Cover Feature

Orgues Létourneau, Saint-Hyacinthe, Québec; Christ Episcopal Church, Tuscaloosa, Alabama

From the Builder

It is unusual for an organbuilder to finish two instruments for churches a few blocks apart within two calendar years. Nonetheless, this is what happened in Tuscaloosa, Alabama, and we consider ourselves fortunate to say so. The first of these was our Opus 129 for First Presbyterian Church, which we completed in January 2016 (see the May 2017 issue of The Diapason for more details). This 75-rank instrument’s warmth and array of color piqued the interest of the organ committee at the nearby Christ Episcopal Church. Led by Mr. Wilson Green, this committee was already studying what to do with the church’s ailing pipe organ. Having been serially rebuilt without success, its indifferent placement in Christ Church’s organ chamber was its biggest challenge. The instrument’s monochromatic tonal scheme and obsolete windchests were contributing factors in the decision to start from scratch and commission an all-new pipe organ.

An organ chamber like that at Christ Church does require a change in mindset from, say, a freestanding instrument like Opus 129. Here, there is a wide floor-to-ceiling opening across the chancel’s south sidewall into the chamber. A smaller arch-shaped opening on the chamber’s west wall leads to the nave. The chamber’s wooden roof slopes downward moving west (away from the chancel), which dictated some aspects of the organ’s layout, but the side and back walls in brick do reflect sound out of the chamber nicely.

Christ Church’s organ committee was unambiguous; they wanted an instrument that would excel in accompanying the Episcopal liturgy. This fit, in many ways, with the organ’s placement in a chamber. The emphasis here would be a profusion of smooth foundation color, elegant solo voices, and choruses in all families of organ tone, all backed by exceptional dynamic control. The organ’s repertoire was kept in mind of course, but this instrument’s raison d’être was always going to be the choral anthems of Howells, Parry, and Stanford.

Carefully studying the chamber, we determined there was enough space for a three-manual instrument; two of the three manual divisions would be under expression at the back of the chamber, with space to spare in front for lean Great and Pedal divisions. Working with the church’s then-organist and assistant director of music, Tyler Canonico, Opus 132’s stoplist soon took shape.

The Swell forms the core of the instrument with foundations including a pungent 8′ Viole de gambe, a matching 8′ Voix Celeste, a gentle 16′ Lieblich, and a velvety 8′ Dolce Flute and Celeste combination. Building on this is a solitary 4′ stop, the Gemshorn; its scale transitions from a principal-like bass for definition towards a fluty treble to blend with the mutations. A refined 8′ Hautboy with capped resonators can add a reedy tang to this ensemble or sing as a mezzo solo voice. One dynamic higher is the Swell’s 8′ cornet décomposé, whose wide-scaled tapered ranks fuse together richly. With choral accompaniment in mind, the Swell’s III–V Full Mixture is harmonic in composition, meaning its uppermost pitch is constant through most of the compass while the fourth and fifth ranks add lower pitches to fill in the chorus. The Swell is crowned by a grand reed chorus that begins, crucially, with a full-length 16′ Double Trumpet through an 8′ Cornopean to a 4′ Clarion. On five inches of wind pressure, these stops feature thick spotted metal resonators, harmonic trebles, and Willis-style shallots. This powerful, golden-toned chorus can also be transferred as a group from the Swell to the other divisions via stopknobs to facilitate dynamic effects.

The second expressive division, the Choir-Solo, is something of a partner to the Great with additional foundation stops and distinctive solo voices. The 8′ Flûte harmonique isn’t a thoroughgoing solo stop so much as it is a building block in a traditional fonds ensemble when coupled to the Great. Building on this 8′, the vibrant 4′ and 2′ harmonic flutes provide a lighter chorus to their equivalent Great combination. The 8′ Geigen brings a keen edge to the fonds, while its 16′ extension provides depth and richness without getting muddy. The 16′ Geigen’s clean pitch and responsiveness in the bass octaves is especially welcome when deployed as a pedal stop. Meanwhile, the 8′ Unda maris pairs with the 8′ Geigen to provide the organ’s third and boldest celeste effect. The Choir-Solo has two high-pressure reed stops. The 8′ French Horn was a request from Christ Church’s rector, the Rev. David Meginniss, and given its rare appearances in choral accompaniments or the organ repertoire—as well as the limited tessitura called for—we built it as a short-compass stop from c13 to f42. On high-pressure wind at the back of the Choir-Solo enclosure, the French Horn projects its fist-in-the-bell sound easily, evoking its orchestral ancestor. Its thick, smooth tone can be used to bulk up ensemble registrations, but it pairs especially well with the 8′ Flûte harmonique with the treble-ascendant flute picking up smoothly where the French Horn’s compass runs out.

The Choir-Solo’s 16′-8′ Tuba rank’s harmonic-length resonators begin at 4′ g, and the pipes are equipped with tapered Willis shallots for proper tuba tone. The overall dynamic, however, is kept in check. On 12¾ inches wind like the French Horn, the Tuba rank serves as solo stop or the ultimate chorus reed: it will peal out a melody against Full Swell—especially when played in octaves as asked for in much of the literature—but can be thrown in to otherwise Full Organ without a colossal dynamic jump. The 16′ Contra Tuba extension in the Pedal has a big, round bass tone that ensures the instrument never sounds untethered.

In contrast to these two colorful expressive divisions, the Great has been stripped down to the essentials. There is a warm principal chorus built around a 42-scale 8′ Open Diapason, with the Great windchest situated to face the nave’s tone opening. The 8′ Chimney Flute is a cheery, chameleon-like voice that does light solo duty or plumps up the ensemble. For flexibility, a number of stops from the Choir-Solo have also been made available on the Great manual.

The Pedal division is like the Great: minimalist but effective. The 16′ Contrabass pipes are made from spotted metal and, voiced with slots and beards, give the pedal line a well-defined point.  The 16′ Subbass, with its pipes in yellow poplar, is dynamically a notch lower with a correspondingly unobtrusive tone. Larger in scale than the Great 8′ Open, the 8′ Principal was also voiced with slots and on higher wind pressure; it has a bold, driven sound that fits with the Contrabass to give the pedal line a great deal of weight. Comparatively, the 4′ Choral Bass is less powerful with a sweeter, more transparent sound in cantus firmus roles.

When the contract was signed for the new instrument, the organ project at Christ Church had a fixed budget that precluded any façades. Likewise, some of the stops in the specification were initially console preparations, meaning they were part of the instrument’s technical designs but would not be provided with the instrument. The contract between the church and Létourneau was written such that if we were given the green light by a certain date, the façades and/or the prepared-for stops could be built and installed at the same time as the organ itself. The organ committee went to work raising the organ project’s profile and explaining the opportunity at hand to the parish. They were tremendously successful; the gifts they raised came from many sources and enabled the complete instrument to be installed. Once our visual designs had been enthusiastically approved, our cabinetmakers began construction on the instrument’s two façades made from solid mahogany. The display pipes are made from a 70% polished tin alloy from the Great 8′ Open Diapason and the Pedal 8′ Principal ranks.

The three-manual console shell was built from solid red oak while the interior puts swathes of dark walnut to good use. From the outset, the layout of the various console controls was a particular point of interest for Tyler Canonico and Wilson Green; many enjoyable discussions were had about the best practices from around the globe, and several different layouts were evaluated. The result is compact, logical, and comfortable. In a nod to the British tradition, the stop knobs for each division are arrayed in two columns and set within individual walnut jambs. The console’s expression shoes also mark the debut of a new style for Létourneau, featuring a pedal made from maple for durability and deeply stained to match the surrounding walnut. A chromed stainless-steel surface discreetly displaying the Létourneau logo is then overlaid on this base with rubber cleats for grip above and below. Opus 132’s switching system and combination action were provided by Solid State Organ Systems, with the console having 300 levels of memory, an adjustable crescendo pedal, and a generous number of divisional and general pistons (with a sequencer) to facilitate colorful accompanying.

The instrument was installed in January of 2018, and the voicing process carried through to the end of the following month. The instrument was dedicated at a choral evensong service on April 15, 2018, featuring the choir of Christ Church under music director Doff Procter, skillfully accompanied by Scott Roberts, organist and assistant music director. Before and after the service, several voluntaries were played by Tyler Canonico, who had returned to Tuscaloosa for the event; his selections included music by Bédard, Locklair, Howells, Bednall, Dupré, and Langlais.

Our Opus 132 is a sophisticated response to the host of physical, acoustic, and musical parameters this project presented. Importantly, the instrument contrasts significantly with the nearby Opus 129 at First Presbyterian Church, from placement to windchest design to tonal effect. For those who might be curious to see what Létourneau is doing these days, Tuscaloosa is a destination well worth visiting.

