Cover Feature

Orgues Létourneau,
St-Hyacinthe, Québec, Canada

The Sabbatino Family Memorial Pipe Organ, St. Joseph’s Church in Greenwich Village, New York, New York

 

From the organist and director of music

For more than 187 years, the congregation of St. Joseph’s Church has worshipped and praised God in the sacred liturgy through prayer and song. Founded in 1829, St. Joseph’s Parish was the sixth to be established among those still in existence in the Archdiocese of New York. The cornerstone of the present structure was laid on June 10, 1833, “at the corner of Barrow Street and Sixth Avenue” and allows St. Joseph’s Church the distinction of being the oldest Catholic church edifice in Manhattan and perhaps the entire archdiocese.

Dedicated on Sunday, March 16, 1834, St. Joseph’s Church is today an integral part of the vibrant neighborhoods of Greenwich Village, Chelsea, and Tribeca. In 2003, the Archdiocese of New York invited the Order of Preachers (the “Dominicans”) to care for the combined ministries of both the neighborhood residents and the students and faculty of New York University. Today, four friars serve these constituents of St. Joseph’s Church in Greenwich Village.

The organ at St. Joseph’s has always been an important element of the music program. Earlier instruments by Henry Erben (1836) and Aeolian-Skinner (1952) had been in use prior to the installation of Létourneau’s Opus 128. This new organ, built in Saint-Hyacinthe, Québec, Canada, has mechanical key action as well as electric stop action and contains 31 stops and 39 ranks over the three manuals and pedal.

Known as the Sabbatino Family Memorial Organ, the instrument and its installation were made possible through a bequest from Clare C. Sabbatino, a lifelong resident of Greenwich Village and faithful parishioner of St. Joseph’s Church. Clare had a deep appreciation for music—her father and uncle were both musicians with the New York Philharmonic—and her gift in honor and memory of her entire family is a permanent reminder of her extraordinary generosity to her beloved parish. The Sabbatino Family Memorial Organ was blessed by the Reverend John P. McGuire, O.P., nineteenth pastor of St. Joseph’s Church, and dedicated by Kyler Brown, organist, on April 10, 2015. As director of music ministries and organist, I am thrilled to have such an instrument for worship and concerts in Greenwich Village.

The organ has enriched the musical life of this area greatly with its perfectly voiced stops whose individual colors combine so flawlessly. Each flute stop is different in color and weight, making possible endless solo possibilities as well as exquisite combinations, while the reeds have both power and an ability to sing as solo stops. The mechanical key action weds with the vocal nature of the stops, and this combination opens the path for great expressivity. In sum, the organ is grand and delicate at once, a perfect instrument for the environment at St. Joseph’s Church.

—Kyler Brown

 

From the builder

We remember fondly our first visit with Father John McGuire at St. Joseph’s Church in Greenwich Village to talk about a new Létourneau pipe organ for the parish. The church is a handsome space, tucked away in a busy block on the Avenue of the Americas and boasts gracious acoustics. This historic building appears skewed, an impression that is confirmed visually where the barrel vault ceiling’s coffers intersect awkwardly with the back wall. The nave seats approximately 700 people but perhaps this risks overstating its size; the deep side galleries account for perhaps a third of this number.

Replacing an 11-rank Aeolian-Skinner, our Opus 128 resides in the rear gallery and projects sound easily throughout the church. Given the size of the nave and its kind acoustic, we set out to create an instrument that charms with the elegance of its colors and the fluidity with which its stops can be combined. Indeed, the organ impresses with its warmth and calm demeanor rather than trying to dazzling with muscle. With this patrician bearing, the organ truly excels in all its roles as the music ministry’s primary instrument.

The instrument is arrayed within a wide wooden case made from painted solid maple with walnut highlights. Taken from the Great 8′ Principal, Pedal 16′ Principal, and Pedal 8′ Octave stops, the façade pipes are made from 70% hand-polished tin and sport Roman mouths gilded with 23k gold leaf. A large Swell division sits immediately behind the console, while the Great is divided into C and C# wind chests on either side. The Pedal is located at the extremities of the organ case, again on divided wind chests. The horizontal trumpet projecting from the casework—the 8′ Festival Trumpet—was a relatively late addition to the project and has its own dedicated manual; the chest pallets are actuated electrically due to the spread-out arrangement of pipes across the top of the organ case.

The organ is played from a three-manual terraced console attached to the organ case. The combination action offers 256 levels of memory with 12 general pistons and a general piston sequencer. The interior of the console is finished in a dark walnut, while the three manuals have bone overlays and solid ebony accidentals. The drawknobs are likewise made from turned ebony. A short tracker action and pallet box were provided for the console’s third manual (controlling the 8′ Festival Trumpet) despite its electric action so as to preserve a consistent mechanical pluck when moving from manual to manual.

We were given a largely free hand to develop the organ’s stop list, and it reflects the space available, the acoustic, and the musical roles the organ fills. The Great and Swell offer generous foundations; scalings in the principal ranks tend towards the modest for good harmonic development within the individual stops. The Great Cornet, a compound stop of three wide-scale tapered flutes, pairs handsomely with the 8′ Chimney Flute and 4′ Open Flute for this characteristically French sonority. The organ’s chorus reeds feature tapered English shallots with long triangular openings to achieve a balance between snap and body while the 8′ Festival Trumpet features domed shallots in the style of Bertounèche.

The organ has proved itself at ease in concert with music from all periods and nationalities, beginning with the inaugural recital played by Kyler Brown. Maurice Clerc, organiste titulare at Dijon Cathedral in France, wrote the following after his concert at St. Joseph’s during the summer of 2015:

 

I was greatly impressed by the quality of your pipe organ. As an instrument, the stops are properly balanced and their voicing permits them to sound beautifully in the church. I specifically enjoyed the 8′ Festival Trumpet which, in partnership with the superb Cornet of the Great, permits an excellent French grand jeu. Also noteworthy are the Swell stops, which offer numerous possibilities for honoring the romantic and modern repertoire. The console and the piston sequencer further multiply the possibilities in terms of interpretation, making this overall a very comfortable organ to play . . . This is a pipe organ of rich potential on which one can present a great deal of repertoire with exceptional ease and authenticity . . . I already knew firsthand the quality of Létourneau’s instruments but in New York, my impressions were confirmed. Bravo!

