Cover Feature

Buzard Pipe Organ Builders, Champaign, Illinois; Pilgrim Lutheran Church, Carmel, Indiana, Opus 45, 2017; Central United Methodist Church, Fayetteville, Arkansas, Opus 46, 2018–2019

Opus 45

“What have you done here!?,” asked Todd Wilson as he leapt off the organ bench to greet me the day before Opus 45’s dedication. Hoping this was a friendly question, I asked to what exactly he was referring. “This organ just about plays itself!” Yes, it was a very friendly question and a complimentary one—even better.

What Mr. Wilson was referring to speaks to the heart of our organs’ playing mechanisms. Opus 45 was the first of our new organs in which our proprietary “Pallet Unit Chests” were used alongside our electrically operated slider and pallet windchests. More about this later. 

Pilgrim Lutheran Church’s new long-hoped-for campus became a reality upon sale of their previous facility, the land being needed for a new entrance ramp to I-465. Early during their planning process, the organ committee selected Buzard Pipe Organ Builders for the instrument, and their architect, Jack Munson of Indianapolis, Indiana, asked us for dimensional and acoustical specifications. Imagine my delight and surprise when nearly ten years later Pilgrim Church’s cantor, Sarah Gran-Williams, called to tell me they were “ready for the organ!” And, imagine my further delight to discover Jack Munson had followed all of our recommendations, producing an intimate but lofty room, featuring four seconds of even reverberation, a nearly silent HVAC system and a perfect space for the organ case, choir, piano, and organ console!

The instrument at Pilgrim Lutheran Church in Carmel, Indiana is the 45th new pipe organ built by Buzard Pipe Organ Builders of Champaign, Illinois. It comprises 31 independent speaking stops and 37 ranks of pipes, distributed across two manual keyboards and the pedal keyboard. The instrument is housed in a free-standing case made of poplar, red oak, and walnut measuring 24 feet wide, 12 feet deep, and 35 feet tall. It was designed in concert with the building’s Prairie style architecture; every shape, line, and element of the room’s design is present in the organ case. 

The Great and Pedal divisions are located in the top level of the case. The Swell division is placed in the center above the impost. The lower level contains the winding and mechanical systems and the Pedal 16′ Trombone. The blower and static reservoir are installed in a room located away from the sanctuary. The upper façade comprises polished tin pipes from the Great 8′ Open Diapason; the copper Festival Trumpets bisect the case in its center; the lower façade and two towers feature pipes from the Pedal 16′ Open Diapason beginning at low E (low C through D# are made of wood and lie horizontally behind the case) and the 8′ Pedal Principal.  

We housed the color stops of the Great division in an expression box to provide additional expressive quality and accompanimental flexibility to this two-manual organ. Throughout our history we have tried to be “Traditional Visionaries” in situations in which space or financial resources were limited, resulting in subdivided Swell and Great divisions. This technique, originally utilized to overcome limitations, is becoming more a hallmark of our tonal style, in which equal emphasis is placed upon musical rendering of solo literature, accompanying, and congregational singing.

Buzard organs are custom designed, scaled, and voiced for each individual congregation’s musical tradition and acoustical environment. This means they differ one from another in execution, but an unmistakable musical thread runs through every Buzard pipe organ. The stop names are consistent from organ to organ, but the scaling and voicing of each is entirely determined by the specific circumstances that impact the creation.  In this way, Buzard organs are works of functional art, designed and crafted to each and every client’s identity, while at the same time demonstrating a consistent personality of tone quality and artistic style.

This instrument honors its Lutheran patrimony by a slightly brighter outlook in the Principal choruses, inclusion of a German Romantic Clarinet and Oboe, and the slightly lighter 16′ Pedal registers. But it is a Buzard organ through and through in the enveloping warmth and majesty of Full Organ, its delicacy and sensitivity of tone in softer registrations, and its thrilling Swell reed battery. It has been called “a cathedral organ in a parish church.”

Back to Mr. Wilson’s observation of the playing actions. Buzard organs use electrically operated slider and pallet windchests to eliminate leather, providing an action that encourages sophisticated tonal results and stable tuning. Beginning with Opus 45, our organs’ unit stops (stops which play in multiple locations or at multiple pitches) and Pedal stops are played on actions identical to the slider chests—but without the slider stop actions. Our “Pallet Unit Chests” provide a key-channel expansion chamber for the wind for every pipe, just as the main slider chests, and they utilize identical magnets as the slider chests to open the unit chests’ pallets, giving the unit stops the exact same speech and repetition characteristics as the main slider chests. We are pioneers in the development of sensitive and responsive electric key actions. One can truly feel the difference; the musical result is palpable.

Our pipes are made of thick, high tin-content pipe metal (as well as wood and copper) rather than zinc. We support them in felt-lined traces and European racking systems that prevent the pipes from collapsing and further firms the tone produced. Additional support for the large façade pipes is provided by lining the interior of the feet with copper.  Although far more expensive than the metal zinc, we believe traditional tin-rich pipe-metal produces better tone and is more in keeping with the permanent nature of a pipe organ investment.

We regulate our wind supply using single-rise reservoirs, schwimmer regulators, and concussion bellows to deliver a copious and steady wind supply, with a fine degree of flexibility. Our Tremulant actions send an adjustable timed-pulse to electric solenoids under the schwimmers, which both push and pull on the schwimmer plate to provide a perfect sine wave much like the human voice singing with “vibrato.” These actions are absolutely silent in their operation and extremely effective in both flue and reed stops.

Expression shutters are made of 2-inch-thick poplar, laminated to prevent warpage during seasonal changes, with heavily felted sound traps. Our expression boxes’ walls and ceilings are made of 1-inch MDF (the equivalent of 2 inches of solid hardwood) with 1½-inch-thick poplar stiles and rails, to produce an extremely effective swell expression. The shutters are moved by adjustable electric servo-motors.

Buzard organ consoles are intuitive in their layout and solidly built to last for generations. Their proprietary ergonomics of manual-to-pedal alignment allow for many playing hours without fatigue. The logical layout of drawknobs and couplers, toe-studs and expression pedals, encourages both technical accuracy and musical playing. Keyboards are plated in thick bone and ebony; the cabinets are made of 1½-inch-thick hardwoods.

We build all of our organs in sound reflective and protective cases, even when the organs are installed in chambers, as you will see we did in the second organ featured in this article for our Opus 46 organ at Central United Methodist Church in Fayetteville, Arkansas. We do this to provide excellent projection of sound into the room especially when chambers are located off the axis of the room (as in Opus 46) and to protect the organ from severe temperature fluctuations and potential building failure such as leaking roofs.

Cantor Sarah Gran-Williams said it best: “Buzard Organs sing, and they help us sing!” And, as Todd Wilson said: “This organ just about plays itself!”

Opus 46

In our Opus 46 organ at Central United Methodist Church in Fayetteville, Arkansas, we were given the wonderful opportunity to explore the nature of what a third manual keyboard could be, in light of our practice of enclosing a substantial portion of the Great. More than half of the Great is enclosed in an independent expression box with its own slider windchest. This allows the Enclosed Great to couple to any location we want and at any pitch. The Enclosed Great includes a flute chorus, a string, and four colorful reeds, so it can function like the unison basis of a Choir division. Additionally, by modifying and adding to the inhabitants of the Swell division’s Principal chorus, the Swell can serve as a Positiv division in the context of the classic secondary foil to the Great Diapason Chorus—as well as the enclosed powerhouse of the organ.  

Therefore, with an enclosed portion of the Great, and suitable treatment of the Swell, we were free to consider a different way to approach the third manual division. This Solo division is loaded with tone colors at both higher and lower volume levels than the Great or Swell, so it can be a material contributor on the pianissimo and fortissimo ends of a seamless crescendo/diminuendo. When approached with this idea, organist Scott Montgomery embraced this vision—our next logical step in the evolution of the “Buzard Sound” and contemporary American organbuilding. Because the Enclosed Great and the Swell can move everywhere independently, Scott began to dream and consider the manifold uses to which such a tonal scheme could be used. Accompanying receives the first consideration of importance, because the rich choral program under Dr. Frode Gundersen’s direction regularly performs literature from literally every tradition. The organ can accompany the entire body of choral literature, and it can support hymnody and musically render just about any piece ever written for the organ. This is our goal. You can accompany Stanford and then play Vierne successfully; you can play Sweelinck for the opening voluntary and Sumsion for the closing voluntary, each with the effects the composer intended. And, because the instrument speaks clearly to the listeners in the nave—even though installed in off-axis chambers—the entire organ has an uncanny single voice, no matter how soft or loud it is registered.

In addition to exercising our evolving tonal style, Tonal Director Brian Davis and Production Director and Chief Engineer Charles Eames overcame what had seemed an impossible off-axis installation situation. Special scaling and voicing techniques, the addition of reflective panels above the pipes in the chambers, siting the divisions strategically for their best projection, constructing the organ in solid cases within the building’s chambers, utilizing slightly higher wind pressures and other techniques—and the tremendous improvement in the church’s acoustics provided by a comprehensive sanctuary renovation project—gave the organ the best chance of success.  

When Scott Montgomery heard the organ’s first sounds as the organ came to life, all his fears concerning the off-axis installation were dispelled. He knew this would be a very special and important organ in the American lexicon. We rise to challenges and consider them opportunities to learn and improve. We’d love for you to visit this organ! Just call ahead!

