That the organ in its original state, prior to the 1905 rebuild, had reached international importance, is borne out by a significant mention in Volume II of Audsley's "The Art of Ogan Building", first published in 1905. Three pages are devoted to how Thomas Christopher Lewis overcame the problems of voicing the treble stops of such a large concert organ. Slightly raised wind pressures played a significant role in achieving the desired result. The overall size of the St. Andrews Hall organ was such that  the Front and Back Great Organs required a total of six windchests. George Ashdown Audsley referred to the St. Andrews Hall as the Public Halls. Now follows a quote from page 42 of  Volume II.
"In the year 1877, another noteworthy organ was erected in the Concert-room of the Public Halls at Glasgow, by T.C. Lewis & Co., of London, from the specification and under the direction of the late W.T. Best and Henry Smart. In the four manual divisions there are fifty-two speaking stops; and of these twenty six are rendered expressive by being inclosed (sic) in swell boxes. The disposition of the tonal forces in this Organ are as follows: the Great Organ, of eighteen speaking stops, is entirely exposed and is accordingly unexpressive; the Swell Organ, of seventeen stops, is inclosed and entirely expressive; the Choir Organ has ten stops, two of which - the CLARINET and VOX HUMANA - are inclosed in a special swell-box and rendered expressive; and the Solo Organ, of seven stops, is inclosed in an independent swell-box and is entirely expressive.
With reference to the great advantages, from the pure musician's point of view, derived from even the limited powers of expression provided in the Glasgow Organ, the opinion may be recorded here of a master whose right to speak with authority on matters of musical expression no one will venture to question. Dr Hans von Bulow says, in the Glasgow Herald of November 3, 1877 : (The Glasgow Herald microfilm archive at the Mitchell Library reveals the correct date as Friday November 23 1877, two days after W.T. Best's second recital in the one week. J.P.)
  'I have never met with an Organ so good in Germany, the instruments there not having the same amount of expression and flexibility - most delicate and exquisite nuances - that hearing the diminuendi and crescendi was to me a new sensation. If I would longer listen to an organ like this, and a player like Mr. Best, I would, were I not grown too old, jeopardise my pianistical career, and begin to study the Organ, where certainly I would be able to display much more eloquence as Beethoven's and Chopin's speaker. In short, despite having been exceptionally fatigued by your consecutive concerts and numerous rehearsals, I listened with the most eager attention from the first to the last note of Mr. Best's recital.'
Surely no higher testimony than this can be required as to the great value of increased powers of expression by the only means available in the Grand Organ......................."
To page 10
Hans von Bulow (1830-1894), was an internationally famous concert pianist, conductor and composer. A German, he was originally a student of law at Liepzig University. Von Bulow became a strong supporter of Richard Wagner, after hearing Lohengrin in 1850 at Weimar. He took piano lessons from Franz List in 1851 and undertook a solo recital tour of Germany and Austria in 1853. From 1855 to 1864, von Bulow taught piano in Berlin, then became conductor of the Munich Opera. His conducting career took him to Scotland, England, the USA and Russia. Hans von Bulow first visited Glasgow after being  invited to conduct a special orchestral concert during the first season of the Glasgow Choral Union (1874-1875).
In 1877, Hans von Bulow was engaged  as conductor of the Glasgow Choral Union for one season, which included the inaugural concert of the newly completed St. Andrews Hall on 13 November 1877. His influence on this ensemble was inspirational, and awakened the concert-going public of Glasgow to the great orchestral classics. Little surprise then, that the 1877-78 season was a resounding success.  
William Thomas Best, (1826-1897) who along with Henry Smart designed the tonal specification of the Lewis organ, was well chosen for the  opening recital, which, as mentioned by the Glasgow Herald reviewer, was "too long and severe for a Glasgow audience". A celebrated touring organ recitalist and teacher, W.T. Best succeeded Samuel Sebastian Wesley as organist of St. George's Hall, Liverpool. 
Subsequent perusal of the Glasgow Herald  microfilm at the Mitchell Library will enable me to add relevant information about the St. Andrew's Hall organ. At this stage it's worth knowing that the naming of the hall after Scotland's Patron Saint didn't occur until about August 1879. Prior to that it was known as the New Hall(s),. It is significant that Dr A.L. Peace was appointed as the official organist. His first engagement at the New Hall was as organist for a Choral Union performance of Mendelssohn's "Elijah". This took place on Tuesday 4 December 1877, with Mr H.A. Lambeth as conductor.