To conclude, we are grateful to Christ Church for having given us the opportunity to build Opus 132; we expect their new Létourneau will serve their church and the Tuscaloosa community faithfully for several future generations. Our work has given us the opportunity to come to know several fine people as well. We have a deep appreciation for the tireless leadership of Wilson Green throughout the entire project. It has also been a pleasure to work closely with the church’s two organists through the instrument’s gestation, Tyler Canonico and Scott Roberts, as well as the church’s director of music, Doff Procter. We are appreciative of the consistently generous support for the pipe organ project from Rev. David Meginniss. Christ Church’s communications director, Barbara Steimle, was also a tremendous supporter in countless ways. Finally, a sincere thank you to Hubert Guthrie, both the church’s contractor and a parishioner. His tenacious efforts to improve the organ chamber were crucial to the project’s success, resulting in the best possible acoustic conditions for the new instrument.

—Andrew Forrest, Artistic Director

Fernand Létourneau, President

Dudley Oakes, Project Consultant

From the Chair of the Organ Committee

We asked Létourneau to deliver an instrument that emphasized the organ’s central liturgical role in Episcopal worship, and they delivered beautifully. The organ is exceptional in enhancing and supplementing liturgical action, as well as in service and congregational accompaniment. Having two celeste effects in the Swell, for example, was motivated by a desire to communicate the transcendent, and they accomplish this exceptionally. Putting most of the organ under expression, with a relatively small Great, was a decision largely driven by the church’s acoustics, which we altered before the organ’s installation began with changes to the nave floor and the chamber itself. The result is an instrument refined in tonal breadth and uniquely appropriate to the room.

The organ’s solo stops are not to be missed. The Choir-Solo 8′ Flûte harmonique has a body and smoothness that fill the room. The 8′ French Horn is one of my favorites, with a robust nobility and depth of tone with the box open, but which is quite mellow when enclosed. And the 8′ Tuba is powerful as a solo reed but it’s also capable of singing with the rest of the instrument—a rare combination, and one that was needed given the instrument’s size.

Létourneau was a wonderful partner for our church. Andrew Forrest and Dudley Oakes were particularly effective in listening to our concerns and making tonal recommendations tailored to those concerns. They explained their design choices and how they were intended both to enhance the listening experience in the room and to mitigate the lack of direct linearity with the listener. Communication was always clear and timely, and their sense of proportion and design afforded us an instrument that is musically and visually in tune with our historic space. The best compliment I receive is, “It looks like it was always there!” But honestly, it sounds even better. And perhaps most of all, the Létourneau installation and tonal finishing teams were magnificent. The church staff was sad to see them leave us when they finished!

—Wilson Green

GREAT – Manual II, 80 mm wind pressure

16′ Contra Geigen (Ch)

8′ Open Diapason (façade) 61 pipes

8′ Geigen (Ch)

8′ Chimney Flute 61 pipes

4′ Principal 61 pipes

2′ Fifteenth 61 pipes

11⁄3′ Mixture IV 244 pipes

Tremulant

8′ French Horn (Ch)

8′ Tuba (Ch)

Swell Reeds on Great

Great 16–Unison Off–Great 4

Chimes (Ch)

Cymbelstern (8 tuned bells)

SWELL (expressive), Manual III – 85 mm w.p.

16′ Lieblich Gedackt 73 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Celeste (G8) 54 pipes

8′ Lieblich Gedackt (ext)

8′ Dolce Flute 61 pipes

8′ Flute Celeste (C13) 49 pipes

4′ Gemshorn 61 pipes

22⁄3′ Nazard 61 pipes

2′ Flageolet 61 pipes

13⁄5′ Tierce 61 pipes

2′ Full Mixture III–V 259 pipes

8′ Hautboy 61 pipes

Tremulant

16′ Double Trumpet* 61 pipes

8′ Cornopean* 66 pipes

4′ Clarion* 78 pipes

Swell 16–Unison Off–Swell 4

* 125 mm wind pressure

CHOIR-SOLO (expressive) Manual I – 125 mm w.p.

16′ Contra Geigen 73 pipes

8′ Flûte harmonique 61 pipes

8′ Geigen (ext)

8′ Unda maris (G8) 54 pipes

4′ Flûte octaviante 61 pipes

2′ Octavin 61 pipes

8′ Clarinet 61 pipes

Tremulant

8′ French Horn (c13–f42)§ 30 pipes

8′ Tuba§ 66 pipes

Swell Reeds on Choir

Choir 16–Unison Off–Choir 4

Chimes (37 notes)†

Harp (61 notes)†

Glockenspiel (37 notes)†

§ 325 mm wind pressure

† Walker Technical Company

PEDAL – 110 mm w.p.

32′ Resultant (derived)

16′ Contrabass 32 pipes

16′ Bourdon 32 pipes

16′ Geigen (Ch)

16′ Lieblich Gedackt (Sw)

8′ Principal (façade) 32 pipes

8′ Lieblich Gedackt (Sw)

4′ Choral Bass (85mm) 32 pipes

16′ Contra Tuba (ext, Ch) 12 pipes

8′ Tuba (Ch)

Swell Reeds on Pedal

All usual sub, unison, and octave inter-manual couplers plus Great to Choir, Choir to Swell, and a GR-CH Manual Transfer.

6 divisional pistons for each division and 12 General pistons with a General piston sequencer.

Console prepared for the future installation of a 5-stop Antiphonal division.

Three manuals, 43 stops, 38 ranks, 2,162 pipes

Great Mixture IV

c1 to b12 19 22 26 29

c13 to b24 15 19 22 26

c25 to b36 12 15 19 22

c37 to b48 8 12 15 19

c49 to c61 5 8 12 15

Swell Full Mixture III–V

c1 to e17 15 19 22

f18 to e29 12 15 19 22

f30 to e41 8 12 15 19 22

f42 to e53 1 8 12 15 19

f54 to c61 1 5 8 12 15

Photo credits: Barbara Steimle

Schoenstein & Co., Benicia, California

Saint John’s Episcopal Church, Tulsa, Oklahoma

Schoenstein & Co., Benicia, California

Saint John’s Episcopal Church, Tulsa, Oklahoma

Selling the idea

A new pipe organ is, aside from the church building itself, often the most significant investment a congregation can make. When I knew I had the opportunity to see the commissioning of a new instrument for Saint John’s Episcopal Church, it was important for me that this project be a transformational experience for the parishioners. I wanted them to have an understanding of how a pipe organ works and become experienced enough listeners so that they would “know the difference” in the sound. I also believed a pipe organ project, when done right, could unite a parish community in a powerful way.

In the summer of 2015, I offered several organ demonstrations in which parishioners came to the console and had a glance into the organ chamber. They saw me “pull out all the stops,” open the swell shades, and I demonstrated different types of sound colors. In the ensuing months I would share with them some of the serious mechanical problems that made playing the 1966 M. P. Möller organ a constant challenge.

When the project took off, some lead donors and I first talked of rebuilding the existing organ. After fundraising was proving very successful, we believed a new instrument was the best use of funds. The Vestry ultimately approved a proposal from Schoenstein & Co. for a new instrument specifically designed to render music for a traditional Anglican service. Parish-wide enthusiasm culminated with a large crowd of more than 150 people on the day the new organ was delivered in July 2018. I will never forget people of all ages coming to help carry pipes and parts into the church. It was a very hot day, so the Schoenstein crew was relieved that with all the help, the truck was completely unloaded in just a few hours!

The new Schoenstein organ played for worship the first time on September 9, 2018, with a large congregation in attendance. It is no understatement to say that this instrument has completely changed the choral and congregational singing of the parish. Parishioners can clearly tell the difference, with descriptions of “pleasing sound,” “warmth,” and “clear bass.” As for me, I am falling in love with many anthems all over again. The possibilities for choral repertoire seem limitless, as my colleague Adam Pajan demonstrates every time he plays an accompaniment.

Beautiful, rich 8′ tone is essential for playing an Anglican service, and this new organ delivers. There are twelve separate 8′ foundation stops in the manuals. While each one has a distinct quality, they blend to form a sound that invites everyone to sing. Gone are the days when the 4′ Fugara, played down an octave, was the best “diapason!”

The new organ has much more solid bass that is powerful but never “tubby.” The 16′ Open Wood does much to support the congregation’s singing, and the soft 16′s, the Swell Bourdon and Choir Dulciana, still have clear fundamental tone. The upper work (2′ stops and mixtures) is restrained and adds brilliance to full ensembles.

There is so much variety in every tonal family, but I believe the biggest success is in the reed voicing. In the Swell, the 16′ Contra Fagotto has an 8′ extension that is a darker contrast to the brighter 8′ Cornopean. The Flügel Horn, sort of like a muted trumpet, makes a compelling addition to the 8′ foundations. This stop has been put to good use in “Hills of the North,” an anthem for women’s voices by Herbert Howells. Howells specifically calls for “darker” sounds in some places.

It is easy to forget that this new Schoenstein organ has merely thirty-eight ranks. The inner swell box, when closed, gives a restrained and darker sound to the Mixture, Cornopean, and Contra Fagotto. It also means that a huge crescendo can be achieved by simply opening both sets of swell shades. A comparable effect on other instruments would usually require adding a sequence of many other stops.