—Andrew Forrest, Artistic Director

—Fernand Létourneau, President

 

GREAT (3″ wind)

16′ Bourdon (c¹–g²⁰ wood) 58 pipes

8′ Principal 58 pipes

8′ Flûte harmonique 58 pipes

8′ Salicional 58 pipes

8′ Stopped Diapason 58 pipes

  (c¹–b¹² wood)

4′ Octave 58 pipes

4′ Open Flute 58 pipes

2′ Super Octave 58 pipes

11⁄3′ Mixture IV 232 pipes

22⁄3′ Cornet III 174 pipes

8′ Trumpet 58 pipes

  (harmonic resonators from f#⁴³)

Tremulant

8′ Festival Trumpet Solo

 

SWELL (expressive, 3¼″ wind)

8′ Geigen Diapason 58 pipes

8′ Gamba 58 pipes

8′ Voix Celeste (from g⁸) 51 pipes

8′ Bourdon (c¹–to b¹² wood) 58 pipes

4′ Octave 58 pipes

4′ Spire Flute 58 pipes

2′ Flageolet 58 pipes

11⁄3′ Larigot 58 pipes

2′ Mixture III–IV 215 pipes

16′ Fagotto (full length) 58 pipes

8′ Trumpet 58 pipes

  (harmonic resonators from f#⁴³)

8′ Oboe (capped resonators) 58 pipes

Tremulant

SOLO (3¼″ wind)

8′ Festival Trumpet 58 pipes

PEDAL (3¼″ wind)

32′ Resultant (derived from Subbass and Bourdon)

16′ Principal 32 pipes

16′ Subbass (wood) 32 pipes

16′ Bourdon Great

8′ Octave 32 pipes

8′ Bass Flute 32 pipes

4′ Choral Bass 32 pipes

16′ Trombone (full length) 32 pipes

16′ Fagotto Swell

8′ Trumpet 32 pipes

8′ Festival Trumpet Solo

 

Usual unison intermanual couplers.

Pallet and slider wind chests with mechanical key actions.

31 independent stops; 39 ranks; 2,056 pipes

Part 2: First United Methodist Church & First Congregational Church

Stephen Schnurr is director of music for St. Paul Catholic Church, Valparaiso, Indiana, and editor-at-large for The Diapason. His most recent book, Organs of Oberlin, was published in 2013 by Chauncey Park Press (www.organsofoberlin.com). He has authored several other books and journal articles, principally on pipe organ history in the Great Lakes states.

This article is the continuation of a feature in the August 2015 issue of The Diapason. This article was delivered as a lecture for the Midwinter Pipe Organ Conclave on January 19, 2015, in La Grange, Illinois. The research for this project provides a history of a number of pipe organs in the village, but not all. For instance, organs in residences and theaters are not surveyed. 

 

First United Methodist Church

The Methodists were first organized in La Grange in 1872, served by clergy who also shepherded congregations at Cass and Lyonsville. Franklin Cossitt, founder of La Grange, donated land for the church. Before construction began, several active persons in the congregation moved away, and the property reverted back to Cossitt. This land was eventually the site of the First Congregational Church.

The Methodists reorganized in 1884. In the first year, church expenses were $216 for the pastor, $52 for hall rental for services, and $10 for missions. A frame school, used by the earlier Methodists, was purchased for $2,000, located on the present site, along with two lots. The renovated structure was dedicated for worship on November 28, 1886. Electric lighting was installed at a cost of $75 in 1892.

Plans for a new church were begun in 1890. In 1892, E. R. Turnock was retained as architect. The earlier church was demolished and work commenced on a new edifice in May of 1893. A portion of the stone Romanesque building was completed for use in November.

The completed sanctuary was dedicated in three services on Sunday, January 6, 1895. The congregation begins its pipe organ history in 1907 with acquisition of Henry Pilcher’s Sons Opus 577, a two-manual, thirteen-rank, nineteen-stop instrument completed in March of that year at a cost of $2,300. Pilcher took the church’s Vocalion organ in partial trade. An addition was made to the building the following year, and another in 1917.

Planning for the present church building began in 1948. The cornerstone of the church of Gothic influence in stone was laid in 1950. Dedication occurred on September 25, 1952. With membership at over 1,550 persons, the congregation added a second Sunday service. A new education building was erected between 1961 and 1963, including a chapel. The sanctuary was renovated to its present configuration in 2012.

For the church’s present edifice,
M. P. Möller of Hagerstown, Maryland, supplied its Opus 8261, a three-manual, electro-pneumatic action organ. The contract was dated August 7, 1950, with completion set for eleven months, at a cost of $20,096. Henry Beard was the representative for the builder. The organ was dedicated with the church in 1952. Beard’s wife, Maud, sang soprano during the church consecration service. The pipework is installed in a chamber above and to the left of the chancel. Around 1960, the Möller firm added the exposed Positiv division, divided on either side of the chancel. (See First Methodist Church stoplist, page 21.)

 

First Congregational Church

The First Congregational Church was organized on March 18, 1881. A frame church was erected the following year. Franklin Cossitt, a founder of La Grange, was active in this church as well as Emmanuel Episcopal Church.

The cornerstone of the present building was laid September 10, 1892, for a stone edifice of Romanesque influence. Dedication occurred May 1893. This portion of the building is now known as the Founders’ Room and is the oldest church building in the village. The present sanctuary adjoining the 1893 church was built in 1907. In 1937, this sanctuary was remodeled with the addition of a chancel and a new organ. In 1951, the education building was constructed, which includes the Chapel of the Beatitudes.

The first organ in the church was built by the Verney Organ Company of Mason City, Iowa, and was likely installed around 1907. A contract dated April 24, 1937, was signed by the church for a new organ from
the Votteler-Holtkamp-Sparling Organ Company of Cleveland, Ohio. Job number 1600 for the builder was to cost $10,000, and parts of the Verney organ were to be reused in the new instrument. The Great and part of the Pedal divisions were located on the right side of the chancel in chambers, the Swell and remainder of the Pedal divisions were located on the left side. The Positiv division was positioned on the rear wall of the chancel, some fifteen feet from the floor. The organ was to be completed by October 1. On July 1 $2,500 was due, and another $2,500 on October 1.

The June 1937 issue of The Diapason had this to say about the unique and forward-thinking planning for this organ:

 

According to the builders, the design of the organ will do much to solve the problem of divided organs. The chambers are to be located on both sides and above the choir. Both chambers are to be opened up to the nave as well as to the chancel, and to such an extent that the chambers as such will cease to exist. A positiv of eight stops will be placed on the back wall of the chancel, midway between the two chambers. This will take the place of the choir. The pipework of the positiv is to be unenclosed, although it will be hidden from sight of the congregation.

The organ is to be entirely “straight” except for the great quintaton 16 ft., and Posaune, 16’ ft., which are also to be used in the pedal. Four stops of the great and the harp and chimes are to be in a swell-box. The typical great stops will be unenclosed. To augment the regular adjustable combination action, a ventil system is included. This consists of ventil pedals 1-2-3, stop release and cancel. The specification was developed by Cecil Smith, organist and director.

The importance of this organ in the Chicago area may never have been realized. This was one of very few organs by Walter Holtkamp, Sr., in the metropolitan area, perhaps his largest, and an early statement of his forward-thinking work. (See Votteler-Holtkamp-Sparling stoplist, page 21.)

In 1957, Frank J. Sauter of Alsip, Illinois, replaced the console with a new one from the Reuter Organ Company of Lawrence, Kansas. In 1977, the organ was sold for $12,500 to Immaculate Conception Catholic Church, Chicago, for relocation there. There have been some tonal alterations to the organ. Also, it is possible that some slight changes were made to the organ’s specification when under construction at Holtkamp. Perhaps the Pedal 4′ Clarion may have been installed as a Clarinet. The Swell 4′ Oboe Clarion may have always been an 8′ Oboe. Further records are not available in the builder’s archives.