—John-Paul Buzard, Founder, President, and Artistic Director, Buzard Pipe Organ Builders

Builder’s website: buzardorgans.com/

Pilgrim Lutheran Church: pilgrimindy.org/

Central United Methodist Church: centraltolife.com/

Photo credit: John-Paul Buzard

 

Opus 45, Pilgrim Lutheran Church, Carmel, Indiana

31 independent speaking stops, 37 ranks

GREAT – 3½″ wind

16′ Lieblich Gedeckt (wood)

8′ Open Diapason (façade)

8′ Flûte à Bibéron 

8′ Gedeckt Flute (ext 16′ Gedeckt)

8′ Viola da Gamba

4′ Principal

4′ Spire Flute 

2-2⁄3′ Twelfth

2′ Fifteenth

1-1⁄3′ Fourniture IV

16′ English Horn

8′ Minor Trumpet (ext Sw 16′ Bassoon)

8′ Clarinet

Tremulant

Cymbalstern (14 bells)

8′ Festival Trumpets (copper, chamade)

SWELL (expressive) – 3¾″ wind

8′ Open Diapason

8′ Stopped Diapason (wood)

8′ Salicional

8′ Voix Celeste (TC)

4′ Principal

4′ Harmonic Flute (round mouths)

2-2⁄3′ Nazard 

2′ Octavin (harmonic)

1-3⁄5′ Tierce

2-2⁄3′ Grave Mixture II

1′ Plein Jeu III

16′ Bassoon

8′ Trompette

8′ Oboe

4′ Clarion (ext 16′ Bassoon)

Tremulant

8′ Festival Trumpets (Gt)

PEDAL - various pressures

16′ Open Diapason (wood and façade)

16′ Bourdon (wood)

16′ Lieblich Gedeckt (Gt)

8′ Principal (façade)

8′ Bass Flute (ext 16′ Bourdon)

8′ Gedeckt Flute (Gt)

4′ Choral Bass (ext 8′ Principal)

4′ Open Flute (ext 16′ Bourdon)

16′ Trombone (wood)

16′ Bassoon (Sw)

8′ Trumpet 

4′ Clarion (ext Sw 16′)

8′ Festival Trumpets (Gt)

 

Opus 46, Central United Methodist Church, Fayetteville, Arkansas

43 independent speaking stops, 49 ranks 

GREAT – 5″ wind

16′ Lieblich Gedeckt

8′ Open Diapason (façade)

8′ Flûte à Bibéron

8′ Gedeckt Flute (ext 16′)

8′ Viola da Gamba

4′ Principal

4′ Spire Flute

2-2⁄3′ Twelfth

2′ Fifteenth

1-1⁄3′ Mixture IV

16′ English Horn

8′ Trumpet

8′ Clarinet

8′ Vox Humana

Tremulant

Tremulant

Cymbalstern (Walker)

Chimes (Walker)

8′ Tromba (Ped 16′ Trombone)

4′ Tromba Clarion (ext 8′ Tromba)

8′ Major Tuba (Solo)

SWELL (expressive) – 6″ wind

8′ English Open Diapason

8′ Stopped Diapason

8′ Salicional

8′ Voix Celeste (CC)

4′ Principal

4′ Harmonic Flute

2-2⁄3′ Nazard

2′ Doublette

2′ Octavin (harmonic)

1-3⁄5′ Tierce

2-2⁄3′ Grave Mixture II

  1′ Plein Jeu III

16′ Bassoon

8′ Trompette

8′ Oboe

4′ Clarion

Tremulant

8′ Tromba

8′ Major Tuba (Solo)

SOLO (expressive) – 7″ wind

8′ Grand Open Diapason (double mouths)

8′ Harmonic Flute

8′ Viola da Gamba (E. M. Skinner style)

8′ Gamba Celeste (CC) (E. M. Skinner style)

8′ Flûte Cœlestis (double mouth, wood)

4′ Principal Forte

4′ Flûte

Tremulant

8′ Major Tuba (15″ wind pressure)

8′ Harp (Walker)

4′ Celesta (Walker)

8′ Chimes (Walker)

PEDAL – 5″ wind 

32′ Double Open Diapason (Walker)

32′ Subbass (Walker)

32′ Lieblich Gedeckt (Walker)

16′ Open Diapason (Walker)

16′ Bourdon

16′ Lieblich Gedeckt (Gt)

8′ Principal (façade)

8′ Bourdon (ext 16′)

8′ Gedeckt Flute (Gt)

8′ Spire Flute

4′ Choral Bass (ext 8′ Principal)

4′ Open Flute (ext 8′ Bourdon)

32′ Contra Trombone (Walker)

16′ Trombone (7″ wind)

16′ Bassoon (Sw)

8′ Tromba (ext 16′ Trombone)

8′ Trumpet

4′ Clarion (ext 16′ Trombone)

8′ Major Tuba (Solo)

8′ Chimes (Walker)

Photo: Opus 46, Central United Methodist Church, Fayetteville, Arkansas

Quimby Pipe Organs, Warrensburg, Missouri

Dunwoody United Methodist Church, Dunwoody, Georgia

Quimby Pipe Organs Opus 76, recently installed at Dunwoody United Methodist Church, comprises 100 ranks distributed over five manual divisions, playable from a four-manual and pedal console. The completion of this instrument represents the culmination of an idea and process that began in 2007. After many attempts to make an organ project “go,” either as a stand-alone project, or paired with other proposed major capital work on campus, it wasn’t until the need for a major renovation of the sanctuary occurred that a new organ, installed in a different location, became a necessity and, eventually, a reality.

This was a particularly challenging and yet ultimately rewarding sanctuary and chancel renovation project, the genesis of which was to adapt the space so that the church’s contemporary worship service could relocate from a social hall to meet in the sanctuary, where a traditional service and music program were making good use of the traditionally styled space and generous acoustics. The emergent projects goals were many, among which: 1) to relocate the choir and organ from the rear gallery to the chancel; 2) to somehow create organ chambers in a space where they didn’t exist and where there didn’t appear to be room for them; 3) to acoustically deaden and otherwise transform the room for the successful accommodation of the contemporary worship service; 4) but to do this without permanently changing the acoustics of the space for traditional worship.

The spacious sanctuary, which had been constructed new in the year 2000, had excellent acoustics, and even though the former organ, which had been relocated from a much smaller sanctuary, was undersized for the room, the acoustics of the space enabled the organ to remain in use for nearly twenty years following its temporary location. It was well constructed and a good example of its type; it simply didn’t go far enough in its scope to support the music program.  As director of music Sonny Walden and organist Mary Ruth Solem will immediately tell you, it not only wasn’t loud enough, it also wasn’t soft enough, and there were too few opportunities for smoothly graded dynamic levels in between the two.

The renovation solution was costly, but effective. Space for organ chambers was created, encroaching on unused above-ceiling space outside the existing chancel, the footprint of the original chancel, and a mechanical mezzanine behind the chancel. A choir loft with built-in risers was constructed in front of the new organ chambers. For contemporary worship, retractable acoustical banners lower down from the attic, covering the choir loft, Chancel organ, Antiphonal organ, and all windows at the push of the button. The result is a space acoustically and visually suitable for amplified music, electronic projection, and colored LED lighting effects; it has had a net-zero impact on the intrinsic acoustical quality of the space.

From an early point in the dialogue, the church voiced an interest in exploring the possible use of high-quality vintage American pipework for incorporation into a new instrument. Given our experience in working with vintage pipework for new organ projects that are not restoration-focused, we enthusiastically agreed, and began the search for an instrument that would fit the bill—something that would allow artistic latitude and freedom in the creation of a new, unified identity, but which would also contribute a unique tonal provenance and material advantage to the project.

What we eventually found, in fact, were two organs, which the church ultimately bought and placed into storage until the project could be realized. The first, Ernest M. Skinner Co. Opus 195 (four manuals, 66 ranks), dating from 1913, was originally installed in Grace Chapin Hall at Williams College, Williamstown, Massachusetts, where it was used until it was vandalized in 1959. As the story goes, which is now almost as apocryphal as it is difficult to document, an organ student, following his end of semester juries, entered the organ chamber, and destroyed nearly everything he could access. From that time until the organ was removed in 2011, the organ was mothballed at Williams College and never played again. A careful cataloguing of the surviving pipes following the organ’s removal from the college revealed a surprising picture: perhaps a third of the organ’s ranks either missing or damaged beyond any cost effective repair; another third showing some damage but imminently repairable under skilled hands; and a final third, perhaps, completely untouched and as good as the day the organ was installed.   

Surviving examples of pipes from the Great Diapason chorus, which was nearly entirely destroyed, exist from all pitch levels of that ensemble—from a 16′ Double Open Diapason through a three-rank chorus mixture—and provide an interesting insight into Skinner’s tonal work for a large organ in the early 1910s. These are scaled and voiced to be heroic while also harmonically developed and bright—not at all dull. The ensemble has much more in common with highly developed diapason chorus work at the culmination of the nineteenth-century American building tradition—before organ ensembles devolved into a tonal center around the unison pitch, with little-to-no upperwork—than it does the Skinner sound we have come to know and appreciate from the 1920s. It stands in complete contrast to his work from later periods, and it is a shame that this chorus work was destroyed.

In addition to the usual very fine diapasons, flutes, strings, and reeds, Opus 195 is the first Skinner organ to have one of the now-famous Skinner French Horns, and also is where the Skinner Corno di Bassetto first made its appearance. A review of the tonal specification for the new organ demonstrates that this defunct organ, constructed by one of the foremost early twentieth-century American organbuilders, has made a significant contribution to the new organ at Dunwoody, including the very fine Pedal 32′ Contra Bourdon, which produces some of the deepest tones in the instrument, and the Solo 8′ Tuba, which is the loudest stop in the organ.

The second organ procured for use in the new instrument was constructed in 1939 by Casavant Frères, Ltd. (three manuals, 42 ranks) for the now defunct Chapel of the Immaculate Conception Seminary in Darlington, New Jersey. Like most Casavant organs dating from the 1930s, this organ was constructed and voiced according to English Romantic ideals, brought to Casavant by tonal director Stephen Stoot, and included diapason chorus work of remarkably heavy construction, superbly constructed wood flutes, and English-style reeds. Our own assessment is that the flues were never voiced up to scale, and, as we found them, were rather lackluster and dull as individual voices. The reeds seem to have suffered an unfortunate fate following a haphazard revoicing prior to the closing of the seminary. After the seminary was closed in the early 1980s, the organ was repeatedly flooded due to serious roof leaks over the organ cases. Nevertheless, in terms of substantial, beautifully constructed pipework, suitable for revoicing, Casavant Opus 1600 presented a wealth of material. Most of the water damage was sustained by the 32′ Contra Posaune, which because of its miters, held the water in the miter knuckles, where, completely undetectable from the outside, the zinc corroded from the inside out. These pipes have been substantially reconstructed and revoiced and form the bass of the Pedal 32′ Contra Trombone at Dunwoody.