In the end, it is no surprise to me that parishioners love both the sound and façade of the new organ. A most welcome surprise was the way in which this project rallied us all together. May this new organ offer praise to God and lift the hearts of worshippers for many generations to come.

—Joseph Arndt, Music Director

Saint John’s Episcopal Church

The organ’s inner beauty

When most people think about an organ, the first thing that comes to mind is the console or the organ case with display pipes. This would certainly be true of our latest organ at Saint John’s Episcopal Church in Tulsa, Oklahoma. With a handsome console and vibrantly stenciled display pipes, these visual portions certainly stand out. The casework and its display pipes offer an opportunity to utilize elements inspired by the room’s architecture to create a memorable and cohesive design. If done well, this often results in the phrase, “it looks like it’s always been there,” a compliment the builder always appreciates.

Many also believe the visible display pipes encompass the entire sound-producing portion of the organ. There is no compelling reason for them to think that forty display pipes would not suffice to produce all the beautiful tones they hear each Sunday at worship. And since organ chambers are usually off limits (for good reason), any secrets held within are kept safely guarded. After all, the display pipes are meant to conceal what is behind.

But what happens inside the organ? Although not thought of as beautiful in the traditional sense, the interior of the pipe organ is attractive in many ways. The supporting framework or chassis, the expression shades, wind lines, regulators and electrical cables all create a different kind of beauty—that of organized engineering. The care that goes into this process, starting with the design on the drawing board and following through to the end of the installation, is attended to by skilled craftsmen and artists whose work may never be seen or appreciated except by the very few.

The chassis—made up of wooden legs, bearers, and other supporting structure—are all made from the highest quality materials and finished as if they were to be viewed by the public. Tubing that conveys the wind to the display pipes is arranged not only along the most efficient path but is bundled neatly and secured, imitating exhaust tubes of a classic Duesenberg SJ. The cabling that transmits the desires of the organist to the appropriate pipes can be found meandering its way throughout the instrument in the neatest manner.

Why are all these things done with such care and pride, when no one except the organ technician will see them? The main reason is an organ that exhibits careful design and thoughtfulness for the placement of each component demonstrates the commitment and pride of the builder and wins the respect of organ technicians. An organ whose workings are accessible for easy service will be maintained well over the years because it is a joy to work on. The occasional issue that arises will be easy to resolve due to the wisely considered layout of the systems. Accessible components allow everything to be maintained at the highest level.

How does the congregation come to appreciate this unseen portion of the organ? One way is to start with the unloading of the organ on delivery day. The response will vary by church, but at Saint John’s the one-hundred-fifty-some members who assisted in that task certainly have a good idea of what makes up the total pipe organ. Helping to carry in the thousands of organ pipes and parts, they gained a hands-on knowledge. Throughout the installation, members would stop by to observe the progress and ask questions. Any naysayers to the acquisition of a new organ are often converted to strong supporters during this interval.

Another way to involve the church members is through education sessions during the installation. Music Director Joseph Arndt offered these directly after worship during the installation period to demonstrate certain aspects of the organ before the case and display pipes were put in place. Easily observed at this point is the working of the inner and outer expression shades of the Swell. A visual demonstration of an aural effect is a tremendous teaching device. Interested members also posted short videos to Facebook and other social media. The reaction to such postings continues to generate interest.

The local news media is another venue that should not be overlooked. Two crews from local news channels visited the church during the installation, first for unloading day and then later in the process when the first pipes started to play. A local viewer saw the installation on the news broadcast and came by the church for a personal visit. It turns out she was a friend of a Schoenstein family member she had been out of touch with for many years. Because we still have close ties with the Schoenstein family, we were able assist her in reuniting with her friend.

While the external portions of the pipe organ are often a work of art, there is just as much, if not more, to see behind the façade. The expert skills of the artisans who built the instrument are on full display and remain a testament to those who bring their talent to the task. As with other endeavors built for the ages, future generations will appreciate the “inner beauty” of their pipe organ.

—Louis Patterson,

Vice President and Plant Superintendent

Schoenstein & Co.

Collaboration

I had the privilege of meeting Joseph Arndt and becoming involved in the music ministry at Saint John’s Episcopal Church once the contract for the new instrument had already been signed. While some details of the specification were still open for discussion, the overall concept for the organ was clear: it needed to be a servant to the liturgy and the music that adorns it.

In the following months, Joseph and I spent many hours in discussion about which components really needed to be in place and which ones, while beneficial and meritorious in their own right, might acquiesce to those that could potentially better fulfill the vision. Our conversation continued to evolve following a visit to a recent Schoenstein organ, which helped inform what would become the final specification.

The Choir division saw the most dramatic transformation toward a division with diverse 8′ color, intended primarily for accompanying and solo effects. Mutations moved to the Great, where they now play a role as members of the principal chorus. Double expression in the Swell division allows it to function like an additional manual. The amount of color and power that can be controlled to a dynamic level appropriate for choral accompaniment makes the Schoenstein an overwhelming success. Each voice is individually beautiful, making the collective all the more so. It is an honor to support Joseph as Artist in Residence and to have acted as a kind of advisor and friend in the planning process. Making music at Saint John’s is more fulfilling than ever, and the future is bright indeed.

—­Adam Pajan, Artist in Residence

Saint John’s Episcopal Church

 

GREAT (Manual II)

16′ Double Diapason 61 pipes

8′ First Open Diapason 61 pipes

8′ Second Diapason (ext 16′) 12 pipes

8′ Harmonic Flute 61 pipes

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Silver Flute 61 pipes

22⁄3′ Twelfth (TC) 42 pipes

2′ Fifteenth 61 pipes

13⁄5′ Seventeenth (TC) 42 pipes

11⁄3′ Mixture III–IV 187 pipes

8′ Trumpet 61 pipes

SWELL (Manual III, expressive)

16′ Lieblich Bourdon (ext 8′) 12 pipes

8′ Horn Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Gamba † 61 pipes

8′ Gamba Celeste † 61 pipes

4′ Gemshorn 61 pipes

4′ Harmonic Flute 61 pipes

2′ Flageolet 61 pipes

2′ Mixture III–V † 236 pipes

16′ Contra Fagotto † 61 pipes

8′ Cornopean † 61 pipes

8′ Fagotto (ext 16′) † 12 pipes

8′ Oboe Horn 61 pipes

Tremulant

† Stops under double expression

CHOIR (Manual I, expressive)

16′ Double Dulciana (ext 8′) 12 pipes

8′ Dulciana 61 pipes

8′ Unda-Maris (TC) 49 pipes

8′ Concert Flute 61 pipes

8′ Lieblich Gedeckt 49 pipes (Concert Flute Bass)

4′ Concert Flute (ext 8′) 12 pipes

4′ Lieblich Gedeckt (ext 8′) 12 pipes

22⁄3′ Nazard (fr Lieb Ged)

16′ Ophicleide (ext 8′) 12 pipes

8′ Tuba 61 pipes

8′ Flügel Horn 61 pipes

8′ Corno di Bassetto 61 pipes

Tremulant

PEDAL

32′ Resultant

16′ Open Wood 32 pipes

16′ Double Diapason (Gt)

16′ Double Dulciana (Ch)

16′ Lieblich Bourdon (Sw)

8′ Principal 32 pipes

8′ Horn Diapason (Sw)

8′ Dulciana (Ch)

8′ Flute (Gt Harmonic)

8′ Stopped Diapason (Sw)

4′ Fifteenth (ext 8′) 12 pipes

4′ Flute (Gt Harmonic)

2′ Twentysecond (ext 8′) 12 pipes

16′ Ophicleide (Ch)

16′ Contra Fagotto (Sw)

8′ Tuba (Ch)

8′ Fagotto (Sw)

4′ Corno di Bassetto (Ch)

Normal couplers and accessories

Three manuals, 31 voices, 38 ranks

Electric-pneumatic action

Great 771 pipes

Swell 870 pipes

Choir 451 pipes

Pedal 88 pipes

Total 2,180 pipes

TONAL ANALYSIS

PITCH SUMMARY

16′ and below 5 16%

  8′ 16 52%

  4′ 4 13%

Above 4′ 6 19%

31 100%

TONAL FAMILIES

Diapasons 14 45%

Open Flutes 5 16%

Stopped Flutes 3 10%

Strings 2 6%

Chorus Reeds 4 13%

Color Reeds 3 10%

31 100%

Photo credit: Louis Patterson

Builder’s website: www.schoenstein.com

Church website: www.sjtulsa.org

Jack Bethards

Schoenstein & Co., Benicia, California; Basilica of the National Shrine of Mary, Queen of the Universe,  Orlando, Florida

This modern basilica is based on the size and shape of the fourth-century Saint Peter’s Basilica in Rome. It seats 2,000 and is a place of pilgrimage for the millions of international tourists who visit Orlando each year. The extensive music program with professional choir is directed by William F. Picher. The shrine has a busy calendar of Masses, numerous special celebrations, and regular concerts. Dr. Picher envisioned an instrument of extremely broad tonal flexibility, something like the one we built for the Conference Center in Salt Lake City.