In 1965, the Reuter Organ Company installed an organ in the Chapel of the Beatitudes. The contract for Opus 1477 was dated September 12, 1963, for a two-manual, eight-rank, electro-pneumatic action organ, enclosed except for the Principal and Mixture ranks. The chapel organ was dedicated in recital by Clyde Holloway on March 1, 1965. (See Reuter Opus 1477 stoplist, page 22.)

In August of 1978, The Diapason announced that the church had contracted for a new, two-manual, 32-stop, 47-rank mechanical-action organ from Jan Van Daalen of Minneapolis, Minnesota. The organ was to be installed at the front of the church in a free-standing case and to be completed by December. The console is detached and reversed. After the organ was finished, the Brustwerk 8′ Musette was replaced with an 8′ Celeste. (See Van Daalen stoplist, page 22.)

 

 

Berghaus Pipe Organ Builders, Bellwood, Illinois

Zion Lutheran Church (WELS), Columbus, Wisconsin

Located about twenty miles northeast of Madison, Zion Lutheran Church (WELS) is home to a rejuvenated instrument that originated from a blend of old and new ideas and materials. Consultant Wayne Wagner, director of music Matt Kanzenbach, and the builder agreed to retain as much of the Wangerin organ from the old church as possible, while expanding the stoplist in order to include new tonal possibilities that the instrument was missing. 

Selected Wangearin pipework, along with vintage ranks from Berghaus’s collection and new pipes, yielded a stoplist of 34 stops, 24 ranks, and 1,727 pipes over two manuals and pedal. Selected chests from the Wangerin organ were retained, restored, and integrated with new chestwork. The well-crafted and durable Wangerin pipework was cleaned, repaired, and revoiced. Certain ranks were relocated to better suit the stoplist and to allow for new pipes to take their place.

The entire instrument speaks directly across the sanctuary from its position above the choir. The main central division is the Swell, with a set of hardwood expression shutters, controlled by a 16-stage electric motor. It contains most of the original Wangerin diapason chorus, along with strings, flutes, and reeds. New flue additions include a 2′ metal flute, a 11⁄3′ Larigot, and a brilliant Scharf mixture. An English Oboe and French Clarion are new reed additions that provide additional color and brilliance. 

Divided on either side of the Swell box, the newly enhanced Great is founded on an entirely new chorus, complete with mutations and mixture. Retained wood flutes (both stopped and open) and dulcianas allow for softer accompaniments and solo textures. A new 8′ Principal leads the division with natural, singing sound, and its polished pipes form part of the façade. 

The Pedal division is a combination of Wangerin stops along with a new 8′ Principal stop that is extended to 4′ pitch. The large-scale Trumpet in the Swell is also extended 12 notes to 16′ pitch for tutti textures. The Pedal has variety of voices that can effectively balance any manual combination.

All new chests and winding were constructed of poplar, and the handsome custom casework is of rift-cut red oak. A new blower encased in the organ gives quiet, steady, and dependable wind to the entire instrument. 

A new combination action by Peterson Electro-Musical Products is installed in the original console, which was completely stripped and refinished. The ICS-4000 control system gives the organist multiple memory levels, piston sequencing, and record/playback settings. 

Completed in October 2015, the finished instrument makes a bold visual and musical statement, and it is capable of leading hymns and liturgy of the church as well as performing various schools of repertoire. On October 25, the organ was dedicated and first used in worship. A recital featuring Wayne Wagner and various Zion musicians was performed that afternoon.

—Jonathan Oblander, Tonal Director

 

Austin Organs, Inc.,
Hartford, Connecticut

The Royal Poinciana Chapel, Palm Beach, Florida

 

Another Austin in Paradise

Nestled on the island of Palm Beach, alongside the last remaining cocoanut grove, one will discover the rather charming Royal Poinciana Chapel, named after the magnificent Delonix Regia, the Royal Poinciana tree that was once abundant on the island.

The Royal Poinciana Chapel is a vital, post-denominational Christian community with a strong congregation of 800 members and seasonal guests during winter, including some 250 year-round families and children. The chapel sits at the center of Palm Beach Island on three acres of lush landscaped property bordering Henry Flagler’s famous home Whitehall, now open as a museum. The chapel overlooks the Intracoastal Waterway and the West Palm Beach waterfront to the west and The Breakers resort and ocean golf course directly to the east. It features the landmark giant kapok tree giving frame to an exquisite view. It is the most photographed spot in Palm Beach and a favorite location for destination weddings.

Senior Pastor Dr. Robert Norris is known for his impassioned preaching, pastoral ministry, and active community involvement. He also serves as adjunct member of the teaching faculty at Princeton Theological Seminary. The chapel is widely known for its phenomenal music program led by Stewart Foster, minister of music. Foster plays the chapel’s new Austin organ with rare talent and passion and also conducts the professionally trained Royal Poinciana Chapel Chorale at weekly services.

The history of Royal Poinciana Chapel owes its life to Henry Morrison Flagler (1830–1913). Flagler, alongside his friend and business partner, John D. Rockefeller, built the Standard Oil Company into the most prosperous and monopolizing oil empire of the era. As the company flourished and Flagler’s fortunes grew, he left his offices in New York City, and ventured south to a wild frontier known as Florida.

In 1894, Flagler built the Hotel Royal Poinciana on the shores of Lake Worth on the island to be known as Palm Beach and extended his railroad to its service town, creating the city of West Palm Beach. This remarkable edifice, the largest wooden structure in the world at the time, had 1,150 guest rooms with over seven miles of hallways, served by a staff of 1,700, many of whom lived across the pond in housing provided by Flagler and would arrive daily by rowboats to work their shifts. The island boasted an infamous casino, the hotel, and a humble chapel on this parcel. The disposition had the hotel in the center, casino to the south, and chapel to the north. It was said that one could engage in debauchery, rest, and reconciliation without ever leaving the property! The chapel was known for having engaging preachers and excellent music from the beginning. The hotel was demolished in 1934, in favor of the newer, lavish Breakers Hotel, which remains to this day, the former enterprise having become redundant. Years later, the chapel was relocated on the property, and now sits close to Whitehall. Henry Flagler’s original cottage was also moved to this property in recent times, and serves the chapel’s needs for meeting space and special events.

While Whitehall boasts a modest J. H. & C. S. Odell organ in its music room, we do not know the original instrument in the chapel. In 1963, the M. P. Möller Organ Company installed its Opus 9720. At the time of this installation, the organ was a modest three-manual instrument of 30 stops; some 26 stops in the chancel, with three ranks of flutes and a Vox Humana in the antiphonal. In 1981, Austin Organs, Inc., built a new four-manual console. It was designed with the intention of expanding the instrument, and this expansion was initiated before the new console was installed! The revised tonal plan was developed with the assistance of Thomas R. Thomas, director of music at the time. Also, a possibly apocryphal addition to the legacy includes Virgil Fox, a close neighbor. It was said that he wanted a significant instrument on which to practice, and therefore lent his voice and expertise to the early console and tonal design thoughts before his death in 1980. As a result, the new tonal work included a new Austin Great of 10 stops, a new 7-stop Positiv, and a 7-stop Solo. The existing Möller 6-stop Great pipework was revoiced and placed on a new Austin tracker chest in the gallery, alongside a new 14-stop Gallery Swell, and 5-stop Pedal using some vintage pipework from various sources along with new Austin pipework. Back in the chancel, the existing Möller Swell and Choir remained as they were installed in 1963, but a new Pedal division was created utilizing some new Austin chests and pipework alongside a few selected Möller stops. New casework and façades were drawn by Austin’s chief designer Frederick Mitchell.