It may seem strange to conceptualize the combination of pipework from two very different instruments, constructed nearly thirty years apart, and with widely divergent tonal ideals in mind, in an attempt to create any kind of instrument that has a cohesive tonal identity. And it’s true that this is probably not a good idea, at least if it is approached with a restoration-conservation mindset, where the ranks from each respective organ are to retain their original voices, balance, and relationship to one another. That approach is on its own extremely valid, and certainly equally satisfying, and should certainly have been undertaken if, say, this were a project where the Skinner pipework (were it all intact) and mechanics were to be restored as an entity and installed in an environment that demanded a 1913 organ sound. However, because of the vandalism the 1913 Skinner all but disappeared in the 1950s, and the 1939 Casavant, with beautifully and substantially constructed pipes, was, as we found it, unevenly and under voiced, possessing a disappointing ensemble. Neither organ, as we encountered them, was playable or usable, and neither organ stood much prospect of restoration and reuse elsewhere. More importantly, we were not tasked with a restoration project by the church, but rather, to create something new using to advantage the accumulated material at hand.

Looking beyond this, however, it’s helpful to place the 1913 Skinner and 1939 Casavant organs, while different, both as a part of an organbuilding continuum that continued uninterrupted in development and refinement from its fifteenth-century origins right up until the middle twentieth century. Organs from later in this continuum are markedly different from earlier instruments, but each builder in this centuries-long procession built upon what had been given by the previous generation, at least until this succession was interrupted by the Organ Reform Movement. For the first time in organbuilding history, the work of the immediate past was swept away, intentionally and deliberately, in an effort to recapture ideals—sometimes real, and sometimes supposed—that marked organbuilding in an earlier age.

While it’s certainly true that the Organ Reform Movement has left a mostly-positive legacy (and some noteworthy landmarks of twentieth-century organbuilding) on the contemporary American organbuilding landscape—even though most contemporary organbuilders have moved beyond the strictures of its dictums—at QPO, we like to regard our own work as very much a return to the continuum and succession that existed prior to World War II. What would it be like, we ask ourselves, if organbuilding had continued uninterrupted, and the work of each new generation an expansion of what had gone before, rather than a violent reaction against it? We like to think that Opus 76 at Dunwoody United Methodist, along with a number of other recent projects, has given us a chance to explore this in detail.

As to the ensemble, Opus 76 has the hallmark of any QPO ensemble from the past twenty-five years or so: highly characteristic, individually beautiful colors or voices that are simultaneously extremely effective and flexible ensemble players. These individualist voices are each strong, characteristic examples of their class and type, and are the sort of voice you want to hear played alone—full of intrinsic beauty and interest. However, beautiful, characteristic voices alone are not enough, for we’ve all heard and played organs where the colors individually are beautiful, but combine intractably into loose ensembles, mixing like oil and water, where the ear can pick apart all the constituent parts. On the other hand, we’ve all heard and played organs where decent or even very good ensembles are given, but a review, one by one, of the individual voices reveals bland, uninteresting color and voicing. One of the measures of any great organ—whatever the period, style, or timbre—is that the individual voices pass this litmus test: to be highly characteristic, colorful, and intrinsically beautiful, and yet nevertheless combine with others to form a wide array of flexible and dynamic ensembles of all types.

In Opus 76, there are, in fact, individual voices that may be recognizable as early “Skinner,” pre-WWII “Casavant,” or even modern “Quimby,” but in each and every case, the emphasis in terms of voicing has not been to maintain the original voice, but to expand upon it, changing it as required so that a new identity is revealed: an organ that speaks with one voice, a cohesive ensemble, and a truly musical instrument.

A review of the accompanying tonal specification will reveal where Skinner or Casavant ranks were used in the new disposition, but the basic concept is as follows. The choruswork for Great, Swell, and Choir-Positive is all Casavant, which has been revoiced and in some cases rescaled to achieve the bold, colorful, heroic-yet-transparent, and clear organ ensemble we strive for. Skinner diapasons from the Swell of 195 were repurposed in the Antiphonal organ chorus. Throughout the organ, colorful flutes and strings were used from both organs. The Casavant Swell reed chorus has been revoiced and resides in the Great. The Skinner reed chorus, at least in part, after substantial reconstruction and revoicing, is in the Swell. The Casavant 32′ Contra Posaune, 16′ Trombone, and 8′ Tromba have been combined to provide a reed that plays at 32′, 16′, 8′, and 4′ in the Pedal and at 8′ in the Solo. One rank of the pipes from the church’s former instrument, along with the Zimbelstern and Chimes, was reused in the new organ: a very fine 8′ Trompette-en-Chamade, now installed vertically, in the Antiphonal organ, and called “8′ Harmonic Trumpet.”

Because of its favorable placement and lack of enclosure, the Antiphonal diapason chorus functions more like a Grand Choeur, rather than a secondary, lesser Great. It is a spectacular effect, at once foundational, colorful, and heroic that must be experienced to be fully appreciated.

Most all of the mechanics and internal structure of the organ, including the windchests, façade pipes, console, and winding system, are completely new. Manual windchests for all straight manual ranks are electro-pneumatic slider windchests, constructed according to the Quimby-Blackinton design, with square drop pallets that allow for copious winding of heroically voiced pipes on a common channel. Also importantly, the chests are constructed without slider seals, which means that the organ won’t have to be de-piped and disassembled to replace the slider seals in a few decades, when they are bound to fail.

Our standard electro-pneumatic unit-action windchests have been used for most pedal ranks and manual unit ranks; the exception here exists in a few instances, where 1913 Skinner unit action windchests were restored for reuse with original ranks, such as the Solo 8′ Tuba and the Pedal 32′ Contra Bourdon and 4′ Solo Flute.

The winding system includes a 10-H.P. vintage Spencer blower, which provides 6-inch wind pressure for most manual and pedal flues, and 10-inch wind pressure for all reeds and Solo flues. The Solo 8′ Tuba is on 20-inch wind pressure, with its own step-up blower. New cone-valve reservoirs, according to our custom design, which is an adaptation of the Skinner reservoir, have been constructed for regulation of wind in the Chancel organ. The Antiphonal organ makes use of a blower and static wind system that was retained from the previous organ.

All manual divisions, except the Antiphonal, are individually enclosed by 2-inch-thick expression shutters and solid wood walls, which enable the heroically voiced ensembles to be brought down to a surprising diminuendo, and the soft voices to fade to nearly a whisper. A new four-manual and pedal console was constructed to a custom design and finished to match the renovated interior of the church, with solid oak exterior cabinetry and solid walnut interior.

During the first choral rehearsal with the new organ, director of music Sonny Walden told Mary Ruth Solem, “I know I’ve never said this before in this room, but the organ is too soft. Isn’t it wonderful to be able to say that?!” And he burst out into joyful laughter. Later, as she has continued to rehearse and perform with Opus 76, Mary Ruth said, “I am starting a long friendship with this instrument!  It’s beautiful, and I am immensely grateful . . . . This is a rare gem.”

We hope that the assessment will over time continue to be as equally enthusiastic and kind, as Opus 76 finds its place in the heart of traditional worship at Dunwoody United Methodist Church, and also in the greater organ world beyond. For our own part, at QPO we have found that working with the vintage fabric, as represented by the many ranks of pipes, originally constructed and voiced by some of the most reputable of our organbuilding forebears, has taught us many lessons, and will continue to yield an impact on the development of our organs into the future.

Because the organ is substantially new mechanically, and because the sound of the new organ is completely unlike a 1910s Skinner or a 1930s Casavant, we have given this instrument an opus number in our body of work. To be sure, the completed instrument does, in certain instances, reveal its parentage, but the overall ensemble has as much in common with all-new organs constructed by Quimby Pipe Organs as it does either Casavant or Skinner. This is no mere restoration of an artifact or the assemblage of collected parts; rather, this organ has been conceptualized to be musically communicative, inspiring, and above all, to support the music ministry and worship cycles of Dunwoody United Methodist Church in the broadest, most flexible way possible; an instrument that offers options, rather than limitations. In this regard, Opus 76 is an original creation—a testimony of our own time; one that we hope will remain timelessly relevant for generations to come.

—T. Daniel Hancock, A.I.A., President

Quimby Pipe Organs, Inc.

GREAT (Manual II, enclosed, 17 ranks, flues 6″ w. p., reeds 10″ w. p.)

16′ Violone (a & b) 73 pipes

16′ Bourdon (Ped)

8′ Open Diapason (b) 61 pipes

8′ Harmonic Flute (a) 49 pipes, 1–12 fr 8′ Stopped Diapason

8′ Stopped Diapason 61 pipes

8′ Violoncello (ext 16′)

51⁄3′ Quint (MC) (b) 37 pipes

4′ Octave (b) 61 pipes

4′ Wald Flute (a) 61 pipes

2-2⁄3′ Twelfth (b) 61 pipes

2′ Fifteenth (b) 61 pipes

1-3⁄5′ Seventeenth (b) 61 pipes

1-1⁄3′ Mixture IV (b) 244 pipes

16′ Double Trumpet (b) 61 pipes

8′ Trumpet (b) 61 pipes

4′ Clarion (b) 61 pipes

8′ Tuba (Solo)

8′ Harmonic Trumpet (Ant)

Chimes (d) 25 tubes

Tremolo

Great to Great 16

Great Unison Off

Great to Great 4

SWELL (Manual III, enclosed, 24 ranks, flues 6″ w. p., reeds 10″ w. p.)

16′ Spitz Flute (b) 73 pipes

8′ Open Diapason (b) 61 pipes

8′ Chimney Flute 61 pipes

8′ Spitz Flute (ext 16′)

8′ Gamba (b) 61 pipes

8′ Voix Celeste (b) 61 pipes

8′ Flauto Dolce (b) 61 pipes

8′ Flute Celeste (TC) (b) 49 pipes

4′ Octave (b) 61 pipes

4′ Night Horn 61 pipes

4′ Salicet 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Fifteenth 61 pipes

2′ Flautina 61 pipes

1-3⁄5′ Tierce 61 pipes

2-2⁄3′ Mixture IV–V 281 pipes

16′ Contra Trumpet 61 pipes

16′ Contra Oboe (a & b) 73 pipes

8′ Trumpet (a) 61 pipes

8′ Oboe (ext 16′)

8′ Vox Humana (a) 61 pipes

4′ Clarion (a) 61 pipes

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

CHOIR-POSITIVE (Manual I, enclosed, 20 ranks, 6″ w. p.)