The organ had to be large enough to match the acoustic of this huge building. Its size is illustrated by the 32′ pipes in display. Behind the pipes on the left are the Great, Swell, and Choir divisions. On the right are Solo and Pedal. The console and singers are to the left of the sanctuary along with a small Positive division to provide an intimate sense of pitch and rhythm. The Gallery division is at the west end. Casework was designed in cooperation with Cameron Bird of Jackson & Ryan Architects and built by New Holland Church Furniture.

The acoustic of the Basilica maintains clarity throughout the space and is especially sensitive to subtle tonal color differences among the stops. This, along with five divisions under expression plus double expression in the Swell allows a kaleidoscopic color and dynamic range. Among the special features is a string division in the Gallery, which is designed to create a celestial atmosphere as worshippers enter for Mass. There are two powerful solo reeds, both under expression—Tuba Magna in the main organ and Grand Harmonic Trumpet in the Gallery. The Solo includes six genuine Wurlitzer stops. As in our Salt Lake City organ, these were selected to broaden the tonal palette. Each of these six stops is used in the ensemble the same way any other attractive tone would be.

This grand organ is the largest we have built for a Roman Catholic church in our 143-year history. It has very special meaning for our firm and our founding family. Surely our founder, Felix F. Schoenstein, a devout Catholic who dedicated two children and two grandchildren to Catholic religious orders and built his very first organ for a Marian church, would be pleased. Having emigrated from Germany, he would be especially honored to know the organ will be serving an international assembly from among the 75 million who visit Orlando yearly.

Four manuals, 70 voices, 86 ranks

Electric-pneumatic action

GREAT (II) 5′′ wind

32′ Lieblich Gedeckt (TC – Sw)

16′ Double Open Diapason 61 pipes

8′ Phonon Diapason (Solo)

8′ Open Diapason 61 pipes

8′ Small Open Diapason (ext) 12 pipes

8′ Gallery Diapasons (II)

8′ Harmonic Flute 61 pipes

8′ Gallery Strings (VIII)

8′ Aeoline (Choir)

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Spire Flute 61 pipes

2′ Fifteenth 61 pipes

2′ Mixture mf (III) 167 pipes

2′ Mixture f (IV) 201 pipes

8′ Trumpet 61 pipes

8′ Tuba Magna (Solo)

8′ Tuba Chorus †

8′ Grand Harmonic Trumpet (Gallery)

Gallery on Great

Positive on Great

† Tuba Magna at 16′, 8′, 4′

SWELL (III–enclosed) 5½′′ wind

16′ Lieblich Bourdon 12 pipes (ext Stopped Diapason)

8′ Open Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Viole de gambe 61 pipes

8′ Voix céleste 61 pipes

8′ Gallery Strings (VIII)

4′ Principal 61 pipes

4′ Harmonic Flute 61 pipes

2′ Harmonic Piccolo 61 pipes

2-2⁄3′ Cornet (III) 176 pipes

8′ Oboe 61 pipes

Tremulant

Stops under double expression, 10′′ wind

8′ Erzähler 61 pipes

8′ Erzähler Celeste (TC) 49 pipes

2′ Mixture ff (IV) 215 pipes

16′ Posaune 61 pipes

8′ Cornopean 61 pipes

4′ Clarion 61 pipes

8′ Vox Humana (Solo)

Swell 16′

Swell Unison Off

Swell 4′

Gallery on Swell

Positive on Swell

CHOIR (I – enclosed) 5½′′ wind

16′ Aeoline (ext) 12 pipes

8′ Open Diapason 61 pipes

8′ Chimney Flute 61 pipes

8′ Gallery Strings (VIII)

8′ Aeoline 61 pipes

8′ Unda Maris (TC) 49 pipes

4′ Fugara 61 pipes

4′ Silver Flute 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Blockflöte 61 pipes

1-3⁄5′ Tierce 54 pipes

2′ Mixture mf (IV–V) 285 pipes

16′ Bass Horn (ext Fl Horn) 12 pipes

8′ Trumpet 61 pipes

8′ Flügel Horn 61 pipes

8′ English Horn 61 pipes

8′ Clarinet 61 pipes

Tremulant

Choir 16′

Choir Unison Off

Choir 4′

8′ Tuba Magna (Solo)

Gallery on Choir

Positive on Choir

SOLO (IV–enclosed) 10′′ wind

16′ Tibia Clausa 85 pipes (1–12 Pedal Bourdon)

8′ Phonon Diapason 73 pipes

8′ Symphonic Flute 61 pipes

8′ Tibia Clausa (ext)

8′ Concert Flute 73 pipes

8′ Gamba 85 pipes

8′ Gamba Celeste 61 pipes

8′ Viol d’Orchestre 73 pipes

8′ Viol Celeste 73 pipes

8′ Gallery Strings (VIII)

4′ Octave (ext 8′ Phonon Diapason)

4′ Piccolo (ext Tibia)

4′ Flute (ext Concert Flute)

4′ Gambette (ext Gamba)

4′ Viol Celeste (II – Violes)

2-2⁄3′ Twelfth (ext Tibia)

2′ Fifteenth (ext Gamba)

2′ Piccolo (ext Tibia)

1-3⁄5′ Tierce (ext Tibia)

16′ Corno di Bassetto 73 pipes

8′ Tuba Horn 61 pipes

8′ French Horn 61 pipes

8′ Corno di Bassetto (ext)

8′ Vox Humana † 61 pipes

8′ Tuben (III – Swell)

Tremulant

Variable Tremulant

Solo 16′

Solo Unison Off

Solo 4′

8′ Tuba Magna (15′′ wind) 61 pipes

8′ Grand Harmonic Trumpet (Gallery)

Gallery on Solo

Positive on Solo

† Separate Tremulant – slow p/fast f

POSITIVE (unenclosed–floating) 4′′ wind

8′ Salicional 61 pipes

8′ Lieblich Gedeckt 61 pipes

4′ Salicet (ext) 12 pipes

4′ Lieblich Flute (ext) 12 pipes

2′ Fifteenth (ext) 12 pipes

GALLERY (floating) 5′′ wind

Unenclosed Stops

16′ Double Diapason 12 pipes (ext Diapason No.2)

8′ Open Diapason No.1 61 pipes

8′ Open Diapason No.2 61 pipes

4′ Octave (ext Diap No.2) 12 pipes

Enclosed Stops 

16′ Bass Viol (ext Viola Pomp) 12 pipes

8′ Viola Pomposa 73 pipes

8′ Viola Celeste 73 pipes

8′ Gamba Celeste (II) † 129 pipes

8′ Violin 73 pipes

8′ Violin Celeste 68 pipes

8′ Voix Serénissime (II) † 129 pipes

4′ Violina (ext Viola Pomposa)

8′ Grand Harmonic Trumpet †† 61 pipes

  † Unison 73, Celeste (TC) 56

†† 10′′ wind

PEDAL (enclosed) 5′′–15′′ wind

32′ Open Metal (unenclosed) 32 pipes

32′ Resultant

16′ Open Wood 32 pipes

16′ Open Metal (ext 32′) 12 pipes

16′ Double Open Diapason (Great)

16′ Diaphone (Solo) 12 pipes (ext Phonon Diapason)

16′ Diapason (Gallery)

16′ Violone 32 pipes

16′ Bourdon 32 pipes

16′ Aeoline (Choir)

16′ Bass Viol (Gallery)

16′ Lieblich Bourdon (Sw)

8′ Principal 32 pipes

8′ Bourdon (ext 16′) 12 pipes

8′ Tibia Clausa (Solo)

8′ Violone (ext 16′) 12 pipes

8′ Flute (Great)

8′ Stopped Diapason (Swell)

4′ Fifteenth 32 pipes

4′ Flute (Great)

2′ Mixture mf (IV–V Choir)

32′ Cornet (derived)

32′ Contra Trombone (ext) 12 pipes

16′ Trombone 32 pipes

16′ Posaune (Swell)

16′ Bass Horn (Choir)

8′ Tuba Magna (Solo)

8′ Tromba (ext 16′) 12 pipes

8′ Posaune (Swell)

4′ Octave Tromba (ext 16′) 12 pipes

4′ Corno di Bassetto (Solo)

8′ Pizzicato Bass 

Gallery on Pedal

Positive on Pedal

Schoenstein & Co. Pipe Organ Builders, Benicia, California; Belen Jesuit Preparatory School, Miami, Florida

Building for an unfinished room: The value of experience and documentation

Belen Jesuit Preparatory School was established in 1854 by royal charter of Queen Isabella II of Spain. The school was based in Havana, Cuba, until 1961 when Fidel Castro, an alumnus of Belen, expelled the Jesuits, forcing the school to relocate to Miami. Belen has a long history of rigorous academics and emphasis on the arts. It is no surprise, therefore, that when the school began planning for a new chapel they chose Jorge Hernández, an alumnus of Belen, to be its architect. We were honored to be selected as organ builder for this historic school.