The new, mostly Austin organ was tonally finished by Fred Heffner and David Johnston. Tripled in size from the original Möller, parts of this instrument spoke from deep chambers and seemed to fill the room with ethereal presence.

Time and tide ravaged the organ. Trouble began with delivery of the façade pipes in 1983. For unknown reasons, pipes of tin and tin-plated zinc were ordered from an Eastern European supplier. Upon arrival directly in Florida, many of these pipes were damaged, some beyond repair. Over time, the soft metal deformed, and random notes began to lose their former eloquent speech. There were hurricanes, water, and various other pests that created issues within the organ chambers. The Möller company proposed a significant renovation/reconstruction of the organ, and removed much of the instrument to their factory in Hagerstown in 1990. With the collapse of the Möller company, the chapel was able to perform a rescue of the organ components from the Möller factory, and the Reuter Organ Company was subsequently contracted to perform a major overhaul of the organ in 1992. This work included some chestwork, additions, and replacement of some reed stops. A number of reed pipes were compromised, because adding to the atmospheric issues that affected the chapel, many instruments in the 1980s suffered decomposition of lead in the blocks of reed pipes. As the lead crumbles into lead sulfate, replacement or reconstruction is necessary. The other factor in the work completed in 1992 was the reconstruction and expansion of the chapel space. The former Swell, Solo, and Choir chests and pipes were relocated to front chambers left and right of the façade. The effect proved problematic since the pipework was apparently not revoiced to compensate for the new location closer to the ears of the Chorale and congregation. As a result, the Swell and Solo aggressively dominated the entire instrument, making proper registration balances difficult to achieve.

In 2014, working with the chapel’s director of music, Stewart Foster, our tonal staff at Austin Organs set out to design an essentially new organ, using the building blocks of the existing instrument as a starting place. The final instrument would contain 104 ranks of pipes. Our guiding principle was that the tonal result would be one of elegant beauty and gentle nuance. In other words, with a temperate approach, tonal blend had to be achieved without allowing any domination of individual departments or voices. The success of this project is certainly in part due to the active participation at every stage from design to installation by Stewart Foster. A consummate musician, he knows not only how to make the organ sing, but what it takes to make an organ truly successful tonally. Austin staff members, including Raymond Albright, Bruce Coderre, Dan Kingman, Curt Hawkes, Anne Wysocki, Colin Coderre, Victor Hoyt, Scotty Giffen, the late Stew Skates, Tony Valdez, Dick Taylor, Mike Fazio, Tong Satayopas, Phil Swartz, and Nick Schroeder, who worked directly on the installation, imparted their own special gifts that contributed to its success. 

 

Mechanical considerations

Our approach in designing the new instrument was to update or replace every questionable mechanical system. A new, four-manual Austin console replaced the earlier mechanical console. The new console, built of painted birch and oiled cherry, is equipped with 300 levels of combination action memory, record-playback, and a transposer; a WiFi interface is integrated in the console control system for iPad/iPhone operation of advanced functions. Austin-made walnut drawknobs control all stops and couplers, the latter being spread on either side of the keydesk. Among some of the unique design elements, the console has a mechanism that physically closes the crescendo pedal when General Cancel is pressed. A second set of divisional pistons called “English Divisionals” appear when selected and have pre-set combinations that create a typical English Crescendo in the desired division. There is also a drawknob matrix that selects Swell and Choir/Solo expression shade operation, controlling three independent expression shade assemblies in each chamber. This allows sound from these divisions to be modeled to suit a variety of dynamic options. By using “Swell Shades Pianissimo,” for example, the organist can successfully accompany a vocal quartet with robust, Full Swell combinations. 

Austin specified a hydraulic lift that raises the console from the main floor to the chancel platform for concert use. Every Möller (and Reuter) chest was removed and replaced with new Austin tracker and unit chests; the entirety of the Swell was placed upon a walk-in air chest with integrated regulator. Wind pressures were raised in some divisions, and a new control system was made by Solid State Organ Systems. Chancel to Gallery data transmission is accomplished via fiber-optic cable. 

 

Tonal design

We started with the Great division to establish the revised tonal personality of the organ. Our guidance from Stewart Foster was found in one particular stop, designated as a model for the character of the entire instrument: the Positiv Italian Principal. It was indeed very smooth, beautifully voiced by Fred Heffner in 1983; only slightly ascendant and while of somewhat light weight, this stop had great tonal presence due to its nicely developed harmonic structure. One fear we had was that, as part of the new tonal design, we were raising the pressure of the Positiv by one inch (water column), so we wanted to be sure not to alter that which was treasured! During the scope of this project, some stops required rebuilding, others re-scaling. The result was enthusiastically received and has proven perfectly satisfactory. 

The Great was carefully voiced to perfect balance, from foundation to sharp mixture. The Reuter Trumpet was removed and replaced with a vintage Austin Cornopean (voiced as a chorus reed), available at 16′ and 8′ pitches; the 16′ octave was built from the former Möller 16′ reed (resonator length was added to match Austin patterns for our 6-inch scale, full-length Double Trumpet). Also added to the Great was a five-rank Mounted Cornet. This stop was scaled along French Classic lines and sits on a plinth fed by single actions speaking through 42-inch tubing. The Positiv was re-imagined, retaining the Italian Principal and 4′ Octave. The 1⁄3′ Zimbel was changed to 1′ pitch and revoiced. The 8′ Gedeckt was revoiced and is now available at 8′ and 4′ pitches. We added a new Sesquialtera and Cromorne and re-pitched and voiced the former 8′ Rohr Schalmei as a 4′ stop to support the new 8′ Cromorne. The additions of the Cornet, Sesquialtera, and Cromorne/Schalmei have opened new forays into historical organ repertoire. Another new addition, a charming Rossignol, adds a bit of whimsy to this division.

The Pedal was improved by the replacement of the previous ½-length 32′ Bombarde with a new full-length 32′ Trombone. The existing 16′ reed was revoiced to a darker timbre, blending perfectly with the new pipes. The existing 32′ Bourdon extended only to EEEE, the bottom four notes sounding a resultant of the 16′ Bourdon. For better effect, four new pipes were installed speaking 102⁄3′ pitch, at the correct dynamic and tuning to deliver more satisfying 32′ tone for CCCC–DDDD#. New façade pipes were made with some subtle design changes suggested by Stewart Foster, replacing the dented, collapsed old tin pipes. The old pipes were given to members of the congregation as keepsakes; in a week, all 72 pipes ranging from 4′ to 16′ GGG were removed by members!