16′ Contra Dulciana (a & c) 73 pipes

8′ Geigen Diapason 61 pipes

8′ Claribel Flute (b) 61 pipes

8′ Gedeckt (c)  61 pipes

8′ Erzähler (b)  61 pipes

8′ Erzähler Celeste (GG) (b) 54 pipes

8′ Dulciana (ext 16′)

8′ Unda Maris (TC) (c) 49 pipes

4′ Geigen Octave (b) 61 pipes

4′ Traverse Flute (b) 61 pipes

2-2⁄3′ Nazard (b) 61 pipes

2′ Harmonic Piccolo (a) 61 pipes

1-3⁄5′ Tierce (a) 61 pipes

1-1⁄7′ Septieme (a) 61 pipes

1-1⁄3′ Larigot 61 pipes

1′ Sifflute 61 pipes

1-1⁄3′ Mixture III–IV 190 pipes

8′ Clarinet (b) 61 pipes Tremolo

8′ Tuba (Solo)

8′ Harmonic Trumpet (Ant)       

8′ French Horn (Solo)    

8′ English Horn (Solo)    

Chimes (Great)      

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

SOLO (Manual IV, enclosed, 12 ranks, 6″ w. p., Tuba 20″ w. p.)

8′ Stentorphone 49 pipes, 1–12 fr Pedal 16′ Diapason

8′ Doppel Flute 49 pipes, 1–12 fr Pedal 32′ Bourdon

8′ Gross Gamba (a) 61 pipes

8′ Gross Gamba Celeste (a) 61 pipes

8′ Dulcet II (a) 122 pipes

4′ Orchestral Flute 61 pipes

4′ Violin 61 pipes

8′ French Horn (b) 61 pipes

8′ English Horn (c) 61 pipes

8′ Orchestral Oboe (c) 61 pipes

Tremolo

16′ Ophicleide (ext 8′, 1–12 Ped Tbone)

8′ Tuba (a)   73 pipes

8′ Harmonic Trumpet (Ant)    

8′ Tromba (Ped)

4′ Tuba Clarion (ext 8′)

Solo to Solo 16

Solo Unison Off

Solo to Solo 4

PEDAL (unenclosed, 10 ranks, flues 6″ w. p., reeds 10″ w. p.)

32′ Contra Bourdon (a) 73 pipes

16′ Open Metal Diapason 56 pipes

16′ Bourdon (ext 32′)

16′ Violone (Great)

16′ Spitz Flute (Swell)

16′ Contra Dulciana (Ch-Pos)

10-2⁄3′ Gross Quint (ext 16′ Open Diap)

8′ Octave (ext 16′)    

8′ Bourdon (ext 32′)

8′ Violoncello (Great)

8′ Spitz Flute (Swell)

6-2⁄5′ Gross Tierce (a) 44 pipes

5-1⁄3′ Quint (ext 16′ Open Diap)

4-4⁄7′ Septieme (b) 32 pipes

4′ Super Octave (ext 16′)

4′ Solo Flute (a) 32 pipes

3-1⁄5′ Tierce (ext 62⁄5′ Gross Tierce)

2-2⁄3′ Mixture IV 124 pipes

32′ Contra Trombone (b) 85 pipes (enclosed with Great)

16′ Trombone (ext 32′)

16′ Double Trumpet (Great)

16′ Contra Trumpet (Swell)

16′ Contra Oboe (Swell)

8′ Tromba (ext 32′)

8′ Trumpet (Swell)  

8′ Oboe (Swell)

4′ Tromba Clarion (ext 32′)

4′ Oboe (Swell)

8′ Tuba (Solo)

ANTIPHONAL (Manual IV, unenclosed in rear gallery, 15 ranks, 6″ w. p., Harmonic Trumpet 10″ w. p.)

8′ Open Diapason (a) 49 pipes, 1–12 fr Ant. Pedal 8′ Octave

8′ Concert Flute (a) 49 pipes, 1–12 fr 8′ Bourdon

8′ Bourdon (c) 61 pipes

8′ Gamba 61 pipes

8′ Voix Celeste (TC) 49 pipes

4′ Octave (a)   61 pipes

4′ Harmonic Flute (c)   61 pipes

2′ Fifteenth (a) 61 pipes

2′ Mixture III–V 244 pipes

8′ Trumpet     73 pipes

8′ Harmonic Trumpet (d) 61 pipes

Zimbelstern (d)

Antiphonal to Antiphonal 16

Antiphonal Unison Off

Antiphonal to Antiphonal 4

ANTIPHONAL PEDAL (unenclosed in gallery, 2 ranks, 6″ w. p.)

16′ Bourdon 44 pipes

8′ Octave (c) 44 pipes

8′ Bourdon (ext 16′)

4′ Super Octave (ext 8′)

16′ Posaune (ext Ant 8′ Trumpet)

8′ Trumpet (Ant)

8′ Harmonic Trumpet (Ant)    

ORIGIN KEY

(a) ranks from 1913 Ernest M. Skinner Company Opus 195, formerly in Grace Chapin Hall, Williams College, Williamstown, Massachusetts.

(b) ranks from 1939 Casavant Frères Opus 1600, formerly in Immaculate Conception Seminary Chapel, Darlington, New Jersey.

(c) vintage Skinner ranks from QPO inventory.

(d) ranks and tuned percussions from 1972 Schantz Opus 1125, formerly in Dunwoody United Methodist Church, Dunwoody, Georgia.

All other ranks are either new by Quimby Pipe Organs, Inc., or from QPO inventory.

CONSOLE ACCESSORIES

INTER-MANUAL COUPLERS

Great to Pedal 8′, 4′

Swell to Pedal 8′, 4′

Choir-Positive to Pedal 8′, 4′

Solo to Pedal 8′, 4′

Antiphonal on Pedal 8′, 4′

Swell to Great16′, 8′, 4′

Choir-Positive to Great 16′, 8′, 4′

Solo on Great

Antiphonal on Great

Swell to Choir-Positive 16′, 8′, 4′

Solo on Choir-Positive

Great to Choir-Positive 8′

Pedal to Choir-Positive 8′

Manual Transfer

COMBINATION ACTION

General pistons 1–20 (thumb) and 1–10 (toe)

Great divisional pistons 1–8

Swell divisional pistons 1–8

Choir-Positive divisional pistons 1–8

Solo divisional pistons 1–8

Antiphonal divisional pistons 1–5

Pedal divisional pistons 1–5 (thumb), 1–8 (toe)

General Cancel Piston

Set Piston

Memory Level Up and Down pistons

Previous and Next pistons (5 each, thumb) and toe studs (1 each)

Transposer Up and Down pistons

General Crescendo pedal 60 positions, three adjustable and one standard

REVERSIBLES

Great to Pedal piston & toe paddle

Swell to Pedal piston & toe paddle

Choir-Positive to Pedal piston & toe paddle

Solo to Pedal piston & toe paddle

Swell to Great piston

Choir-Positive to Great piston

Swell to Choir piston

Antiphonal on Great piston

Antiphonal on Swell piston

Antiphonal on Choir piston

Antiphonal on Solo piston

Antiphonal on Pedal toe paddle

Pedal on Divisionals piston

32′ Contra Bourdon piston & toe paddle

32′ Contra Trombone piston & toe paddle

Sforzando I and II pistons & toe studs

Manual Transfer—piston & indicator light

Crescendo on Solo Expression piston & indicator light

EXPRESSION & CRESCENDO

Great Expression Pedal

Swell Expression Pedal

Choir-Positive & Solo Expression Pedal

Solo Expression & Crescendo Pedal

SUMMARY

Great 17

Swell 24

Choir-Positive 20

Solo 12

Antiphonal 15

Antiphonal Pedal   2

Pedal 10

Total 100 ranks

Photo credits, including cover (except where noted): Sandra Jausch, Vitamamans-Pictures

Scott Cantrell

Scott Cantrell began a 45-year career as a classical music critic writing for the precursor of The American Organist. An organist and choirmaster in earlier years, he has often written about organs, organ music, and organists. Since 1999 he has been classical music critic of The Dallas Morning News, on a freelance basis since 2015. He holds degrees from Southern Methodist University and Rensselaer Polytechnic Institute.

It was an organbuilder’s dream assignment, and a formidable challenge: a monumental instrument in a grand church renowned for elegant music and liturgy—as well as architecture—with the generous acoustics most church musicians only dream of. Because of its high visibility, it was sure to draw high-intensity attention from organists—and others—with widely varied experiences, tastes, and expectations. Sure enough, the crowd that packed Saint Thomas Church on New York’s Fifth Avenue for the October 5 dedicatory recital on the new Dobson organ was well littered with the glitterati of the organ world. Other crowds filled the nave for the October 7 Sunday morning Solemn Eucharist, afternoon Solemn Evensong, and an ensuing recital by Saint Thomas associate organist Benjamin Sheen.

Aside from thirteen stops recycled from the previous Saint Thomas instrument, the Irene D. and William R. Miller Chancel Organ is completely new. It is dedicated to the memory of former organist and director of music John Scott, whose tragically early 2015 death, at age 59, deprived the world, as well as the parish, of a brilliant organist and choral director. The instrument’s clear and dramatic contrast from its predecessor certainly represents Scott’s own tastes and vision, from an English heritage including earlier appointments at London’s Southwark and Saint Paul’s cathedrals. If the former chancel organ, incorporating multiple generations of pipework and changing tonal conceptions, was the product of some Franco-American imaginations, the new organ is more Anglo-American, although incorporating French-style reeds. In particular, it provides far better accompanimental resources in the English choral repertory central to Saint Thomas’s musico-liturgical identity.

