new pedalboard. Rebuilt in 1910. Dismantled and stored in church attic in 1913. Parts later moved to Museum of Early Southern Decorative Arts for safe keeping. [OHS Historic Organs Citation #62. Or was this for the 1798 1m. chapel organ?]. In storage until c. 1997. Reassembled by Taylor & Boody in 1998 to determine what parts are missing. To be relocated. -Database Manager
2005-05-15 - Restored by Taylor and Boody, relocated to new facility, Museum of Early Southern Decorative Arts, 2004. -Database Manager
2012-04-05 - Updated through online information from T. Daniel Hancock. -Database Manager
"David Tannenberg, Organbuilder" website Source: Source not recorded Date not recorded
Home Moravian Church Old Salem, North Carolina David Tannenberg, 1800 OHS ID 2242 HAUPT MANUAL HINTERWERK PEDAL 8 Principal 8 Flauta Amabile 16 Sub Bass 8 Gross Gedact 8 Viola di Gamba 8 Violon Bass 8 Quintadena 4 Flauta douce 4 Principal Octav 4 Salicet 4 Flauta 3 Quinte 2 Sub Octav In 2003-2004, the organ was thoroughly restored to its 1800 condition by Taylor and Boody and was placed in the newly constructed Visitors' Center at Old Salem. [Received from T. Daniel Hancock 2012-04-05.]
Typed stoplist from the OHS PC Database. Source: Source not recorded Date not recorded
Evolution of the 1800 Home Moravian Church Tannenberg Organ (Hilbus 250:2) I. November 9, 1800 Organ installation completed by Bachman and organ dedicated Ia. October, 1802 Bellows "changed so that they could be blown by treading in the organ gallery" Pumping steps beside organ date from this period (?) Slots in case side panels result from this modification II. December, 1845 Tuning and repair of organ (required 38 days) by George J. Corrie. Swell boxes over treble pipes on Hinterwerk chest and control pedal mechanism from this period (?) III. December, 1870 Organ repaired and modified by William Schwarze (rep. of Henry Erben of New York City (paid for 30 days and 22 half days (nights)). New manual keyboards. New pedal key covers. New manual to manual coupler. Extension added to Hinterwerk chest and Corrie's Swell boxes to allow the addition of Open Diapason 8' (pipes from 1798 Saal organ Quintadena 8' - (bass octave channeled from Flauto Amabile 8') and Picolo (sic) 2' to Swell division (pipes from Hauptwerk Quintadena 8' with 12 new pipes). Additional stop action and 2 additional knobs necessary. Removal of rear wall and panels originally in place between Hinterwerk and Pedal and modification of casework to support cornices with Swellboxes. Change Hauptwerk Quintadena 8' to Gamba 8'(bass octave unchanged - from tenor c, used Viola 8' pipes t`rom 1798 Saal organ) New stop knobs (with labels in faces) Releather bellows (9 sheepskins) New pallet springs (and pulldowns and wires?) Removal of all pipes during repair work - Pitch lowered (?) "as it had been too high" Casework grained (painted) in walnut "to correspond with the pulpit" Windline moved inside case and additional ducts added to feed both manual pallet boxes - (necessitated by additional stops) New bungboards on windchest pallet boxes Gallery rail and gallery modified so that railing no longer proj ected around console Console top moulding changed and console sides and scrollwork added IIIa, 1880's? Additional decoration of casework and facade pipes Facade pipes stenciled, painted, and gilded Lower case and console grained to resemble quarter-sawn oak (walnut graining retained on impost mouldings) Upper case painted present colors with cornice frieze stencils Square wooden rods from pumping steps to bellows, (visible inside case in earlier photos) replaced by what appears to be iron rods, now outside case (cuts through cornice mouldings the result of thi s modification) ca. 1910 Alteration of the organ by Peterson - a local tuner/technician Wooden bass pipes added to Great Viola 8' Quintadena 8' bass pipes moved to bass of Quint 2 2/3' Quint 2 2/3' pipes moved to share toeboard with Octave 2' as a sort of Rauschpfeiffe (not all pipes in bass octave would fit on toeboard with 2') Pipes from Principal 4' (facade) from 1798 Saal organ added to organ on Quint 2 2/3' toeboard as Viola 8' Swell to Pedal coupler added New stop knobs for Viola 8' and Swell to Pedal IVa. 1913 Groan removed from Home Church to storage in various locations Parts of organ floor frame, lower stop action bearing blocks and action tunnel parts possibly left attached to organ gallery floor and discarded when the gallery was removed August, 1998 Organ reassembled in MESDA Gallery by Taylor and Boody� Organbuilders for preliminary study for restoration At some point between the earliest photo of the organ (ca. 1860 - where the tuning door on the left side is open) and the 1880's photo with the stenciled facade, the gallery floor was modified to have risers on the both sides of the organ. At this time, the tuning access door on the lef`t side was shortened and it was re-hung to swing into the organ instead of out. The small tuning access door on the right side of the upper case is of a later construction than the rest of the case, although the case may have had the opening when originally constructed. If the rods outside the case connecting the pumping steps with the bellows in the attic were iron, the door would not have opened far (it has an indentation at its base from apparent contact with the rod). Allowing for the fact that the door is not centered on the walkboard between the manual windchests and that the swell shutters took up much of the walkboard space, this door was probably useless for access into the organ. If the opening was in the case from the beginning, it is a further indication that the bellows were originally pumped (treaded) in the church attic. Otherwise the door should have been built into the other side of the case to avoid the pumping steps and mechanism entirely. By the time the Swell boxes were in place, much of the tuner's workspace on the walkboard was inaccessible. Numerous complaints were lodged in the various church records as to the organ's constantly-being out of tune. With little work space left on the walkboard, and the only access into the Swell boxes through the shutters, tuning the organ (by candlelight, remember) was probably next to impossible. Bruce Shull Taylor & Boody Organbuilders 11/13/1998
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