In the Swell, a new Principal Chorus was envisioned, utilizing some of the existing pipework. A new 8′ Principal was manufactured and the 4′ Octave was re-scaled; an existing 2′ Fifteenth happily fit into the scheme very well. The existing Möller Mixture had been recomposed in 1992, but was found to be shrill and ineffective some years ago, with many pipes stuffed with cotton to silence them. We used much of the original pipework, re-pitching the primary IV-rank mixture at 22⁄3′ pitch (which also draws separately) and installed a new III-rank Cymbale, based at 1′ pitch. The strings and flutes in this department were voiced to new pressure, dynamic, and blend. The reeds were completely rebuilt or replaced to create a chorus of independent voices at 16′/8′/8′/4′. The result is generally perceived as being a French tone color, light in weight but fiery without excessive volume. The Vox Humana is placed in an Austin “VoxBox” with independent tremulant and lid that can be raised and lowered from the console to control dynamic. Note that between Gallery and Chancel there are two Vox Humanas and five celestes with all the requisite inter- and intra-manual couplers!

The Möller Choir organ was enhanced with a new 4′ Principal and a new Clarinet. The 1963 pipework was mostly original, so the process of revoicing was easier than the work required in the Swell. The overall effect was a gentle broadening of tone color with the ever-present goal of achieving perfect blend. The new Clarinet was voiced on 10 inches wind pressure, and the new chest was built with unique high-pressure section, which allowed this stop to speak on the higher pressure, while remaining on the same action. Directly behind the Choir chest we find the Solo organ, which had minimal voicing performed at this time. The Reuter English Horn remained, but the Austin Bombarde was rebuilt and revoiced, and the Reuter Clarion was replaced with Austin pipework. The existing Deagan Harp was rebuilt with electric actions and located high on a side wall to avoid being a hindrance to tuning access.

Minimal work was performed in the Gallery, being mostly intact and otherwise satisfactory. A new extension was added to the 16′ Diapason, allowing it to speak as a second 8′ manual Diapason, contrasting and complementing the existing 8′ Principal. A new 8′ Trumpet en Chamade was made in brass and installed as replacement for the existing stop of the same name. The new pipework was scaled and voiced along the lines of an Austin Waldhorn—darker in color and generally warmer in tone, similar to an English Tromba. In this somewhat intimate setting, this results in a more desirable solo voice than a very bright, fiery Trompette. Stewart Foster reports that the previous Chamade would regularly receive complaints from wary congregants. Now, the complete opposite is true, as folks often ask why the trumpets didn’t play on a particular morning: “We love hearing them!”

This instrument is the second Austin organ in Palm Beach. The other installation is our exciting organ at the Episcopal Church of Bethesda-by-the-Sea, located just across the golf course on the opposite shore of the island. Both instruments have unique personalities—surely identifiable as “Austin”—but each organ has its individual character and splendor that serves the very different roles these congregations demand. It is an enlightening pilgrimage to visit each church, perhaps at a worship service, or even during the week, and mark the similarities and differences.

The three-year project was made possible by funding from several prominent and generous chapel families and foundations. The organ was inaugurated by Christopher Houlihan, who played a truly unforgettable and stunning recital on April 3, 2016. Future concerts and recordings are planned along with a YouTube video series. Thanks to Stewart Foster for his assistance with this article, photos, and constant encouragement. Ad multos annos!

—Michael B. Fazio

President & Tonal Director 

Austin Organs, Inc.

 

Austin Organs: www.austinorgans.com 

Royal Poinciana: http://austinorgans.com/Op2685.html 

http://royalpoincianachapel.org/ 

More on BBTS: www.austinorgans.com/2777.html 

http://www.bbts.org/music/organ/ 

 

Royal Poinciana Chapel

60 Cocoanut Row

Palm Beach, FL 33480

Phone: 561/655-4212

 

CHANCEL GREAT 4″ wind

16′ Violone 61 pipes

8′ Principal 61 pipes

8′ Spitzflote 61 pipes

8′ Violone (ext) 12 pipes

4′ Octave 61 pipes

4′ Rohrflote 61 pipes

2′ Fifteenth 61 pipes

11⁄3′ Fourniture IV 244 pipes

1⁄3′ Scharff III 183 pipes

8′ Mounted Cornet V (TG) 185 pipes

16′ Contra Trompete (ext) 12 pipes

8′ Trompete 61 pipes

Tremulant

Carillon (Tower, digital)

 

POSITIV 31⁄2″ wind 

8′ Italian Principal 61 pipes

8′ Singendgedeckt 61 pipes

4′ Principal 61 pipes

4′ Gedeckt (ext) 12 pipes

2′ Blockflote 61 pipes

11⁄3′ Larigot 61 pipes

22⁄3′ Sesquialtera II 122 pipes

1⁄3′ Zimbel III 183 pipes

8′ Cromorne 61 pipes

4′ Rohr Schalmei 61 pipes

Tremulant

Rossignol

CHOIR 4″ wind

8′ Concert Flute 68 pipes 

8′ Gemshorn 68 pipes

8′ Gemshorn Celeste (TC) 56 pipes

4′ Principal 68 pipes

4′ Koppelflote 68 pipes

22⁄3′ Quint 61 pipes

2′ Fifteenth 61 pipes 

8′ Clarinet 68 pipes

Tremulant

Harp 61 bars

Celesta (ext Harp)

Carillon (Tower, digital)

8′ Trompette en Chamade (Solo)

CHANCEL SWELL 4″ wind

16′ Bass Gedeckt (ext) 12 pipes

8′ Geigen Diapason 68 pipes

8′ Gedeckt 68 pipes

8′ Salicional 68 pipes

8′ Voix Celeste 68 pipes

4′ Principal 68 pipes

4′ Flute Harmonique 68 pipes

4′ Voix Celestes II (extension)

22⁄3′ Twelfth (Mixture extract)

2′ Doublette 61 pipes

22⁄3′ Mixture IV 244 pipes

1′ Cymbale III 183 pipes

16′ Basson 68 pipes

8′ Trompette 68 pipes

8′ Oboe 68 pipes

8′ Vox Humana 61 pipes

4′ Clarion 68 pipes

Tremulant

SOLO 10″ wind

8′ Flute Harmonique 68 pipes 

8′ Violoncello 68 pipes 

8′ Cello Celeste 68 pipes 

4′ Orchestral Flute 68 pipes

8′ English Horn 68 pipes

8′ Bombarde 68 pipes

4′ Bombarde Clarion 68 pipes

Tremulant

8′ Trompette en Chamade (TC) 42 pipes 

GALLERY GREAT 31⁄2″ wind

16′ Montre 61 pipes

16′ Bourdon Doux (Swell)

8′ Diapason 61 pipes

8′ Montre (ext) 12 pipes

8′ Bourdon 61 pipes

4′ Prestant 61 pipes

22⁄3′ Quinte 61 pipes

2′ Doublette 61 pipes

11⁄3′ Fourniture III 183 pipes

Tremulant

8′ Trompette en Chamade (Solo)

GALLERY SWELL 4″ wind

16′ Bourdon Doux (ext) 12 pipes

8′ Flute à Cheminee 68 pipes

8′ Viole de Gambe 68 pipes

8′ Voix Celeste 68 pipes

8′ Flauto Dolce 68 pipes

8′ Flauto Dolce Celeste (TC) 56 pipes

4′ Fugara 68 pipes

4′ Flute à Fuseau 68 pipes

2′ Principal 61 pipes

22⁄3′ Cornet II 122 pipes

1′ Plein Jeu IV 244 pipes

16′ Bombarde 68 pipes

8′ Trompette 68 pipes

8′ Voix Humaine 61 pipes

4′ Clairon 68 pipes

Tremulant

Chimes 25 tubes

PEDAL

32′ Contre Bourdon 8 pipes

      102⁄3′ 4 pipes

16′ Contrebasse 32 pipes

16′ Bourdon 32 pipes

16′ Violone (Great)