Mongrel that it was, the previous Saint Thomas instrument, known as the Arents Organ after its lead donors, had its glorious effects—especially after the church’s acoustics were dramatically improved in the 1970s by removing tapestries that had hung on the north wall of the nave and sealing sound-muffling Guastavino tile on the ceilings. The massive “crash” of its rich, reedy full-organ sound was justly beloved, and the plush foundations had a velvet-textured purr unlike any other. Hearing ten seconds of either of those sonorities, you would immediately say, “Ah, Saint Thomas.” There were also bold flutes of quite special beauty. During Gerre Hancock’s tenure as organist-choirmaster, from 1971 to 2004, he and a succession of assistant organists worked wonders with the resources at hand. Who will ever forget those post-Evensong improvisations?

But with only one expressive division, the Swell, and no Romantic solo stops, the previous instrument was handicapped for the more elaborately orchestrated accompaniments of Anglican choral music. It was not an organ designed for the smooth crescendos and decrescendos of Hubert Parry and Herbert Howells. It had no English horn or French horn, let alone a crowning, hot-coals tuba. And, mechanically it was failing, to an extent that at the very least a major renovation was urgent.

Below are some personal first impressions from those two recitals and two services. But first, a bit of history.

From Skinner to Dobson

The elegant building we admire today, blending French and English Gothic elements, replete with elaborate stone and woodcarvings, was the final collaboration between architects Ralph Adams Cram and Bertram Grosvenor Goodhue. Opened in October 1913, it originally had an organ by the Ernest M. Skinner Company, Opus 205, over which organist T. Tertius Noble, recruited from York Minster in England, presided until his retirement in 1943. By the time another Englishman, T. Frederick H. Candlyn, succeeded Noble, the relatively dense, dark tone of the thirty-year-old Skinner organ had fallen out of fashion, and Candlyn found it especially frustrating for leading congregational singing. By now, Skinner had been edged out of the merged Aeolian-Skinner Organ Co. and set up his own firm, E. M. Skinner & Son.

Meanwhile, G. Donald Harrison, an Englishman formerly with Willis, had assumed tonal direction of Aeolian-Skinner and was creating a stir with newly brightened and clarified choruses. Candlyn was keen to clarify the Saint Thomas organ’s sound, but he remained faithful to Skinner, who in 1945 was contracted to rework and replace mixtures and chorus reeds and make other changes to brighten the sound, plus make a number of changes to the console. Although still healthy and vigorous, Skinner now was 79 years old, and his work was apparently less than satisfactory. Only three years later, further brightening and clarification were carried out by M. P. Möller, in an effort to produce, as Candlyn wrote, “a Willis organ with all the brilliance of the French.”

Candlyn’s successor, William Self, arrived in 1954 with decidedly Francophilic inclinations. Doubtless perceiving the existing Saint Thomas organ as a dated mishmash, he arranged for Harrison and Aeolian-Skinner, by now the Cadillac of American organbuilders, to create a virtually new instrument, retaining just a few hundred pipes and some windchests from its predecessor. Tragically, Harrison, long in precarious health, died of a heart attack during the installation. The crew rushed to complete most of the organ for a planned recital by Pierre Cochereau at the 1956 national convention of the American Guild of Organists.

The new instrument was nominally French, complete with front-and-back Grand Choeur divisions of reeds bolder than usual with Aeolian-Skinner. I say “nominally,” as recordings made in October 1957 by Marcel Dupré (recently reissued in a boxed set of his Mercury and Philips recordings) capture a fairly taut American Classic instrument that had, as it were, taken a first-year French course. Although it was widely acclaimed a crowning masterpiece of Harrison’s work, even it did not fully satisfy Self’s tonal ideals, and it did not last long without major modifications.

During the 1960s, blasting for expansion of the Museum of Modern Art behind the church caused collapse of an organ chamber ceiling, and a clogged roof drain flooded the Swell division. Some of the Skinner chests were becoming unreliable. Aeolian-Skinner was unable to handle the needed work at the time, but recommended two former employees, Gilbert Adams and Anthony Buffano, who had set up their own operation.

This was a period when organbuilders all over the United States were finding pouch leathers tanned in new ways failing faster than in the past, a problem aggravated by heavy urban pollution just beginning to be addressed in those days. Attempting to provide greater durability, Adams replaced a number of the Aeolian-Skinner pitman chests with new slider chests and began extensive tonal changes. Adams replaced Aeolian-Skinner reeds with bolder, more Frenchified examples, reconstituted mixtures, and removed the formerly expressive Choir division in favor of an exposed, quasi-baroque Vorwerk. The antiphonal divisions were removed in preparation for a separate new instrument to be installed in the rear gallery; some of the antiphonal pipework was shifted to the chancel organ.

(Inaugurated in 1969, the Loening Memorial Organ in the gallery, by Adams, was a four-manual, mechanical-action instrument based on French Classic models. Plagued with mechanical issues from the start and generally considered tonally unconvincing, it soon fell out of use. It was removed to make room for the 1996 Loening-Hancock organ, based on German and Dutch baroque models, by Taylor & Boody Organbuilders. With a third manual and additional manual and pedal stops added in 2015, this remains an elegant example of its style.)

With heavy use in multiple services each week and regular recitals, the Arents organ had ongoing mechanical issues. The organbuilding firm of Mann & Trupiano maintained it insofar as possible, making further changes, including adding new reeds to the Swell. By the time Gerre Hancock was succeeded by John Scott in 2004, it was clear that, at the least, a major rebuilding, including replacement of almost all the windchests, had become a necessity. The church commissioned independent studies of the existing organ, with consideration of the musical demands of the Saint Thomas music program, from consultants Joseph Dzeda and Jonathan Ambrosino.

One could have advanced an argument for preserving the best tonal resources of the Arents organ, replacing the windchests, replacing the Vorwerk with an expressive Choir division, and adding an expressive Solo division with more orchestral voices. But, after decades of hit-and-miss accretions and deletions, reconstitutions and revoicings, there was also a strong argument for a newly coherent conception, more specifically geared to the actual week-by-week uses of the instrument. This was the conclusion of both the Dzeda and Ambrosino studies, and Dobson Pipe Organ Builders was selected to develop conceptions for the new instrument, in consultation with John Scott and Ambrosino, who was retained as ongoing consultant.

“There is this sort of holy grail of the organ that will do anything,” says John Panning, Dobson’s vice president and tonal director. “But John [Scott] didn’t want a mishmash that had no coherence. A lot of the basic structure was agreed on very early: Great, Swell, Choir, Solo. The arrangement of the building had a lot to do with it. John was really about trying to have as many options as possible for accompanying the choir, without losing the classical core of the organ from a literature standpoint.

Everyone admired certain aspects of the Arents organ. Yes, there was a reaction against it, but there was also a conscious effort to retain some of it. There was that iconic St. Thomas blaze of tone down the nave, and we really wanted to have the same kind of French character in the reeds, but with a little more control than before. In every manual division there is a chorus of French reeds. The Great chorus of 16′, 8′, and 4′ are made in French construction. The Swell Trompette and Clairon are French, and the trebles of the Basson in the Choir are also French construction. There are reeds with French shallots in the Solo, on 10 inches of wind.

In the Swell, in addition to French-style 8′ Trompette and 4′ Clairon there are more Anglo-American chorus reeds at 16′ and 8′ pitch, better suited to choral accompaniments. The surprise is perhaps that the Great includes no Germanic 8′ trumpet stop as an alternative to the 16′, 8′, and 4′ chorus of French reeds. The Solo has not one but two very English tubas; one registers “merely” a hearty forte, while the Tuba Mirabilis, on twenty-five inches of wind, proclaims a truly heroic voice. Also new to the instrument are more orchestral voices in the Solo: a Viol d’Orchestre and companion Celeste modeled on early twentieth-century examples by the English builder Arthur Harrison, plus Cor Anglais, French Horn, and Orchestral Oboe.

Designing a new organ also presented the opportunity to rationalize placement of the divisions, which had been shifted over the years, not always to advantage, and to improve tonal egress from chambers. The all-important Great division formerly had been exposed in front of the northwest chamber, in the bay beyond the glorious 1913 case, hardly advantageous for leading congregational singing. (Directions here are physical rather than liturgical; reversed from traditional orientation, the church’s altar is at the physical west end of the building.)

In the new dispensation, the Great is in the new case on the southeast end of the chancel, opposite the 1913 case, with the new Positive division below. The Swell remains in the 1913 case, but physically pushed forward more than before. The expressive Choir division is in the southeast chamber behind the new case; the expressive Solo is in the southwest chamber, beyond the new case. Pedal pipework is divided between the 1913 case and the northwest chamber beyond; the bottom octave of the 32′ Contrabass, in Haskell construction, lies horizontally, out of sight, on the galleries in front of the Solo and Pedal chambers. In physically laying out the organ, priorities included lowering some chamber ceilings to reduce sound traps and installing thick and tightly sealing shutters on the three expressive divisions.

By the time Daniel Hyde succeeded John Scott, in 2016, the new organ was already under construction. “John had very specific ideas of what the Arents organ couldn’t do, and what he wanted the new organ to do,” Hyde says. “The specification was already locked down. I was able to have some input of specifics of the console layout and console design, and various gadgets for the convenience of the player. I was very much involved in the tonal finishing, as it was voiced in the church.”

A few words about the two organ cases, old and new, are in order. The elegant 1913 case, part of Bertram Goodhue’s original design for the church and executed by the Boston firm of Irving & Casson, speaks in more of a French accent, with its curved pipe towers and frilly pipe shades. Gleaming tin façade pipes now replace the duller zinc pipes that had been there for generations. As ideas for a new organ evolved, it was eventually decided to reject the previous “flowerpot” displays of pipes and fit the opposite side of the chancel with a new case of commensurate grandeur. Lynn Dobson, president and artistic director of the firm bearing his name, designed the new case, in collaboration with Saint Thomas’s then-new rector, Fr. Carl Turner, and the Bangor, Pennsylvania, woodworking shop of Dennis O. and Dennis D. Collier. The new case has a flatter, more Renaissance look, capped with a trumpeting angel. Pipe shade carvings include likenesses of current and past musicians and rectors, members of the organ committee and donors. Fears that it would be overly intrusive have proved unfounded; the two cases carry on a subtle dialogue of complementarity, like the decani and cantoris sides of a chancel choir.

How does the new organ sound?

