The Phoenix Project, OHS's initiative to help preserve unwanted or displaced organs, has made good progress in little more than a year from its inception. So far, this endeavor has responded to more than ninety inquiries of all sorts, even from outside the United States, thus extending the project's reach well beyond its original scope. Our very first contact, in September, 2006, resulted in the splendid gift of Hook & Hastings Opus 1697, constructed in 1898, to the Eastman School of Music from OHS members Carolyn and Noel Nilson. This lovely instrument, now temporarily housed at Christ Church Episcopal in Rochester, New York, was featured in performance during the OHS American Organ Archives 2007 symposium.

The Phoenix Project's free public service works like this: After screening by our Richmond office staff, communications by letter, telephone, or e-mail are forwarded to me for an initial response, normally within a day of receipt. Most queries seek historical information and fund-raising advice regarding organ restoration and relocation. Historical questions, including identification of unknown builders, can generally be answered by reference to our comprehensive Pipe Organ Database, maintained by James H. Cook, or to the American Organ Archives, managed by Stephen L. Pinel. I send more difficult problems to experts among our members, who occasionally are kind enough to visit and inspect particularly interesting instruments in their vicinity. By this means and through photos, several previously anonymous organs have been attributed and documented for our Database.

Often, though, we need more thorough technical descriptions in order to tackle inquiries, and it's frustrating when requested information isn't forthcoming, usually, I suppose, because organ owners and custodians who are not OHS members simply don't know how to provide it. For instance, many non-organists can't tell the difference between pipe and reed organs without guidance, but the Reed Organ Society's website has been helpful in sorting them out. We are cultivating more links to such resources, notably also the American Theatre Organ Society's home page, since we share a common interest in educating the public to preserve our musical heritage.

Unfortunately, more organs are being offered for adoption than there are suitable homes to accommodate them, but hopeful organ donors are frequently advised to consult our cooperating colleagues at the American Institute of Organbuilders, Associated Pipe Organ Builders of America, Organ Clearing House, and various other organizations for further assistance and possible leads. Prospects for housing redundant organs might gradually improve as churches and schools destroyed by natural disasters and other causes are rebuilt; OHS members can inform others of these opportunities via our new on-line message board. When issues of restoration or alteration arise, the Phoenix Project counsels careful documentation and conservation measures in accord with current professional guidelines.

Of course, lack of money to restore, maintain, and move organs concerns many church committees, but appropriate grass-roots fund-raising strategies are fairly easy to recommend even though funding sources are scarce outside local areas. Thanks to certain very generous OHS members, our Van Pelt Fund for the Preservation and Restoration of Historic Organs can at least begin to address the shortfall in some cases.

While the Phoenix Project basically provides information and referrals, it also generates knowledge and can spark interest in organs that might otherwise be neglected or overlooked. Our new, members-only OHS message board and membership directory will soon make this service more efficient by speeding communications and broadcasting inquiries on-line. Being able to access these resources directly should encourage more people to join our ranks and support our cause.

Until now a small-scale operation, the Phoenix Project has the potential to grow rapidly and involve more OHS volunteers in reaction to the increasing number of organs becoming redundant nationwide, mainly as a consequence of church closings. Although we can't save every orphaned instrument, surely many will have a better prospect for survival thanks to our efforts.

Laurence Libin