16′ Bass Gedeckt (Swell)

102⁄3′ Quint (from Bourdon)

8′ Principal 12 pipes

8′ Geigen (Swell)

8′ Bourdon 12 pipes

8′ Cello (Great) 

8′ Gedeckt (Swell)

51⁄3′ Twelfth (from Bourdon) 7 pipes 

4′ Choral Bass 32 pipes

4′ Flute 32 pipes

22⁄3′ Mixture IV 128 pipes

Cornet V (derived)

32′ Contra Trombone (ext) 12 pipes

(Full length) CCCC 12″ scale

16′ Trombone 32 pipes

16′ Contra Trompete (Great)

16′ Basson (Swell)

8′ Trumpet (ext Trombone) 12 pipes

4′ Clarion (ext Trombone) 12 pipes

4′ Cromorne (Choir)

GALLERY PEDAL

16′ Montre (Great)

16′ Bourdon Doux (Swell)

8′ Octave (Great)

8′ Flute à Cheminee (Swell)

16′ Bombarde (Swell) 

8′ Trompette-en-Chamade (Solo)

John-Paul Buzard

Buzard Pipe Organ Builders, Champaign, Illinois, Opus 44 

Grace Episcopal Church, 

Sandusky, Ohio

Buzard Pipe Organ Builders Opus 44, a three-manual and pedal instrument, contains 47 independent registers and 61 ranks of pipes, retaining many ranks from the parish’s former instruments.

Grace Church’s culture is one of intense concern for stewardship and sustainability. They waste nothing; they cherish items of value from the past whenever possible. The need for a new organ therefore posed both a challenge and an opportunity. They asked us to save everything that was good about the previous instrument, but not at the expense of mechanical reliability or tonal cohesion. The previous organ had been rebuilt and substantially altered three times, and everyone acknowledged that it was time for the instrument to speak consistently with a single artistic voice.

The organ started its life in 1893 as Oåpus 793 of Johnson & Son of Westfield, Massachusetts. It was well-made and typical of late 19th-century mechanical-action instruments. The original façade of stenciled pipes wrapped around the case front to the side facing the congregation. In the 1960s, the Schlicker Organ Company rebuilt the organ under the guidance of Robert Noehren, retaining some of the Johnson’s pipes and the mechanical key action. However, string pipes were cut down to play at higher pitches, mixtures were added, some new reeds appeared, others were retained and made to play on significantly lower wind pressures, and the character of the organ was changed forever. In the early 1970s, the organ was rebuilt again, this time by Daniel Pilzecker. The wrap-around stenciled façade pipes were replaced with polished zinc and dark brown flamed copper Pedal Principal pipes, and the façade was given its current contemporary look utilizing simple rectangular frames. The central portion of the Pilzecker façade sported a narrow-scaled Trumpet stop. The Pilzecker rebuild also retained the organ’s mechanical key actions.

This was not a happy organ. Its thin and bright sounds did not carry into the church. Pipes originally voiced on 5″ of wind pressure were tasked to play on pressures less than half of that. The mechanical action was clumsy, heavy, and the cause of increasing frustration. In the 1980s the congregation addressed the musical deficiencies by building a ten-stop Antiphonal organ in twin C-and-C# cases on either side of a window in the rear gallery. Although this assisted in musically supporting congregational singing, its electrical connection to a failing mechanical system spelled further doom for the Johnson/Schlicker/Pilzecker organ in the chancel.

Grace Church’s organist, Randall Ruthsatz, a long-standing veteran of the old instrument, knew that the only real way for an organ to succeed at Grace was to start over. But, the parish’s culture of placing high value on its past efforts posed a potential problem. Several current parishioners were part of the 1970s rebuilding project; the parish had just said good-bye to a much-loved priest; the interim rector was both holding the church together and finding ways to widen the parish’s ministry to the people of Sandusky. This would be a difficult time to undertake a large project.

In order to determine what could be possible, we thoroughly researched the existing instrument. Chief engineer Charles Eames and tonal director Brian Davis found ways to re-use as much as possible from the three iterations of previous organs—and yet be able to create a Buzard organ. The instrument had to be considered new; but the parishioners needed to be able to take comfort in that a great amount of their old instrument would be represented in it, and that by doing so they would be extraordinarily better stewards of the church’s history and finances than if they had rebuilt the organ yet again. Keith Williams and I met with then interim rector Jan Smith Wood (who later became Grace Church’s permanent rector) and communicated the most important benefit that a properly designed, scaled, voiced, and built organ could provide: inspired worship and deepened connection with God. 

Knowing that this was likely the last opportunity that Grace Church would have to undertake an organ project, we recommended that they retain consultant Scott Riedel to guide them through the process and provide them with a comfort factor in view of the project’s cost. He confirmed the wisdom of our approach and communicated to the vestry our high reputation for respect of original builders’ work in other projects in which we had previously collaborated —and our reasonable pricing. 

We kept the beautiful Johnson wooden flutes, although Brian rescaled them a few notes larger; the Great and Positiv mixtures from the 1960s were re-composed and revoiced for the new context and to be compatible with our style; the dark flamed copper 16′ Pedal Open Diapason pipes were cut up higher and winded properly; the Pedal Principal and Mixture using original Johnson pipes were retained, as was the original Vox Humana. The Vox was most unhappy, having been originally voiced on 5″ wind, but being made to play on 2¼″. Brian re-tongued the pipes, shortened their resonators, and modified the caps to produce a colorful, more Continental sound. It can be as Romantic as you like, but without the tremulant it colors the Swell flues quite convincingly for Baroque literature.

Because so much of the original pipework was previously altered to appeal to an “Organ Reform” sensibility, we felt the need to keep the tonal leaning of the organ to the classic side. However, we created our signature warmth and tonal vitality with both the revoicing techniques Brian employed on the old pipes and the new flues and colorful reeds we added. Since we retained the 16′ Pedal Diapason pipes in the façade, we also reused the façade’s toeboards and their pipe spacing to provide an overall appearance similar to the previous organ. But where the 8′ Trumpet formerly stood (or sagged!), we installed a new wooden 8′ Dulzian, which plays on the Choir. Its warm, round, and mildly throaty tone is magic with Renaissance music, but it blends and balances with any flue stop in the enclosed portion of the Choir located in the expression box behind and above it. I had fun enameling and decorating its maple resonators.

The result is a dynamic liturgical instrument, which, because of careful and informed scaling and rescaling, voicing and revoicing, will play anything thrown at it musically and energetically. Just like on the HGTV show “Fixer-Uppers,” we encountered some unexpected flaws in quality of one of the previous rebuilds, completely inconsistent with the high level of the original Johnson workmanship. This is where our commitment to excellence in the finished product was not only put to the test but confirmed by the end result.