Below are initial, and necessarily personal, impressions of the new Dobson organ. At various times, among the two recitals and two services, I sat on different sides of the middle aisle about 1⁄4 and 1⁄3 of the way down the nave. Others in different seats, obviously, will have had different impressions—especially of an organ speaking from chambers, its sound having to turn a corner to project down a long nave. The sonic impact varied, of course, from a packed nave for the opening recital to a more normal congregation for the Sunday Evensong and recital.

Right from the start of Daniel Hyde’s inaugural recital, in the Edwin Lemare arrangement of Wagner’s Die Meistersinger Overture, it was clear that the new organ had a well-knit finesse hardly characteristic of its predecessor. (Live video transmission from the console to a large screen in the choir revealed that one of Hyde’s socks was decorated with the American flag, the other with the Union Jack.) There was a decent suggestion of the reedy richness of the Arents organ, but on far better behavior, with massive pedal tone. Hyde effortlessly cycled through what seemed a gazillion registration changes, demonstrating the new instrument’s dynamic and coloristic range and its ability to manage seamless crescendos and decrescendos of timbre as well as volume. Fanfare figures sounded fore and aft, from the hot-coals tubas and the newly energized Aeolian-Skinner Trompette en Chamade. Strings and celestes purred. Indeed, it was such a virtuoso demonstration that one wished for individual sounds to linger a little longer!

Four Bach settings of the chorale “Allein Gott in der Höh sei Ehr” demonstrated more classical sonorities, including a silvery plenum, a Sesquialtera, 8′ and 4′ flutes, and 8′, 4′, and 2′ principals. A campy, carnival-esque Karg-Elert Valse mignonne briefly displayed the
sizzling Solo Viol d’Orchestre and Celeste, elsewhere foundations and chimes(!). In the opening dialogues of the Franck E-Major Choral, Hyde added the Swell’s more English Trumpet to the Oboe, which overdid the reedy effect; in the “chorale” proper a 4′ flute oddly joined the Vox Humana. In the reprise of the theme of Sweelinck’s Mein junges Leben variations we heard the Voce Umana, an Italian-style principal celeste, on the Positive. Hyde’s playing was brilliant where called for and everywhere fastidious, although it was a surprise to hear the earlier music played with such unrelenting legato.

At the Sunday morning Solemn Eucharist the new organ was unheard until after the official blessing at the beginning of the service. The prelude, Bach’s G-Major Prelude and Fugue, BWV 541, and opening hymn, “Come, thou Holy Spirit, come” (Veni Sancte Spiritus), were played on the Taylor & Boody instrument in the rear gallery. But then the Miller-Scott organ got to show off big reedy blasts and purring foundations in the Gloria of the Langlais Messe solennelle. The anthem was Candlyn’s Christ, whose glory fills the skies, the postlude Gigout’s Grand choeur dialogué, with fiery fanfares on the antiphonal Trompette en Chamade.

At Solemn Evensong, the new organ displayed plush grandeur in Edwardian music: George Dyson’s sturdy Magnificat and Nunc dimittis in D and the virtually orchestral drama of Edward Bairstow’s Blessed city, heavenly Salem. The subtlety of registration changes certainly could not have been achieved on the previous organ (although former assistant organist Michael Kleinschmidt certainly whipped up an exciting accompaniment for the Bairstow on a CD from Gerre Hancock’s era). At the end, as clouds of incense rose, the choir sang the plainsong “Te Deum” with full-organ thunderings between verses. The concluding voluntary was the Langlais Hymne d’Actions de grâces “Te Deum,” the antiphonal Chamade’s new 16′ extension joining in the opening statement.

Associate organist Benjamin Sheen, who had done heroic accompanimental duties during the two services, brought no less authority to the post-Evensong recital. Perhaps redressing the surprising absence of English music on Hyde’s opening recital, he opened with Tom Winpenny’s transcription of Walton’s March for A History of the English-Speaking Peoples, composed for a stillborn English TV series based on Sir William Churchill’s four-book collection. He closed with the great Introduction, Passacaglia, and Fugue of Healey Willan, composed three years after the English native emigrated to Canada. Again, the new organ supplied idiomatic richness of tone and subtly elaborate “orchestrations.” Bold flutes—the Great 8′ Harmonic Flute and the Solo Flauto Mirabilis—sang out in Vierne’s water-splashed Naïades, and the Tuba Mirabilis was heard in very loud full cry in Lionel Rogg’s transcription of Liszt’s Saint François de Paule marchant sur les flots.

Some overall, and necessarily provisional, impressions now. Certainly the new Miller-Scott organ is carefully considered and fastidiously voiced. The overall effect is elegant and cohesive in ways the Arents organ, for all its excitement, never could be. The full organ is rich and stirring, although, at least in these first hearings, individual voices and lesser combinations tended to feel understated. The three swell boxes have enormous dynamic ranges.

Projecting organ tone out of chancel chambers down a long nave will always be a challenge. A bit of grit and texture in a chancel can register as a subtler, but enlivening, energy in a nave. With the new organ, at least from the nave perspective, I personally would welcome a bit more texture, a bit less absolute smoothness, to the flues.

Another thing that struck me was a certain difficulty in hearing the soprano line in hymn accompaniments, a tendency for tone to cluster around the middle of the keyboards. This may have had more to do with accompanimental registrations chosen, which almost across the board struck me as too reserved. But I did find myself wanting more ascending energy in the treble, especially from the all-important Great division. For all the stated aims of projecting more sound from the Great, especially, I did wonder if the new left-side case, relatively flat and densely filled in with carvings, were not a more inhibiting factor than had been expected. The Positive division seemed very reticent, although again that may have been more a matter of registrations chosen, and where I was sitting at the time. Some Pedal notes stuck out more than others.

Although in rehearsals the Saint Thomas organists had taken advantage of the built-in playback system to check registrations and balances in the nave, the opening recital and Sunday services were their first chances to hear the full resources of the organ with full congregations. There is no way to gauge an organ’s real-life effect without adding the acoustical impact of bodies in the pews.

With so lavishly appointed an instrument, organists will need time to discover what works best in what situations. The console, necessarily sequestered in a recess under the new left-side case, is the worst possible place to judge balances. Already, Hyde, Panning, and Ambrosino all acknowledge that some balances need readjusting. “I think the main structure of the choruses we’re happy with,” Hyde says. “I might want to look at a little different balance in the bass department. When the building is as full as it was, it probably needs a little bit of thinning out of the bottom of the texture. The room sort of balloons the sound slightly.”

Panning says, “There are still things to do to the organ that were not complete for the dedication. Chief among those, we’ve decided to remake the bottom octave of the 32′ Swell reed extension. We want to bring up the Swell and Solo trumpets. And we noticed that some notes of the 32′ flues do really bloom.

“I noticed in a couple places that some of the registrations sounded a little bland, sort of homogenizing, although there are some quite lovely and individual sounds. As for the balance, it is true that there is quite a lot of tenor and mid-octave energy. Some of that comes from the reeds that we want to re-balance.”

Happily, and especially for an instrument of this size and complexity, there are plans to revisit these and other issues in the summer, at the end of the choir season. Hyde himself will leave after Easter, to succeed Stephen Cleobury at King’s College, Cambridge. Saint Thomas has named British-born American organist Jeremy Filsell as Hyde’s successor.

“For me, personally, as a voicer, I really welcome the ability to edit,” Panning says. “It’s wonderful to be able to do something, consider it for a while, and come back. We are planning to come back after the organ has been used in a number of ways, and consult with Dan and Ben and see what needs adjustment. We want to accommodate real-world conditions. We don’t presume that we have the full picture when we say the organ is done.” ν

Builder’s website: www.dobsonorgan.com

Church’s website: www.saintthomaschurch.org

Dobson Pipe Organ Builders Opus 93 (2018)

GREAT (Manual II, in new case)

32′ Diapason (ext 16′)

16′ Diapason (partly in façade, 73 pipes)

16′ Bourdon (61 pipes)

8′ First Diapason (61 pipes)

8′ Second Diapason (61 pipes)

8′ Harmonic Flute (61 pipes)

8′ Gamba (1956 pipework, 61 pipes)

8′ Chimney Flute (61 pipes)

4′ First Octave (61 pipes)

4′ Second Octave (61 pipes)

4′ Spire Flute (61 pipes)

31⁄5′ Grosse Tierce (61 pipes)

22⁄3′ Twelfth (61 pipes)

2′ Fifteenth (61 pipes)

13⁄5′ Seventeenth (61 pipes)

V Cornet (8′, mounted, TG, 185 pipes)

IV Mixture (2′, 244 pipes)

III Cymbal (2⁄3′, 183 pipes)

16′ Bombarde (61 pipes)

8′ Trompette (61 pipes)

4′ Clairon (61 pipes)

Tremulant

SWELL (Manual III, enclosed in northeast chamber)

16′ Bourdon (61 pipes)

8′ Diapason (61 pipes)

8′ Viola (61 pipes)

8′ Viola Celeste (61 pipes)

8′ Flûte Traversière (1956, Flûte Harmonique, revoiced, 61 pipes)

8′ Lieblich Gedeckt (61 pipes)

8′ Flûte Douce (1956 pipework, 61 pipes)

8′ Flûte Céleste (1956 pipework, 61 pipes)

4′ Octave (61 pipes)

4′ Fugara (61 pipes)

4′ Flûte Octaviante (1956 Gr. Flûte Harmonique, revoiced, 61 pipes)

22⁄3′ Quint (61 pipes)

2′ Fifteenth (61 pipes)

2′ Octavin (61 pipes)

13⁄5′ Tierce (61 pipes)

IV Cornet (4′, mounted, TG, 148 pipes)

IV Plein Jeu (11⁄3′, 244 pipes)

16′ Double Trumpet (61 pipes)

8′ Trompette (61 pipes)

8′ Trumpet (61 pipes)

8′ Hautbois (61 pipes)

8′ Vox Humana (61 pipes)

4′ Clairon (61 pipes)

Tremulant

CHOIR (Manual I, enclosed in southeast chamber)

16′ Quintaton (61 pipes)

8′ Diapason (61 pipes)

8′ Spire Flute (61 pipes)

8′ Flute Celeste (61 pipes)

