My exposure to the instrument covers the period from the mid-to-late 1950’s 
through the mid-1970’s; my acquaintance with its specific resources dates from 
the mid-to-late 1960’s.  Unfortunately, I do not know the current status of the 
instrument or whether or not it was ever renovated, moved, sold, absorbed into 
another installation, allowed to deteriorate, or was actively maintained and 
remains in playable condition.  I do see, judging by telephone book entries, 
that the resident parish itself (at 1419 Derry St., Harrisburg, Pennsylvania) 
remained intact until the 2001 timeframe, and apparently disbanded after that, 
being unlisted anywhere else in Harrisburg and another church having taken over 
the Derry St. property.  The church building still stands today, and appears to 
be in reasonably good condition.  While I do not know if anything was done with 
the organ’s disposition after the 1970’s, I can say that there were no changes 
to it during the time I had contact with the facility.  Furthermore, at least 
at the time of my membership in that church, the congregation in general tended 
toward the elderly and old-fashioned side, reluctant to part with its modest 
funds; that along with physical space limitations make it unlikely that the 
organ was ever enlarged to any significant degree, at least at its original 
site.

I have an exact stoplist for Opus 5704 as is stood during the 1960’s (and 
beyond)!  Although I am not totally sure about some of what was borrowed vs. 
what was “straight”, I do have personal recollections and some surviving 
hand-written notes from private practice time at the organ that indicate some 
known borrowings and duplexing.  It is primarily this familiarity that I seek 
to contribute, provided such is deemed worthy of any attention.

I can add a general description of the installation.  The organ (a two-manual 
NON-tracker instrument) was totally enclosed in a single chamber at the front 
of the worship room, behind and above the altar and chancel area.  The Swell 
shades were horizontal and black, to enhance blending with their surroundings 
and maximize their unobtrusiveness.  The console was fixed (permanently 
attached) and located below the choir loft at the front of the right side of 
the sanctuary, as a worshipper would sit, facing the center aisle at a 
90-degree angle.  There was one row of stop tabs, grouped into three divisions 
for the Pedal, Swell, and Great.  The 61-note manuals were of typical 
overhanging-key style, the standard concave radiating pedalboard being of 
32-note compass.  The Crescendo pedal shoe was placed to the immediate right of 
the expression pedal.  There were four (pneumatic) General pistons (of the 
hold-set type); I do not remember if there were any Divisional pistons or if 
the Generals were duplicated by toe studs; also, I believe there was a 
Sforzando capability, but do not recall clearly what form(s) it may have 
taken.  A typical roll-top cover guarded the manuals, stop tabs, and power 
switch when the organ was not in use.

[Received via e-mail April 16, 2009]