When we set out to design a new organ, almost every job begins with a careful understanding of the client’s musical needs and the room that will house the instrument. An important part of our study is the tonal test where we listen to pipes of varying scale and loudness in the location of the new instrument. This directly impacts how we design the organ to accommodate the acoustic profile of the room. As we began working on the new organ for the Chapel of Our Lady of Belen, however, the building was not yet constructed. Thus, there was no way to test on-site, no way to get a “feel” for the room, and only the architect’s plans to give us a sense of the space.

We therefore obtained every resource we could to get an idea of the new building’s “sound.” The first documents we saw were the architectural drawings, giving us the room’s shape and dimensions. We recommended adding an acoustical engineer to the design team and were pleased when Scott R. Riedel & Associates was selected. They not only influenced the design of the chapel, but also provided us with critical information about how the organ would sound in the finished space. All of this study told us that the chapel would have a resonant acoustic with even sound across the spectrum. The organ would be placed in the rear gallery, speaking directly into the nave.

With a better understanding of how the chapel will look and sound, we studied master scaling, voicing records, and acoustical data from previous organs in similar environments. The school’s music program called for an American-Romantic style with a focus on leading liturgies and accompanying choral singing. Consultant Luis Cuza was very helpful in refining the stoplist based on Belen’s specific needs.

The result, Schoenstein Opus 182, is a three-manual design with evenly proportioned divisions. The Great and Swell are ensembles centered around a variety of 8′ diapason tone. The Swell chorus reeds are English with Willis-style shallots. In the Choir we paired a Bourdon with our Salicional (an echo principal), drawing inspiration from the French Fonds doux. The Belen organ also features the Tuba Ignati, a special solo reed that carries a full-bodied sound with lots of French brilliance.

Of particular note is the large, independent Pedal division—a luxury for a modest-sized organ! Contained therein is a set of three independent diapasons at 16′, 8′, and 4′. These stops allowed us to scale the diapasons for all four divisions with fewer stops having to fulfill multiple musical roles. The large-scale 8′ Principal in the Pedal anchors the whole organ and lets the 16′ Open Wood provide rich, warm bass tone. The 4′ Choral Bass is then scaled to add clarity with a uniform timbre across its compass. A Tromba and Chalumeau offer more variety and French-flavored fire to the division, leaving the 32′ and 16′ reeds enclosed for maximum flexibility.

The Chapel of Our Lady of Belen was opened in the summer of 2022, and we began installing the organ immediately after the opening. We were pleased that the new organ required minimal on-site adjustments. The chapel provides a warm, ringing acoustic well-suited to the organ, and we were happy to hear our design choices fit well in the new space.

All of the work done to make this new organ is now filed away where it can help guide us again on future projects. This information has proven invaluable to us in jobs of every kind. Even for the more “normal” project, where our tonal test gives a wealth of information, we rely heavily on documentation of previous instruments. We have found these records plus experience is of great value.

We were fortunate to work with a talented team at Belen led by the Reverend Guillermo García-Tuñón, president; Jonathan Sánchez, music minister; and Ricardo Echeverria, executive director of facilities. Luis Cuza and Joanne Schulte served as organ consultants. The organ was dedicated in a recital by Nathan Laube on March 5, 2023, as the final performance of the Miami Winter Organ Festival. As the music program and school continue to expand, we hope this new organ, housed in a beautiful new chapel, will inspire young students for generations to come.

—Bryan Dunnewald

Schoenstein & Co.

Builder’s website: schoenstein.com

School’s website: www.belenjesuit.org

GREAT (Manual II)

16′ Contra Viole 61 pipes

8′ First Open Diapason 61 pipes

8′ Second Open Diapason 61 pipes

8′ Harmonic Flute 61 pipes

8′ Viole (ext Contra Viole) 12 pipes

8′ Bourdon (Choir)

4′ Principal 61 pipes

4′ Silver Flute (Choir)

2′ Fifteenth 61 pipes

1-1⁄3′ Mixture (III–IV) 187 pipes

8′ Tuba Ignati (Choir)

8′ Trumpet (Swell)

SWELL (Manual III – Enclosed)

16′ Lieblich Bourdon 12 pipes (ext Stopped Diapason)

8′ Horn Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Gamba 61 pipes

8′ Gamba Celeste 61 pipes

4′ Principal Conique 61 pipes

4′ Harmonic Flute 61 pipes

2′ Fifteenth 12 pipes (ext Principal Conique)

16′ Contra Posaune 61 pipes

8′ Trumpet 61 pipes

8′ Posaune 12 pipes (ext Contra Posaune)

8′ Oboe 61 pipes

Tremulant

Swell 16

Swell Unison Off

Swell 4

8′ Tuba Ignati (Choir)

CHOIR (ManuaI I – Enclosed)

8′ Bourdon 61 pipes

8′ Salicional 61 pipes

8′ Unda-Maris (TC) 49 pipes

4′ Silver Flute 61 pipes

4′ Salicet 12 pipes (ext Salicional)

2-2⁄3′ Nazard (TC) 42 pipes

2′ Harmonic Piccolo 61 pipes

1-3⁄5′ Tierce (TC) 42 pipes

8′ Tuba Ignati 61 pipes

8′ Corno di Bassetto 61 pipes

Tremulant

Choir 16

Choir Unison Off

Choir 4

Cymbelstern

PEDAL

32′ Resultant

16′ Open Wood 32 pipes

16′ Contra Viole (Great)

16′ Lieblich Bourdon (Swell)

8′ Principal 32 pipes

8′ Horn Diapason (Swell)

8′ Flute (Great Harmonic Flute)

8′ Viole (Great)

8′ Bourdon (Choir)

4′ Choral Bass 32 pipes

4′ Flute (Great Harmonic Flute)

32′ Contra Posaune(ext Swell) 12 pipes

16′ Contra Posaune (Swell)

8′ Tromba 32 pipes

8′ Tuba Ignati (Choir)

4′ Chalumeau 32 pipes

COUPLERS

Great to Pedal

Great to Pedal 4

Swell to Pedal

Swell to Pedal 4

Choir to Pedal

Choir to Pedal 4

Swell to Great 16

Swell to Great

Swell to Great 4

Choir to Great 16

Choir to Great

Choir to Great 4

Swell to Choir 16

Swell to Choir

Swell to Choir 4

Choir to Swell

SPECIAL COUPLERS

Manual I/II Transfer

All Swells to Swell

MECHANICALS

Solid-state capture combination action:

5,000 memories

52 pistons and toe studs

15 reversibles 

Programmable piston range

Piston sequencer

Record/Playback system

 

30 voices, 33 ranks, 1,833 pipes

Electric-pneumatic action

 

Photo credit: Louis Patterson

Quimby Pipe Organs, Inc., Warrensburg, Missouri; First United Methodist Church, Athens, Georgia

First United Methodist Church of Athens, Georgia, is home to the newest instrument by Quimby Pipe Organs, Inc., of Warrensburg, Missouri. The four-manual, 68-rank pipe organ, Opus 77, was created through the collaboration of Michael Quimby, president and tonal director, and T. Daniel Hancock, former president and designer, Quimby Pipe Organs; James F. Mellichamp, president and professor of music, Piedmont College, Athens, Georgia, consultant; Stephen Mitchell, director of music; and Janis Maxwell, organist.

The instrument is designed primarily to fulfill its first job of leading worship and then to serve a variety of musical functions. The tonal design is not intended to copy any one particular school or period of organbuilding; however, Michael Quimby does draw his inspiration from the great builders of the past, such as Aristide Cavaillé-Coll, Father Willis, Ernest M. Skinner, and the Aeolian-Skinner Organ Company, as well as renowned English organbuilder T. C. Lewis, among many others. His goal is to build an instrument with its own identity and character that will embrace the needs of the client and to provide an instrument that not only serves as a recital instrument but can also be used in the wide variety of musical genres found in the worship practices of the twenty-first century.

The tonal concept of this instrument was carefully conceived and notably avoids the redundancies that are often found in large organs. Each stop is designed and voiced to provide sounds that not only work well within the ensemble but are also intriguing and beautiful on their own, making the organ tonally diverse, while at the same time cohesive and easy to register.

The instrument is unusual in a number of ways. First, it has four enclosed divisions. Second, the 32′ and 16′ Pedal reed stops and all other manual 16′ reeds are full length. Third, the instrument contains certain features of the symphonic style of organ that were sought after in the late nineteenth and early twentieth centuries. Michael Quimby and his team have striven to play a leading role in reviving and developing this style of building over the last two decades. Fourth, departing from the symphonic tradition, each division of the instrument, excluding the Solo, contains a completely developed Diapason chorus. This has proven to increase the versatility of the instrument in classical, romantic, and symphonic styles of music. One thing that sets these Diapason chorus ranks apart is the unusual use of substantial metal thicknesses incorporating antimony and trace elements for stability. Over the last twenty-five years Quimby Pipe Organs has discovered that using thicker metal allows the pipework to be voiced to its full potential—for stability in pipe speech and achieving the optimum in harmonic development.