4′ Gemshorn (61 pipes)

4′ Flute (1956 Enc. Positiv pipework, 61 pipes)

22⁄3′ Nazard (61 pipes)

2′ Doublette (61 pipes)

2′ Recorder (61 pipes)

13⁄5′ Tierce (61 pipes)

11⁄3′ Larigot (61 pipes)

11⁄7′ Septième (61 pipes)

1′ Piccolo (61 pipes)

16′ Basson (61 pipes)

8′ Trompette (61 pipes)

8′ Clarinet (61 pipes)

4′ Clairon (61 pipes)

Tremulant

8′ Tuba Mirabilis (Solo)

8′ Trompette en Chamade (existing, with new 16′ and 4′ octaves, 85 pipes)

POSITIVE (Manual I, in new case)

8′ Principal (partly in façade, 61 pipes)

8′ Voce Umana (21–61, partly in façade, 41 pipes)

8′ Gedeckt (61 pipes)

4′ Octave (61 pipes)

4′ Chimney Flute (61 pipes)

2′ Super Octave (61 pipes)

II Sesquialtera (22⁄3′, 122 pipes)

IV Sharp Mixture (11⁄3′, 244 pipes)

8′ Cromorne (61 pipes)

Tremulant

SOLO (Manual IV, enclosed in southwest chamber)

16′ Contra Gamba (61 pipes)

8′ Flauto Mirabilis (61 pipes)

8′ Gamba (61 pipes)

8′ Gamba Celeste (61 pipes)

8′ Viole d’Orchestre (61 pipes)

8′ Viole Celeste (61 pipes)

4′ Orchestral Flute (61 pipes)

4′ Viole Octaviante (61 pipes)

III Cornet des Violes (31⁄5′, 183 pipes)

16′ Cor Anglais (61 pipes)

8′ French Horn (61 pipes)

8′ Orchestral Oboe (61 pipes)

Tremulant

16′ Trombone (61 pipes)

8′ Tuba (61 pipes)

8′ Trompette (61 pipes)

4′ Clairon (61 pipes)

8′ Tuba Mirabilis (unenclosed, 25′′ wind pressure, 61 pipes)

8′ Trompette en Chamade (Choir)

Chimes (25 tubes)

PEDAL (in northwest chamber and existing case)

32′ Contrabass (44 pipes)

32′ Diapason (Great)

32′ Subbass (56 pipes)

16′ Contrabass (ext 32′)

16′ First Diapason (partly in façade, 32 pipes)

16′ Second Diapason (Great)

16′ Subbass (ext 16′)

16′ Contra Gamba (Solo)

16′ Bourdon (Great)

16′ Echo Bourdon (Swell)

102⁄3′ Quint (fr Gt 16′ Bourdon)

8′ Octave (partly in façade, 32 pipes)

8′ Bass Flute (56 pipes)

8′ Gamba (Solo)

8′ Gedeckt (ext 32′)

8′ Bourdon (Sw 16′)

62⁄5′ Grosse Tierce (1956 pipework, 32 pipes)

44⁄7′ Grosse Septième (1956 pipework, 32 pipes)

4′ Super Octave (partly in façade, 32 pipes)

4′ Flute (ext 8′)

31⁄5′ Seventeenth (1956 pipework, 32 pipes)

2′ Flute (ext 8′)

IV Mixture (22⁄3′, 128 pipes)

32′ Contre Bombarde (1956 pipework, 44 pipes)

32′ Trombone (ext Sw 16′, 12 pipes)

16′ Bombarde (ext 32′)

16′ Posaune (32 pipes)

16′ Trumpet (Sw)

8′ Trompette (32 pipes)

4′ Clairon (32 pipes)

4′ Schalmey (32 pipes)

8′ Tuba Mirabilis (So)

8′ Trompette en Chamade (Ch)

Chimes (So)

Couplers

Great

Great 16 (does not affect 32′)

Great Unison Off

Great 4

Solo Chorus Reeds on Great

Great Reeds on Choir

Great Reeds on Swell

Great Reeds on Pedal

Swell to Great 16

Swell to Great

Swell to Great 4

Choir to Great 16

Choir to Great

Choir to Great 4

Positive to Great

Solo to Great 16

Solo to Great

Solo to Great 4

Swell

Swell 16

Swell Unison Off

Swell 4

Choir to Swell

Positive to Swell

Solo to Swell

Choir

Choir 16

Choir Unison Off

Choir 4

Swell to Choir 16

Swell to Choir

Swell to Choir 4

Solo to Choir 16

Solo to Choir

Solo to Choir 4

Pedal to Choir

Positive

Positive Unison Off

Solo

Solo 16

Solo Unison Off

Solo 4

Swell to Solo

Choir to Solo

Positive to Solo

Pedal

Pedal Unison Off

Great to Pedal

Swell to Pedal

Swell to Pedal 4

Choir to Pedal

Choir to Pedal 4

Positive to Pedal

Solo to Pedal

Solo to Pedal 4

Accessories

Bells (free bells)

All Swells to Swell

Pedal Divide (adjustable)

Manual I/II Transfer

Positive on IV

Great & Pedal Combinations Coupled

Total number of ranks: 126

Total number of stops: 102

Total number of pipes: 7,069

Photo credit: Ira Lippke

Kegg Pipe Organ Builders, Hartville, Ohio; Christendom College, Front Royal, Virginia

Landmark pipe organs come in a variety of forms, and lucky builders are usually afforded several such instruments over the course of a career. Rarely does one build for a truly landmark building. The Kegg company was chosen for one such building. 

The new neo-Gothic Christ the King Chapel of Christendom College in Front Royal, Virginia, can be seen from the western end of Interstate 66, a few miles east of where it meets Interstate 81 in western Virginia. It is noticeable because it is surrounded by farm fields and thus dominates the commanding and romantic rolling hills. Designed by the firm of O’Brien & Keane of Arlington, Virginia, the traditional cruciform building seats approximately 750 with extended transepts and Lady Chapel in the apse. The floor contains complex wood patterns in oak and walnut and includes marble roundels of the Four Wounds of Christ. There are eight side chapels in the transepts. All the altars and the sanctuary rail were rescued and restored from closed buildings. There are many other unusual features of this building, and I invite you to explore these online. 

Any new building, particularly in this form and style, brings the question of anticipated acoustic. Here the college wisely chose to engage and listen to the advice of Scott R. Riedel & Associates of Milwaukee. The triple drywall in the large organ/choir gallery and double drywall throughout the balance of the building brings satisfying reverberation and excellent bass response. 

The new Kegg organ was chosen based on visits to Canton, Ohio, and the Kegg shop. Canton organs auditioned were at the Basilica of Saint John the Baptist and Saint Peter Church. Music director Dr. Kurt Poterack considered us based on the suggestion of organ instructor Dr. Jeffery Alban, and was impressed with the color and character of the Kegg organs, particularly the versatility of the relatively modest Saint Peter organ. The new Christ the King organ, while not small, was limited by available space and funds. At 47 ranks, it contains many elements sometimes considered luxuries for an organ of this size. The organ invites exploration.

With a strong choral program and traditional values, Christendom College attracts students in the liberal arts, many of which are drawn toward traditional liturgy and music. Their chapel choir consists mostly of interested and driven students that number twenty-five to thirty, and are well rehearsed. Having outgrown the limited space of the existing chapel, and the new building easily being able to have twice this number plus additional instrumentalists, the program is expected to expand. With our emphasis on choral accompaniment in organ design, the Kegg company was a natural fit to this plan. 

The organ is based on two manual principal choruses, one each in the Great and Swell. The Great is complete from 16′ through Mixture IV, including a strong Twelfth. The Swell is also 16′ through Mixture IV and is secondary to the Great with a more textured tone, ideal for choral work as well as polyphonic music. On this framework, the balance of the organ brings elegant texture and color. The Great French Quartet of 8′ stops is present and is balanced to reflect the ideals of Aristide Cavaillé-Coll late in his career, with a strong Principal and Harmonic Flute, paired with the secondary Rohrflute and Violone. The Great reed chorus is a set of strong Trombas, leaning this division to the English side of the channel. The flues of this division are on four inches pressure while the reeds are on six inches. 

The Swell is of course the workhorse of the organ during liturgies. It is complete with everything required. The strings are narrow, in the late 1920s Skinner style with the full compass Celeste. The Diapason is more narrow than the Great Principal with a texture that compliments voices. The 4′ Salicet is helpful as a third flue stop of this pitch and of a decidedly different character. Reeds here are brighter than their Great counterparts, but still in the English family. While the stop name says “French Trumpet,” that is relative to the “veddy British” nature of the Great Trombas. The Swell is on five inches of wind pressure.

The Choir is of English/American construct, designed primarily to augment the Swell in choral work. It contains the softest and loudest of the three celeste pairs in the organ, including a Voce Humana, which pairs with the Geigen Diapason. The mysterious Flute Celeste is a crowd pleaser and will go well with incense. The Clarinet is orchestral, dark and woody. The first of two Tubas in the organ is also home in the Choir. This stop is patterned after an E. M. Skinner design to be strong, smooth, and lyrical. This division is on four inches of wind pressure, except the Tuba which is on ten inches. 

The Solo contains the aristocracy of the organ. Here we find a lovely Doppelflute, which truly enjoys the reverberant room into which it speaks. The English Horn and French Horn are copied directly from 1920s Skinner stops while the heroic Tuba Magna is based on a Willis model, being full and rich with a complete spectrum of harmonics. This division enjoys several other stops drawn from other divisions for convenience. While only four important stops, the Solo is on three different pressures. The Doppelflute and English Horn are on six inches, the French Horn is on ten inches and the Tuba Magna is on eighteen inches.

The Pedal division has all the elements needed to provide solid support of the manuals with variety in dynamic and well as color. Here we find two stops using vintage pipes, at the request of the client. The 32′ Bourdon is a Skinner stop of 44 pipes that we extended to make a 32′-16′-8′ unit. The 16′ Open Diapason is a Kimball stop of 32 pipes. In addition to these, we find an 8′ Principal, identical to the Great Principal, a 4′ Choral Bass, 32′-16′ Trombone, and 8′-4′ Trumpet. In addition to these six independent stops, the Pedal includes borrows from the manuals of other useful stops to aid registration while not always relying on couplers. The Pedal speaks on six inches of wind pressure. 