 

 

Emery Brothers, Allentown, Pennsylvania

Christ Church in Short Hills, Short Hills, New Jersey

 

From the builder

It is no secret that tonal styles and the desires and expectations of organists have undergone significant changes in the last hundred years. Aeolian-Skinner Opus 1347, built in 1960, evidences most of the characteristics one would expect from an organ of that decade—lower wind pressures (Positiv speaks on 2 inches wind pressure), ample mixtures and upperwork, and as I heard a colleague once say, “plenty of Zs and umlauts.” Make no mistake—this instrument, as originally designed, made a strong, cohesive statement as a whole, and with the clever division of Swell and Bombarde on the third manual, provided a surprising amount of room for creativity in registration.

Aeolian-Skinner Opus 1347 was well designed and well built, thus its physical restoration formed the core of the project. In the course of this work, we stripped and releathered pouch boards, stripped and releathered reservoirs, including the installation of double gussets, fashioned and installed new primary valves on primaries and unit actions, releathered tremolos and shade engines, totally rewired the organ, and reconditioned the blower and motor. Everything wooden received a thorough cleaning and, where appropriate, a new coat of shellac. Pipes were all individually cleaned and polished by hand, stoppers stripped and repacked, and open flue pipes fitted with new stainless-steel tuning slides. All pipework was checked for voicing and regulation before leaving the shop, with final tonal finishing completed onsite.

However, in this project we were tasked not only with addressing the physical breakdown of the organ’s various mechanisms after five decades of continuous service, but also with maximizing the instrument’s strengths through some sensible and judicious tonal additions and revisions. In addition, the original console was built around the structure of the chancel—one corner was cut out to make room for a beam—and so with the desire for the console to be made movable, provision of a new console was necessary. With the church’s very active music program, including the frequent presence of visiting organists, a multi-level combination action (provided by Solid State Organ Systems) was absolutely necessary.

In its original design, the Bombarde division featured independent reeds at 16′, 8′, and 4′ pitch. This was altered later, when Aeolian-Skinner removed the 8′ Trompette from the Bombarde and moved it to the Great. The 16′ Contra Trompette was then placed on unit action and trebles provided for it to speak at 16′ and 8′ pitch. This compromised the strength of the Bombarde reed chorus, and in the end the most sensible step was to put the Trompette back in the Bombarde, which also made room for a new 8′ Major Trumpet on the Great. This new stop leans towards solo strength, while remaining usable in full chorus.

Mutations in the Positiv were originally pitched an octave higher than usual (11⁄3′ Nasat, 4⁄5′ Terz), and the 4′ Rohr Schalmei was not particularly successful. Re-pitching the mutations presented no difficulty, and the solution for the Rohr Schalmei presented itself when the desire to replace the Swell Krummhorn with an Oboe came up. The Krummhorn was revoiced onto the lower Positiv wind pressure, and a new Hautbois built for the Swell.

The new Antiphonal organ comprises six ranks, all playing on electro-pneumatic action, designed to complement and provide a foil to Aeolian-Skinner Opus 1347 and to bolster congregational singing. Within a compact footprint (both cases measure 41″ x 72″) are housed five of the six ranks (the Trompette en Chamade is mounted on the wall between the two cases), the blower, static reservoir, step-up blower and high-pressure reservoir, double-pressure divided wooden wind trunk, solid-state relay, four wind chests, and two additional reservoirs. Pipes 1–23 of the 4′ Principal make up the right-hand façade. When played with the main organ, the Antiphonal organ has the effect of “pulling” the sound into back third of the room. The full-length, flamed-copper Trompette en Chamade was carefully designed to provide a rich and commanding solo voice that would stand up well to the full organ.

I am most grateful for Bynum Petty’s help in scaling and designing the tonal additions included in this project. I also extend hearty thanks to Brian DeWald (briandewaldwoodworking.com), who built and finished the new Antiphonal organ casework and assisted with installation; Dan Cole (pipeshader.com), who assisted in the casework design and provided promotional materials showing renderings of the Antiphonal organ; and Samuel Hughes, who restored all the reed pipes in the organ. New pipes and chests were built by A. R. Schopp’s Sons, Inc.

—Adam F. Dieffenbach

Emery Brothers

 

Emery Brothers staff involved with this project included: Adam Dieffenbach, Steve Emery, Rosemary Hood, Parfyon Kirshnit, Jon Kracht, Clem Mirto, John Nester, Ardie Peeters, Rich Spotts, and Ryan Stout.

 

From the organist and choirmaster

The Aeolian-Skinner organ at Christ Church was dedicated on Easter Sunday, April 17, 1960. The instrument was typical of the era with a neo-baroque design that included bright principal choruses and ample upperwork. Joseph Whiteford voiced the organ on the aggressive side to cope with a dry acoustic and a low ceiling height in the nave. The organ was altered slightly in 1967 by the builder (Opus 1347-A) to adjust for the addition of heavy carpet across the center aisle. 

When I came to Christ Church, the organ had served the parish for over 50 years, with minimal maintenance and annual tunings. The only change made to the organ was the addition of a remote solid-state capture action to operate the console. Because of failing leather, outdated wiring, and a worn console, the church formed an organ committee to address the needs of the music program as well as the acoustic issues in the church. While the committee did look at several possible replacements for the instrument, in the end the organ was restored because of the overall fine quality of the original installation.

With the guidance of the rector, wardens, and vestry, the decision was made to first renovate the church in several stages. Each stage was completed during the summer months to avoid conflicts during the program year. The first year included the removal of all the carpeting in the church and the installation of new hardwood floors in the entire nave. The second year included new plaster ceilings in the nave to cover the wood lathe ceiling panels and restoration of the stained glass windows. The last year included the removal of the organ, renovation of the ceilings and floors of the choir, and new lighting throughout the church. At that time the woodwork in the church was refinished, removing the white pickled oak stain so popular in the 1950s. 

The organ work performed by Emery Brothers for over a year and a half included new leather, new wiring, a new console, and a new Antiphonal division. The console is built in the style of the original, but is movable and contains additional drawknobs for the Antiphonal and Pedal divisions. The keyboards, music desk, and walnut key cheeks were retained. Only minor changes were made to the chancel organ specification. While the renovated church now has a warm acoustic that requires little amplification for speech, the length of the nave and low ceiling height called for the addition of an Antiphonal organ to support congregational singing. For festivals and weddings, a horizontal reed was added under the center of the Transfiguration window. The scaling and design were by Bynum Petty, installation by Adam Dieffenbach, and tonal finishing by Steve Emery and Charles Callahan. The console replica and the Aeolian-Skinner digital samples were supplied by Walker Technical of Zionsville, Pennsylvania. The organ was rededicated by Alan Morrison with an American Guild of Organists workshop and recital in November.

I believe that in the end we stayed true to the original design of the organ. With very minor changes we have made the organ more flexible and better equipped to serve the parish for the next 50 years.

It is truly a blessing for a parish to have such an instrument. May it lead and inspire worship each and every week for generations to come!

—Andrew Paul Moore, DMA

Organist and Choirmaster

 

From the rector

When I arrived at Christ Church in Short Hills in 2010, I discovered, to my delight, that it had a really fine Aeolian-Skinner organ. It had a sound that seemed to be saying, “Yes, I’m a cousin to some of those wonderful organs you’ve heard in other churches that have great music in worship.”