Another feature is the chorus of trumpets and orchestral reeds, including the Tuba, French Horn, Oboe, English Horn, and Corno di Bassetto, all voiced by head reed voicer, Eric Johnson. Of particular interest are two contrasting solo reeds, the Tuba in the Solo division and the Hooded Trumpet in the Antiphonal division, voiced on twenty inches wind pressure and ten inches wind pressure, respectively. Over his many years of study Eric has developed a technique and sound that sets him apart as one of the premier reed voicers in the world today.

Mechanically, Quimby instruments feature the use of our version of the Blackinton slider windchest, distinguished by a pneumatic pallet design and absence of slider seals, allowing for the flue pipes in each division to speak without the “explosive attack” experienced by individual valves since each note shares a common note channel with the other ranks. The reed ranks, Solo, Pedal, and offset pipes are on electro-pneumatic, pouch-style windchests.

As with most instruments, the console is seen as the crown jewel of the installation. Made of solid mahogany, in the Aeolian-Skinner style, with walnut drawknob jambs, coupler rails, and accents, the console incorporates the Virtuoso control system, provided by Integrated Organ Technologies of Alpharetta, Georgia. The solid mahogany case, designed by T. Daniel Hancock, and built by Southern Elegance Custom Cabinetry of Crawford, Georgia, incorporates design features from both the existing grillwork and the sanctuary, achieving an aesthetically elegant display. Located in the twin chancel façades are notes 1–21 of the Great 16′ Double Open Diapason and notes 1–12 of the Pedal 8′ Octave.

It is with great gratitude that Quimby Pipe Organs wishes to thank all of those at First Methodist who made their stay in Athens an enjoyable one: Chuck Hodges, senior pastor; Dave Walton, business administrator; Bob Winstead, executive director of administration and project manager; Steven Mitchell, director of music; Janis Maxwell, director of youth music; Ron Young, facilities manager; and all those in the congregation who showed the love of Christ by supplying treats and meals throughout the installation.

On Sunday, August 1, Joe Russell, a student of both Alan Morrison of the Curtis Institute of Music and Ken Cowan of Rice University, began his tenure as associate director of music ministries and organist. Bradley Welch played the inaugural recital on Sunday, August 29, after a one-year delay due to Covid restrictions. The recital was live-streamed and is available on the church’s website: athensfirstumc.org/.

Current associates of Quimby Pipe Organs, Inc., who took part in the construction and installation of this instrument include Michael Quimby, Eric Johnson, Chris Emerson, Dan Sliger, Brian Seever, Chuck Ford, Chirt Touch, Anthony Soun, Bailey Tucker, Mahoney Soun, Joseph Nielsen, Kevin Kissinger, Ruth Anne Parrott, Dwight Parrott, Joe Lambarena, and Jim Schmidt.

—Chris Emerson, Administrative Assistant, and Daniel Sliger, Project Lead

 

Builder’s website: quimbypipeorgans.com/

Church’s website: athensfirstumc.org/

 

Cover photo: Chris Emerson

Other photos: Chris Emerson and Daniel Sliger

 

Quimby Pipe Organs, Inc.

208 Marshall Street, P. O. Box 434

Warrensburg, MO 64093

GREAT–Manual II, unenclosed

16′ Double Open Diapason 61 pipes

8′ Open Diapason 61 pipes   

8′ Hohl Flute 61 pipes

8′ Violoncello 61 pipes

4′ Octave 61 pipes

4′ Stopped Flute 61 pipes

2-2⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

1-3⁄5′ Seventeenth 61 pipes

1-1⁄3′ Mixture IV 244 pipes

16′ Double Trumpet (Swell)

8′ Trumpet 61 pipes

8′ Tuba (Solo)

8′ Tromba (Pedal)

8′ Hooded Trumpet (Antiphonal)

Chimes 25 tubes

Great to Great 16-UO-4

SWELL–Manual III, enclosed

16′ Contra Gamba 73 pipes

8′ Open Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Viola da Gamba (ext 16′ Contra Gamba)    

8′ Voix Celeste (CC) 61 pipes

4′ Octave 61 pipes

4′ Harmonic Flute 61 pipes

2′ Super Octave (from Mixture IV–V)

2′ Mixture IV–V 252 pipes

16′ Double Trumpet 61 pipes

8′ Trumpet 61 pipes

8′ Oboe 61 pipes

4′ Clarion 61 pipes

Tremolo

Swell to Swell 16-UO-4

CHOIR–Manual I, enclosed

16′ Gedeckt 73 pipes

8′ Geigen Diapason 61 pipes

8′ Chimney Flute (ext 16′ Gedeckt)

8′ Erzähler 61 pipes

8′ Erzähler Celeste (TC) 49 pipes

4′ Principal 61 pipes

4′ Night Horn 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Flageolet 61 pipes

1-3⁄5′ Tierce 61 pipes

1′ Mixture III–IV 191 pipes

16′ Contra Fagotto 73 pipes

8′ Fagotto (ext 16′ Contra Fagotto)

Tremolo

8′ Corno di Bassetto (Solo)

8′ Tuba (Solo)

8′ Hooded Trumpet (Antiphonal)

Choir to Choir 16-UO-4

SOLO–Manual IV, enclosed

8′ Harmonic Flute 61 pipes

8′ Gamba 61 pipes

8′ Gamba Celeste 61 pipes

8′ Corno di Bassetto 61 pipes

8′ English Horn (GG) 56 pipes

8′ French Horn 61 pipes

Tremolo

16′ Double Trumpet (Swell)

16′ Contra Fagotto (Choir)

8′ Fagotto (Choir)

8′ Tuba 61 pipes

8′ Tromba (Pedal)

8′ Hooded Trumpet (Antiphonal)

Solo to Solo 16-UO-4

Chimes (Great)

ANTIPHONAL–Manual IV, enclosed

8′ Open Diapason 61 pipes

8′ Lieblich Gedeckt 61 pipes

8′ Flauto Dolce 61 pipes

8′ Flute Celeste (TC) 49 pipes

4′ Octave 61 pipes

2′ Fifteenth 61 pipes

Tremolo

8′ Hooded Trumpet 61 pipes

8′ Tuba (Solo)

Antiphonal to Antiphonal 16-UO-4

PEDAL–10 ranks, unenclosed

32′ Double Open Wood Diapason (Resultant, 10-2⁄3′ stopped pipes and 16′ Open Wood) 12 pipes

32′ Contra Bourdon 56 pipes

16′ Open Wood Diapason 44 pipes

16′ Open Metal Diapason (Great)

16′ Bourdon (ext 32′ Contra Bourdon)

16′ Violone 44 pipes

16′ Gedeckt (Choir)

16′ Contra Gamba (Swell)

8′ Open Bass (ext 16′ Open Wood)

8′ Octave 44 pipes

8′ Bourdon (ext 32′ Contra Bourdon)

8′ Violone (ext 16′ Violone)

8′ Erzähler (Choir)

8′ Gedeckt (Choir)

4′ Super Octave (ext 8′ Octave)

4′ Solo Flute 32 pipes

2-2⁄3′ Grave Mixture II 64 pipes

1-1⁄3′ Sharp Mixture II 64 pipes

32′ Contra Trombone 85 pipes

32′ Harmonics VII (derived)

16′ Trombone (ext 32′ Contra Trombone)

16′ Double Trumpet (Swell)

16′ Contra Fagotto (Choir)

8′ Trombone (ext 32′ Contra Trombone)

8′ Trumpet (Swell)

8′ Fagotto (Choir)

8′ Oboe (Swell)

8′ Clarion (ext 32′ Contra Trombone)

8′ Fagotto (Choir)

8′ Tuba (Solo)

ANTIPHONAL PEDAL–1 rank, enclosed

16′ Bourdon 44 pipes

8′ Octave (Antiphonal 8′ Open Diap)

8′ Bourdon (ext 16′ Bourdon)

 

Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Solo to Pedal 8

Solo to Pedal 4

Antiphonal on Pedal 8

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Solo to Great 16

Solo to Great 8

Solo to Great 4

Antiphonal on Great 8

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Solo to Choir 16

Solo to Choir 8

Solo to Choir 4

Great to Choir 8

Pedal to Choir 8

Antiphonal on Choir 8

Solo to Swell 16

Solo to Swell 8

Solo to Swell 4

All Swells to Swell

Combination Action

Great Organ divisional pistons 1–8

Swell Organ divisional pistons 1–8

Choir Organ divisional pistons 1–8

Solo Organ divisional pistons 1–8

Antiphonal Organ divisional pistons 1–8

Pedal Organ divisional pistons 1–8 and 1–8 toe studs

General Pistons 1–12 (duplicated on toe studs) and 13–18 pistons only

Next Piston Sequencer: 3 pistons and 1 toe stud

Previous Piston Sequencer: 3 pistons and 1 toe stud

Set Piston

General Cancel Piston

Crescendo & Expression

General Crescendo pedal, 60 positions, three adjustable and one standard

Swell expression pedal

Choir expression pedal

Solo expression pedal

Antiphonal expression pedal

Reversibles

Great to Pedal - thumb and toe paddle

Swell to Pedal - thumb and toe paddle

Choir to Pedal - thumb and toe paddle

Solo to Pedal - thumb and toe paddle

Swell to Great - thumb and toe paddle

Choir to Great - thumb

Swell to Choir - thumb

32′ Contra Bourdon - thumb and toe paddle

32′ Contra Trombone - thumb and toe paddle

Sforzando - thumb and toe paddle

Manual Transfer - thumb and indicator light

Summary

Great Organ 14 ranks

Swell Organ 15

Choir Organ 14

Solo Organ 7

Antiphonal Organ 7

Pedal Organ 10

Antiphonal Pedal Organ 1

 

Total number of ranks 68

Total stops 97

Total pipes 3,867

The First Church, UCC, Nashua, New Hampshire

Austin Organs, Inc., Hartford, Connecticut, Opus 1406

From the Minister of Music and Consultant

When I was appointed Minister of Music in 2008, the organ was to be on the docket for a long-anticipated restoration early in my tenure. Upon learning about the vision for this instrument that was started under Dr. Robin Dinda, FAGO, in the early 1990s, two things were clear: the Young Memorial Console built by Austin in 1996 prepared the organ for significant expansion, and a new floating Solo division was to be part of this vision.

