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When WHPC moved to its current location in 1985, it was not designed to house a pipe organ. In providing space for the instrument, modifications were made to the chancel to improve the location of the choir and acoustics in the church for speech and music. The architectural changes have improved the functionality of the space while unifying the interior appearance. New organ spaces were created on either side of the front wall to house the expressive divisions of the instrument along with the large pedal stops. The visible pipework is taken from the principal choruses of the Grand Orgue and Pédale divisions. The three primary manual divisions feature complete choruses and a large variety of stops of all families. The floating Solo division, consisting of a high-pressure English Tuba, is enclosed with the Positif.
Paul Keith, WHPC Organist
Currently Dean of the Austin Chapter of The American Guild of Organists, Paul has played at WHPC since 1980, except for a 5-year interval in the early 1990's. His interest in the pipe organ began at age 3, when he first heard the stirring Toccata from Widor's 5th organ symphony. Over the years, he studied organ with Julane Swank, Dorothy Quenelle Flexner, June Miller (at Penn State), and Frank Speller (at UT-Austin).
Paul believes, with Thomas Moore, that "the pursuit of beauty and spiritual practice go hand in hand" and that for many, beauty is a path to God that is, finally, the most persuasive. He has composed a number of pieces for organ, choir and piano, some of which are published by Augsburg Fortress Publishers. His Toccata has been premiered and performed internationally by a major English concert organist. Since 2008, he has served on the board of directors of the Center for Sacred Music Studies at the Butler School of Music, University of Texas at Austin.
Paul is married to Nga Tran and has three children, Erin, Allison and Kevin.
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 | Three manuals and pedals,
43 stops,
61 ranks
Movable drawknob console,
compass 61/32
Electro-pneumatic action
3453 pipes
Opus 3777, 2001 |
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Grand Orgue
Violonbasse (Ext.) 16
Montre 8
Violon 8
Flûte à cheminée 8
Flûte harmonique (common bass) 8
Prestant 4
Flûte ouverte 4
Quinte majeure 2-2/3
Doublette 2
Cornet IV-V 2-2/3
Fourniture IV-V 1-1/3
Contre Trompette (Ext.) 16
Trompette 8
Tremblant
Chimes
Grand Orgue Unison Off
Trompette-en-chamade 8
Positif Expressif
Salicional 8
Voce umana (TC) 8
Bourdon à cheminée (Récit) 8
Flûte majeure 8
Flûte céleste (TC) 8
Principal 4
Flûte octaviante 4
Principal italien 2
Larigot 1-1/3
Cymbale IV 2/3
Cromorne 8
Tremblant
Positif 16', Unison Off, Positif 4’
Trompette-en-chamade (GO) 8
Solo (floating)
Tuba Profunda (TC, from 8’) 16
Tuba Mirabilis 8
Tuba Clarion (Ext.) 4
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Récit
Bourdon doux (Ext.) 16
Bourdon à cheminée 8
Viole de gambe 8
Voix céleste (GG) 8
Octave 4
Flûte à fuseau 4
Nazard 2-2/3
Quarte de nazard 2
Tierce 1-3/5
Plein Jeu V 2
Basson 16
Trompette 8
Hautbois 8
Voix humaine 8
Clairon 4
Tremblant
Récit 16', Unison Off, Récit 4’
Trompette-en-chamade (GO) 8
Pédale
Contrebasse 32
Soubasse 32
Contrebasse 16
Violonbasse (Grand Orgue) 16
Soubasse 16
Bourdon doux (Récit) 16
Octavebasse 8
Violon (Grand Orgue) 8
Flûte à cheminée (Grand Orgue) 8
Bourdon à cheminée (Récit) 8
Octave 4
Flûte ouverte (Grand Orgue) 4
Théorbe III (Derived) 10-2/3
Mixture IV 2-2/3
Contre Bombarde (Ext.) 32
Bombarde 16
Contre Trompette (Grand Orgue) 16
Basson (Récit) 16
Trompette (Ext.) 8
Trompette-en-chamade (GO) 8
Trompette (Grand Orgue) 8
Basson (Récit) 8
Clairon (Ext.) 4
Clairon-en-chamade (GO) 4
Hautbois (Récit) 4
Cromorne (Positif) 4
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