Now, I’ve lived in France and love the sound of a great French organ playing. And I’m Dutch, so those marvelous trackers sound to me like the DNA of my youthful upbringing in the Dutch Reformed Church. But the sound of the organ in Short Hills was American. I don’t say that in a prideful way, not even in a “better than others” way. But there was something about this organ that could sound the repertoire ranging from an English cathedral choir chanting a psalm, to full-blown-out Reger. It sounded it all well and with its own twist on things.

I’ve served churches with electronic organs and wheezing electro-pneumatics. I was just so grateful this instrument was neither. Unfortunately, this organ was a bit like that date that is really great the first time but doesn’t grow better as the time goes on; in fact, just the opposite.

After having been at the church a little more than a year, I began to wonder why people hardly sang the hymns in the back half of the nave? I began to wonder if it were just me, or if the sound really did fall off a cliff when we reached a certain pew in the retiring procession each week? We began to notice greater hissing noise, more frequent repairs, and costly service.

Then in 2011, Andrew Moore joined us, and he could make the instrument sing as I’d never heard it before. But he could also diagnose its illness, and he told us the prognosis was dim. The good news was that little work had been done to the instrument since it had been installed in the 1960s, so little harm had been done. He also confirmed that the congregation’s lack of singing in the back half of the church probably had to do with such little organ support. The acoustics didn’t work in our favor, and the sound just wasn’t getting back there.

We hosted an organ education night at which Stephen Emery from Emery Brothers in Allentown, Pennsylvania, came to show us worn leathers, ill-fitting pouches, tarnished pipes, cotton wrapped wires, and more. We led tours through the chambers, and people who had always taken the sounds of the organ for granted now were in awe of how it actually works—and why it didn’t. They saw piles of pipes that had been removed from their windchests and were unable to function.

Adam Dieffenbach from Emery Brothers proposed a complete renovation of the existing instrument and suggested a new Antiphonal for the rear wall, both to provide sound back there, as well as to pull the sound from the pipes in the front. Because of space issues, they proposed adding a limited number of digital stops to round out the instrument’s full sound and complete Whiteford’s original concept for the instrument.

“How to pay for it?” is every parish’s question and every rector’s challenge. But in this case we had two wardens, John Cooper and Cynthia McChesney, who recognized not only the need to do the restoration work, but also its stewardship. We had competitive bids for both rebuilding and replacement. Replacement never caught any of our imaginations. That would be more expensive, but also, we realized this was a very fine instrument with a fairly unique American sound, the likes of which simply are not being made today in the same way.

Through John and Cynthia’s leadership in fundraising and both Andrew Moore’s and my direct involvement in asking individuals for support, the entire amount needed was raised in about four months. That included a substantial cushion, of which we used every last dime as we made changes to both the organ project and the worship space.

Our people realized that this was the right time to act, not only because of the present need of the instrument, but also out of respect for the amazing talent of Andrew Moore. Every age has its gifts, and the wise church appreciates and supports those gifts when they happen.

Our choir went from five section leaders and three volunteer members to four section leaders and more than twenty volunteers over the last five years. Singing has vastly improved. This summer, the entire choir is going to England to be the choir-in-residence for singing the daily office at Bristol Cathedral. More than fourteen new music groups used our space last year, both religious and secular, bringing so many people through the doors of the church.

Oh, every once in a while someone will complain that the trumpets in the back are too loud, but then the person standing next to her will say, “I think it’s just great!” There you have it; life in the Church! And in our case, we feel our worship. Our welcome and invitation to others has vastly improved, all because we acted rather than argued about whether to be responsible for something our ancestors here had left us as a gift in the first place. And we feel we’ve left the next generation something better than we could have ever imagined.

—The Reverend Dr. Timothy Mulder

Rector, Christ Church in Short Hills

 

Aeolian-Skinner Opus 1347, Joseph Whiteford, 1960. 

Renovation/additions and Antiphonal division, Emery Brothers, 2015: 63 ranks, 3,625 pipes.

GREAT

16′ Quintaton 61

16′ Rohrbourdon (Sw)

8′ Principal 61

8′ Bourdon 61

8′ Quintaton (ext) 12

4′ Octav 61

4′ Rohrflote 61

22⁄3′ Quint 61

2′ Super Octav 61

IV Mixtur 244

III Scharf 183

8′ Major Trumpet (6″ wp) 61

8′ Trompette en Chamade (Ant)

Chimes

Zimbelstern

SWELL

16′ Rohrbourdon 61

8′ Rohrbourdon (ext) 12

8′ Klein Erzahler 61

8′ Erzahler Celeste (TC) 49

4′ Geigen 61

22⁄3′ Nasat 61

2′ Octav 61

III Cornet 183

8′ Hautbois 61

8′ Menschenstimme 61

8′ Trompette en Chamade (Ant)

Tremolo

BOMBARDE

8′ Geigen Principal (digital)

8′ Viol Pomposa 61

8′ Viol Celeste 61

4′ Flute Harmonique 61

V Plein Jeu 305

16′ Contre Trompette 61

8′ Trompette 61

4′ Clarion 61

Tremolo

POSITIV

8′ Nasonflote 61

4′ Koppelflote 61

22⁄3′ Nasat 61

2′ Blockflote 61

13⁄5′ Terz 61

11⁄3′ Quint 61

III Zimbel 183

8′ Krummhorn 61

Tremolo

8′ Major Trumpet (Gt)

8′ Trompette en Chamade (Ant)

ANTIPHONAL (Emery Brothers)

8′ Rohrflute 61

4′ Principal 61

2′ Octave 61

II Rauschquint 11⁄3′ 122

8′ Trompette en Chamade 61

PEDAL

32′ Contrebass (digital)

32′ Subbass (digital)

16′ Contrebass 32

16′ Subbass 32

16′ Quintaton (Gt)

16′ Rohrbourdon (Sw)

16′ Rohrflute (Ant) 12

8′ Principal 32

8′ Gedectpommer 32

8′ Rohrbourdon (Sw)

4′ Octave (ext) 12

4′ Gedectpommer (ext) 12

V Mixtur 160

32′ Contrebombarde (digital)

32′ Contre Trompette (digital)

16′ Bombarde 32

16′ Contre Trompette (Bombarde)

8′ Bombarde (ext) 12

8′ Krummhorn (Pos)

4′ Bombarde (ext) 12

4′ Krummhorn (Pos)

8′ Trompette en Chamade (Ant)

Chimes (Gt)

 

Couplers

Gt/Ped 8

Sw/Ped 8-4

Bomb/Ped 8-4

Pos/Ped 8

Ant/Ped 8

 

Sw/Gt 16-8-4

Bomb/Gt 16-8-4

Pos/Gt 16-8

Ant/Gt 8

 

Sw/Pos 16-8-4

Bomb/Pos 16-8-4

Ant/Pos 8

 

Gt/Sw 8

Ant/Sw 8

Gt/Pos Trans

Gt/U

Bomb 16-U-4

Pos 16-U-4

Sw 16-U-4

All Sws to Sw

Pre/Next/Full