Over the years, attempts were made to undo tonal changes from the 1970s and 1980s (primarily light upperwork in the Great), which sacrificed some of the instrument’s most beautiful original softer stops. At some point in the past two decades, the original enclosed Great 8′ Gemshorn (once stored inside the organ casework) disappeared, as well as the original 8′ Harmonic Tuba. A significant, but somewhat misguided change to the entire Great division in the early 2000s continued to take the instrument away from its original symphonic roots. The “return” to these 1926 roots ultimately became the basis for our church’s $2.3 million Capital Campaign for Ministry, Music, and Mission in 2014.

This vision would be to restore the organ to its 1926 tonal specification and nomenclature and add new upperwork, scaled and voiced in typical 1920s Austin character. The original tonal design had no mixtures or mutations and only one 2′ stop (in the Swell). The existing stewardship of our 1996 three-manual console guided us in adding the prepared floating Solo division, with an eye toward more liturgical function rather than tonal tradition. In effect, we now have a III/47 versatile main instrument, with a 13-rank Solo (with two composite stops) bringing the total rank count to 60—an instrument easily suited for four manuals, but keeping former stewardship and sightline considerations in check for a three-manual console, with many options.

The Solo was designed with double-sided nave and chancel sets of swell shades. This allows use of the Solo division not only as a powerful solo voice (or part of the greater organ ensemble) but also adds the possibility of accompanying a choir from that area of the sanctuary with closed shades and Pedal stop additions. Consequently, the new division also assists our 5-octave bell choir, through a tonal reference closer to their placement in the church.

Austin concentrated on securing Austin (or similar) pipework from the original era, and where vintage pipes could not be sourced, Austin provided new pipework made to patterns Austin used in the 1920s. As a result, we have a thrilling instrument with a 21st-century eye towards its 1926 heritage—an impressive, warm sound over six divisions, and one of the most flexible accompanying instruments in Northern New England. Four celestes (three string and one flute) add wonderful warmth. Original color stops like the Vox Humana and vintage Harp (and classic fan tremulants) deliver sounds of yesteryear. The organ features complete string, flute, and diapason ensembles, with reeds (some independent and some unit treatments), and has retained the original two full-length 16′ reeds under expression! The versatility of the instrument is astounding, especially when one utilizes sub/super-coupling and unisons off. The return of 23 ranks of extension octaves (73 notes) provides a thrilling shimmer that can compete with the best of Boston’s local craze with Skinner and Aeolian-Skinner.

Two of the organ’s returned softest stops, the Swell 8′ Echo Salicional, (1930 Midmer-Losh) and the Enclosed Great 8′ Gemshorn  (1925 Austin) have added sensitive softer dynamics, which now allow the instrument to offer every variation from ppp to ffff. Masterful tonal finishing led by Daniel Kingman, Austin’s senior voicer and associate tonal director, truly kept everything warm, lush, and never shrill. Full organ never “screams.” Additions to the instrument include the three-rank Solo Vox Seraphique (15th, 17th, 19th), a 1924-vintage harmonics stop that is designed to pair with the Major Gamba and Celeste to create a unique shimmer and color combination; this is a rare effect found in perhaps only a very small handful of instruments. The large-scaled Mounted Cornet IV in the Solo is designed to pair with the Solo’s Doppelflute, and also pairs with the new linen-lead pattern, leather-lipped Grand Diapason on the Open Great. This near-Stentorphone color alone fills the room with a sound long forgotten (and greatly misunderstood) in the days of American Classic and Neo-Baroque revival.

Complex “borrows” of stops, either as new divisional extensions, or in the Pedal, add amazing variations to registration. Cross-coupling of the Enclosed Great and Choir (to the Choir and Swell respectively) allows a flexibility unparalleled for an organ of this size. The mechanics are truly an engineering marvel, and every ounce of possibility was brought out of this instrument’s re-design, thanks to collaboration with the Austin staff.

I am privileged to sit at this console every week and was truly honored to serve as the principal consultant for this important and historic work. Thanks are due in particular to Charles Morris who acted as the church’s representative. The team at Austin was accommodating of nearly anything asked of them. The extension of the case and grillework for the new Solo division truly looks like it has always been in the sanctuary. The resulting instrument thrills congregation, recitalists, and audiences alike. By offering a minimum of seven public programs featuring the Anderson Memorial Organ annually on our First Music Concert Series, the organ’s voice is widely heard in this region and has garnered much regional attention, in print and on television—as the most significant organ project in the state of New Hampshire in a decade. It is an honor to be at the helm of this historic ministry, now with an instrument that will continue to praise God for generations to come. Soli Deo Gloria.

—Joseph R. Olefirowicz, CAGO

Minister of Music

Principal Organ Consultant

From the Builder

On our preliminary visit to the church, we were introduced to an instrument built by Austin some 90 years previous that was barely an echo of what had been installed. The contract was signed on December 19, 1925, with promised completion by September 1, 1926. By today’s standards, this timeframe would be unheard of, since a 3-manual, 42-stop instrument would surely require a minimum of 16 to 24 months. In 1925, however, the company was in the epoch of its greatest production, shipping nearly two organs per week. This contract was signed on behalf of Austin by Elisha Fowler of Boston, formerly of the Hutchings Company, but since 1919 served as New England (and later Midwest) sales representative for Austin. Also a seasoned tonal designer, Mr. Fowler likely had strong influence in drawing up the tonal specification for this organ. One interesting element in the contract stated that:

The Austin Organ Company hereby guarantees tonal satisfaction to Mrs. Frank Anderson, donor; Earl F. Nauss, minister; and Maurice Hoffman, organist; and agrees to exchange any and all pipes which do not satisfy and to continue to do so until results satisfactory to the committee named have been attained.

Perusing the files, no pipes appeared to have been returned by order of the committee; a happy circumstance that must have caused sighs of great relief in Hartford!

The organ was initially scaled rather heroically on wind pressure of seven inches water column. The Great Principal Diapason was 40 scale (nearly 6¾ inches diameter at bottom C). There was an accompanying “Small Diapason” of 46 scale, which is a scale that would be typical of instruments built in the late 1960s to 1970s. A revision in March of 1926 shows that the Principal Diapason bass was changed to 43 scale and the Small Diapason to 49 scale. This would be more in keeping with other similar instruments of the time in typical rooms. In today’s thinking, the 43 scale/17th ratio is typical of German Normalmensur, while the 49-scale Diapason (with a narrow mouth) is typical of a Violin Diapason and would be a bit more incisive. Likewise, the Swell Diapason bass was changed from 40 scale to 43. This provided the power and color in the manual range, without excessive heaviness in the pedal; it also consumed less windchest real estate.

The tonal palette of this instrument was certainly typical for the era and boasted a plethora of fundamental stops; absent were mixtures or mutations. Similar organs of the period—for example, Opus 1409 at St. John’s Episcopal Church in Bridgeport, Connecticut, an instrument of 75 stops—boasted upperwork and a full set of independent mutations in the Swell, including a Nazard, Flautina, Tierce, Septieme, and Twenty Second. (An interesting side note, this organ appears to be the first instance found of an Austin with double expression—a box within a box—in the Swell department.) Mixtures were found in several instruments of the period, but usually confined to the Swell Organ. A notable exception is Austin Opus 1416, for the Sesquicentennial Exposition, built in 1926. At 162 ranks—it was for many generations the largest pipe organ built by Austin under a single contract. Each of the principal divisions has multiple ranks of mixtures; and of course, reed choruses, flute choruses, strings, mutations, etc.

Armed with this history, we surveyed the condition of this venerable instrument in Nashua. The organ had been a victim of several attempts at “tonal modernization” over the years. Diapasons had been removed and replaced with lighter-scaled pipework; a rather large mixture was added to the Great; and the Tuba was removed and replaced with a poorly recycled supply-house Trumpet. Also, the enclosed divisions had several stops removed, altered, or replaced entirely with random pipework. Many hours of discussion were spent attempting to recreate, or frankly create a new tonal specification that would echo the vision for this instrument, as if a time machine had transported us back to 1926, but with greater resources available, such as were reserved for larger instruments as mentioned above.

