Artis Wodehouse's Liszt Organ (acquired 2005, currently being restored) was considered the top of the line model of Mason & Hamlin's reed organs. Little known among lovers of classical music today is the fact that Liszt had a long relationship with this important American musical instrument company. Mason & Hamlin provided Liszt with several reed organs, and Liszt agreed to lend his name to what became the company's flagship model reed organ. Liszt was always attracted to the reed organ, particularly in his later years. There is something in the sound of the instrument that was fitting to Liszt's more melancholy musical ruminations, particularly during his late period. Liszt owned several reed organs, including instruments made by manufacturers other than Mason & Hamlin.

Wodehouse's Liszt is a single manual, yet Mason & Hamlin also manufactured Liszt Organs with two and even three manuals with a full pedal board (foot pedals). Nevertheless, the characteristic shared among all of these Liszt models was a tonal ideal; the reeds were designed to sound with great richness and considerable volume and each model would respectively feature stops that offered the ultimate coloristic possibility for the period. Thus, a single manual Liszt organ such as Wodehouse's 1888 model could be placed in a hall or small church.

The single manual Mason & Hamlin Liszt has a higher tessitura than the 86K, five octaves from C to C. (Keyboard compass did not come to be standardized, as it had with the piano.) The stop list for the Liszt is also slightly different from the 86K, left to right:

• 4 English Horn Dolce 8'
• Sub Base 16'
• 3 Viola Dolce 4'
• 2 Contra Basso 16'
• 1 English Horn 8'
• Octave Coupler
• Aeolian Harp 2'
• 1 Melodia 8'
• 2 Corno 16'
• 3 Piccolo 4'
• Seraphone 8'
• Voix Celeste 8'
• Melodia Dolce 8'

The Liszt Organ has, needless to say, a large bellows, and two knee pedals that function in similar fashion to those on the Mason & Hamlin model 86K, namely a left pedal that gradually engages more of the reeds, and the right that is a swell for crescendo and diminuendo. However, the Liszt differs from the 86K in that whereas the Pedal Point is a manual pull stop on the 86K, on the Liszt it is installed as a third knee pedal located in the center between the right and left pedals.