The result of fraternal collaboration between Joseph Olefirowicz and the Austin staff was to create a tonal design that could have been lifted from Austin’s archives. The overall limit of the “new” specification was perhaps a bit exhaustive, but the result is an extremely versatile instrument with amazing tonal variety and possibilities.

In our grand scheme, a significant addition was the inclusion of a new Solo division. There was space allowed on the 1996 console, and we were offered the possibility of utilizing a pass-through storage area located on the far right of the organ case. To transform this space into an organ chamber would require the construction of some new casework with additional tone openings. The existing organ has some unique carving that resembles vines within its openings. We scanned images of this casework and created a CAD file that was turned into magnificent scaled panels identical to the original. The Solo was voiced to speak on 10 inches wind pressure, typical of the era, which required the installation of an additional blower. To accommodate this requirement, we pulled a vintage Spencer blower from our inventory and sent it back to the factory for refurbishment and a new motor equipped with a variable frequency drive controller.

Upon completing the design phase, reality struck a severe chord when the actual challenge of building this instrument necessitated sourcing the required pipes to achieve the desired result. In some cases, it was as simple as making (or finding) an octave or a few pipes to restore scaling; many of the 73-note extension octaves had been lost to time, but happily we were able to source replacements for all of those lost from vintage inventory. In other cases we required complete stops; many were procured from Austin’s inventory. Some stops were new manufactured pipes made to vintage Austin patterns. An example is the 8′ Bassoon in the Great.  While perhaps not typical of the time, there was a desire and need for a lighter chorus reed in the exposed division. This particular pattern was originally used in Opus 1010 (c. 1921 in the Eastman Theatre, Rochester New York) and also in Opus 1109 (1922, at the Cincinnati Music Hall). The original patterns were located in our archive and used for this instrument. Likewise, vintage patterns likely used for the original pipes in 1926 were used for the replacement Tuba in the Great. Conversely, we chose a vintage E. M. Skinner pattern for the Solo Tuba—for variety of dynamic and color. The Solo English Horn was sourced from vintage inventory, a 1924 Austin instrument.

We feel that this instrument embodies not only the 1920s tonal concepts, as detailed herein, but Austin’s design paradigm—a concept we refer to as Symphonic-Liturgical Tonal Design

It is arguable that the most advanced form of musical expression we celebrate today is the symphony orchestra. It is a comprehensive and versatile entity. Evidence of this fact is provided by reviewing any concert program. On any given evening, one can encounter a most sublime movement from Ravel; just a moment later, the terrific thunder crash of a powerful Wagnerian overture! These variations in repertoire, dynamic, and emotion are all delivered by the same performers and the same instruments. In much the same way, a well-designed tonal palette in an organ capable of supporting these timbres and styles gives an organist the ability to perform with similar flexibility.

Why do we consider this ability to be important?

The pipe organ in church today must bridge the gap between traditional solo organ literature, liturgical accompaniment, choral support, and yet have the ability to perform contemporary accompaniment and literature. One can only imagine where the next trend might lead! The tone of the instrument must be pleasing—but not that alone—for the instrument must be capable of fulfilling its role in the liturgy. In summation: the organ must be extremely versatile and able to be play almost any literature, and the organ’s tonality also has to be outstanding in its conceptualization, voicing, and disposition.

We feel that the Austin organ is built of the most solid construction to support the extra demands placed on a symphonic organ. Our design (the famed Austin Universal Airchest System) assures the church of steady wind, ease of maintenance, and maximum utilization of available space. We strive to build the most comfortable organ consoles with the finest control systems available.

The sound of an Austin organ plenum (tonal ensemble) is unique. To achieve our desired level of warmth and simultaneous transparency requires not only our specific style of voicing, but very close attention to pipe scaling, regulation, and of great importance, explicit confidence in our Austin Universal Airchest System.

Celebrating 125 years of pipe organ building experience, and our dedicated staff comprising one of the oldest pipe organ factories in the country; we are ready to build one of the finest instruments possible, and then provide ongoing support and service.

—Michael Fazio

President & Tonal Director

Austin Organs, Inc.

Austin team members involved with Opus 1406 renovation:

Raymond Albright

Michael Chiradia

Bruce Coderre

Colin Coderre

Jacob Dowgewicz

Michael Hart

Curt Hawkes

Victor Hoyt

Dan Kingman

Rafael Ramos

David Secour

Stewart Skates +

Richard Taylor

Tony Valdez

Anne Wysocki

Mike Fazio

GREAT ORGAN (* = enclosed Great)

16′ Major Diapason 73 pipes

8′ Grand Diapason 73 pipes

8′ Principal Diapason 73 pipes

8′ Small Diapason (ext) 12 pipes

8′ Flauto Major (Ped 16′ Dia) 41 pipes

8′ Violoncello * 73 pipes

8′ Gemshorn * 73 pipes

8′ Bourdon * 73 pipes

8′ Flute Celeste (Ch)

8′ Unda Maris (Ch)

4′ Octave 73 pipes

4′ Principal * 73 pipes

4′ Harmonic Flute * 73 pipes

22⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

IV Fourniture (19-22-26-29) 244 pipes

16′ Tuba * (ext) 12 pipes

8′ Harmonic Tuba * 61 pipes

8′ Bassoon 73 pipes

4′ Clarion * (ext) 12 pipes

Harp (Ch)

Chimes 25 tubes

Tremulant *

SWELL ORGAN

16′ Bourdon 73 pipes

8′ Open Diapason 73 pipes

8′ Rohr Flute 73 pipes

8′ Viole D’Orchestre 73 pipes

8′ Viole Celeste (TC) 61 pipes

8′ Echo Salicional 73 pipes

4′ Fugara 73 pipes

4′ Flauto Traverso 73 pipes

4′ Violina (ext)

22⁄3′ Nasard 61 pipes

2′ Flageolet 61 pipes

13⁄5′ Tierce 61 pipes

III Mixture (15-19-22) 183 pipes

16′ Contra Posaune 73 pipes

8′ Tuba Mirabilis (Solo)

8′ Cornopean 73 pipes

8′ Oboe 73 pipes

8′ Vox Humana 61 pipes

Tremulant

CHOIR ORGAN

16′ Quintade (ext) 12 pipes

8′ Geigen Principal 73 pipes

8′ Concert Flute 73 pipes

8′ Flute Celeste (TC) 61 pipes

8′ Dulciana 73 pipes

8′ Unda Maris (TC) 61 pipes

8′ Quintadena 73 pipes

4′ Geigen Octave (ext)

4′ Flute D’Amour 73 pipes

2′ Piccolo 61 pipes

11⁄3′ Larigot 61 pipes

16′ Tuba (Gt)

8′ Harmonic Tuba (Gt)

8′ Clarinet 73 pipes

4′ Tuba Clarion (Gt)

Harp (Austin) 61 bars

Chimes (Gt)

Tremulant

SOLO ORGAN

8′ Doppelflute 73 pipes

8′ Major Gamba 73 pipes

8′ Gamba Celeste 73 pipes

4′ Flute Ouverte 73 pipes

4′ Gambette (ext) 12 pipes

4′ Gambette Celeste (ext) 12 pipes

III Vox Seraphique (15-17-19) 183 pipes

IV Mounted Cornet (TC) (8-12-15-17) 196 pipes

8′ Cor Anglais 73 pipes

8′ Tuba Mirabilis 73 pipes

Tremulant

Nave Shades Off

Chancel Shades Off

PEDAL ORGAN

32′ Diapason (Resultant)

32′ Bourdon (Resultant)

32′ Lieblich Gedeckt (Resultant, Sw)

16′ Open Diapason 32 pipes

16′ Violone (Gt)

16′ Bourdon 32 pipes

16′ Flute Bass (ext, Solo) 12 pipes

16′ Quintaten (Ch)

16′ Lieblich (Sw)

8′ Octave (Gt)

8′ Major Flute (Solo)

8′ Gross Flute (ext 16′ Diap) 12 pipes

8′ Flauto Dolce (ext 16′ Bdn) 12 pipes

4′ Super Octave (Gt)

4′ Flute (Sw)

32′ Grand Cornet (Resultant)

16′ Tuba (Gt)

16′ Posaune (Sw)

8′ Tuba Mirabilis (Solo)

8′ Harmonic Tuba (Gt)

4′ Clarion (Gt)

Chimes (Gt)

Pedal to Pedal 4

EXPRESSION PEDALS

Choir/Enclosed Great

Swell

Solo

Register Crescendo

CONTROLS

999-levels of memory

Bridal signal (HCTB)

Clock

Continuo

“Go-to” function

Manual Transfer

Piston sequencer

Playback

Transposer

Ventil (mixtures)

Ventil (reeds)

Builder’s website: http://austinorgans.com

Church’s website: tfcucc.org

Photo credit: Len Levasseur