The console is movable on internal casters. It and the organ case have Gothic elements to complement the room and rose window, which depicts the Liberal Arts. With bone and rosewood keys, the console contains all the features expected of a first-class instrument today. It is remarkably compact with pleasant proportions and is low enough to allow the organist to direct a choir on risers.

Installed in February of 2023 in less than three weeks by the exceptional Kegg crew, the tonal finishing was completed by Charles Kegg and Chris Soer in time for the opening of this fine new facility in April. We would like to extend our sincere gratitude to Drs. Poterack and Alban for their continued friendship and support. In your travels west of Washington, D.C., please stop in and see this new instrument in a grand new landmark building. 

Kegg Pipe Organ Builders

Charles Kegg, President and Artistic Director

Erika Barnes

Philip Brown

Michael Carden

Joyce Harper

Philip Laakso

Brian Mattias

Nick Myers

Bruce Schutrum

Christopher Soer

David St. John

Paul Watkins

 

Builder’s website: www.keggorgan.com

College website: www.christendom.edu/

 

GREAT (Manual II)

1. 16′ Violone 73 pipes

8′ Solo Diapason IV (from #2-5-33-34)

2. 8′ Principal 61 pipes

8′ Violone (from #1)

3. 8′ Rohrflute 73 pipes

4. 8′ Harmonic Flute 49 pipes 1–12 from #3

5. 4′ Octave 61 pipes

4′ Flute (from #3)

6. 2-2⁄3′ Twelfth 61 pipes

7. 2′ Fifteenth 61 pipes 

8. 1-1⁄3′ Mixture IV 244 pipes

9. 16′ Tromba 73 pipes

8′ Tuba (from #29)

8′ Tromba (from #9)

36. 4′ Tromba Clarion 61 pipes

Tremulant

Great 16

Great Unison Off

Great 4

SWELL (Manual III – Enclosed)

10. 16′ Gedeckt 73 pipes

11. 8′ Diapason 61 pipes

8′ Gedeckt (from #10)

12. 8′ Salicional 73 pipes

13. 8′ Voix Celeste 61 pipes

14. 4′ Octave 61 pipes

4′ Salicet (from #12)

15. 4′ Spitzflute 73 pipes

16. 2-2⁄3′ Nazard 61 pipes

2′ Flute (from #15)

17. 1-3⁄5′ Tierce 61 pipes

18. 2′ Mixture IV 244 pipes

19. 16′ Bassoon 73 pipes

20. 8′ French Trumpet 73 pipes

8′ Oboe (from #19)

21. 8′ Vox Humana 61 pipes

4′ Clarion (from #20)

Tremulant

Swell 16

Swell Unison Off

Swell 4

CHOIR (Manual I – Enclosed)

22. 8′ Geigen Diapason 61 pipes

23. 8′ Voce Humana 61 pipes

24. 8′ Melodia 61 pipes

25. 8′ Flauto Dolce 61 pipes

26. 8′ Flute Celeste (TC) 49 pipes

27. 4′ Octave 73 pipes

28. 4′ Open Flute 61 pipes

2′ Fifteenth (from #27)

29. 8′ Tuba (high pressure) 61 pipes

30. 8′ Clarinet 61 pipes

Tremulant

Chimes

Choir 16

Choir Unison Off

Choir 4

SOLO (Manual IV – Enclosed)

8′ Solo Diapason IV (from #2-5-33-34)

8′ Flauto Dolce (from #25)

8′ Flute Celeste (from #26)

37. 8′ Doppelflute 61 pipes

41. 8′ English Horn 61 pipes

Tremulant

38. 8′ Tuba Magna 61 pipes

8′ Tuba (from #29)

39. 8′ French Horn 61 pipes

Solo 16

Solo Unison Off

Solo 4

PEDAL

31. 32′ Bourdon, 42 EMS pipes, reconditioned, 14 new pipes

32. 16′ Open Diapason (wood), 22 Kimball pipes, reconditioned, 10 new pipes

16′ Subbass (from #31)

16′ Violone (from #1)

16′ Gedeckt (from #10)

33. 8′ Principal 32 pipes

8′ Subbass (from #31)

8′ Violone (from #1)

8′ Gedeckt (from #10)

34. 4′ Choral Bass 32 pipes 

2′ Cantus Flute (from #4)

35. 32′ Trombone 44 pipes

32′ Harmonics (derived)

16′ Trombone (from #35)

16′ Tromba (from #9)

16′ Bassoon (from #19)

40. 8′ Trumpet 44 pipes

4′ Clarion (from #40)

4′ Clarinet (from #30)

Pedal Divide 12/13

 

TONAL RESOURCES: 47 ranks, 41 stops, 2,825 pipes

 

INTER-MANUAL 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

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

Pedal to Great 8

Solo to Swell 8

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Solo to Choir 8

Pedal to Solo 8

Great / Choir Transfer

All Swells to Swell

 

ADJUSTABLE COMBINATIONS

40 memories per User

Unlimited Users

Great: 1 2 3 4 5 6 7 8 Thumb

Swell: 1 2 3 4 5 6 7 8 Thumb

Choir 1 2 3 4 5 6 7 8 Thumb

Solo 1 2 3 4 5 6 Thumb

Pedal 1 2 3 4 Toe

General 1 2 3 4 5 6 7 8 9 10 Thumb & Toe

General 11 12 13 14 Thumb

General Cancel Thumb

Set Thumb

Next 4 Thumb, 1 Toe

Previous 4 Thumb

Clear Thumb

Undo Thumb

Range Thumb

Memory Up Thumb

Memory Down Thumb

Transposer Up Thumb

Transposer Down Thumb

Crescendo A B Thumb

All Divisionals become Next with indicator

Thumb

 

REVERSIBLES

Great to Pedal Thumb & Toe

Swell to Pedal Thumb & Toe

Choir to Pedal Thumb & Toe

32′ Trombone Thumb & Toe

32′ Bourdon Toe

Adjustable Full Organ Thumb & Toe

 

ACCESSORIES

Swell expression pedal

Choir expression pedal

Solo expression pedal

2-memory adjustable Crescendo pedal

Concave and radiating pedal clavier

Adjustable bench

Numeric Crescendo indicator

Full Organ indicator

Transposer ±5 semitones

Integral performance recording sequencer

Pencil drawer

Cup holder

Paul Fritts & Company Organ Builders, Tacoma, Washington; Hillsdale College, Hillsdale, Michigan

From the builder

Paul Fritts & Company Organ Builders has recently completed the last of two new significant organs, the firm’s Opus 44 and Opus 45, for Christ Chapel at Hillsdale College in Hillsdale, Michigan. The chapel was completed in 2019 and provides seating for 1,350 within the 27,500-square-foot building. Designed by architect Duncan Stroik, the interior of the classically inspired chapel is modeled after St. Martin-in-the-Fields in London and Christ Church, Philadelphia. The 64-foot-high barrel vault ceiling, stone columns, wooden pews, and polished marble floors provide the space with excellent acoustics, especially in the elevated chancel at the front of the nave. In addition to regular services, the chapel provides space for college ceremonies and concerts. Consultant for the organ projects Dr. Paul Thornock and the builder worked extensively together with the architects throughout all phases of the project to insure the best possible musical and logistical results.

The design phase for these two projects was extensive. Never before were we tasked with building cases designed by the architect of the building where they stand. This requires a unique collaboration due to the tonal and structural requirements of an organ often unfamiliar to architects. The work ended well, problems were solved, and we are proud of the collaboration and how it has expanded our design scope.

Early on when the building was being designed it was determined that rather than making one very large organ, the needs of the program would be better served by two organs. Opus 44, completed concurrently with the new building in 2019, is conceived as a “choir” organ and speaks from the side of the chancel where it is in close proximity to small and large ensembles. Its 30 stops are divided between three divisions: the Great at impost level, the Swell above, and the Pedal divided on either side. The organ case is made of sapele mahogany to match all of the woodwork throughout the chapel. Its musical resources are designed to support a wide variety of service music and organ repertoire. The organ serves admirably as a solo and concert instrument in its own right, and it was dedicated with a concert by Nathan Laube on April 15, 2021.

To provide support for singing for a full congregation and to serve as a concert instrument, the Gallery Organ, Opus 45, has three manuals and pedal. Installation and tonal finishing were recently completed in October 2022. It, too, is housed in a sapele mahogany case with a large “broken” pediment, columns, and architectural capitals. The polished tin façade pipes are the lowest notes of the Great and Pedal Principal 16′ stops, both of which are independent. The en fenêtre keydesks of both organs are in the front center of the cases.

Both organs feature suspended mechanical key actions providing a light but easily controlled touch while sending tactile feedback to the player. Stop actions are mechanical with the inclusion of “intelligent” solenoids and 999-memory-level combination actions. General and divisional pistons, coupler and 32′ reversible toe studs, and a sequencer with multiple “forward” pistons and studs are part of both combination systems.

The stoplists were drawn up by the consultant and the builder. Both organs have substantial principal choruses on each of their divisions along with a variety of flute and string stops and are capped with a generous array of reed stops. The Gallery Organ includes both a large-scale 32′ Subbaß and an independent 32′ Posaune. Both French and German Trompets at 8′ reside in the Great, and a French-style 8′ Cromorne in the Positive as well as a Cavaillé-Coll inspired 8′ Hautbois in the Swell and 8′ Flûte Harmonique in the Great. There is also a Renaissance-style 8′ Trompet with duck-billed shallots included in the Swell. All are voiced with full-length resonators for a full yet colorful sound that blends appropriately with the overall organization of voicing style and related pipe design throughout. Compact design with reasonable access was important for space reasons and focus of the sound.

The Gallery Organ is similar in its layout to the Choir Organ, with the organ’s three manual divisions triple decked in the center with the Positive at the lowest (impost) level, the Great above, and the Swell at the top of the 38-foot-tall case. The Pedal division is divided on either side of the manual divisions. The 32′ Subbaß bass octave is placed on two windchests (C and C-sharp) at floor level at the rear of the case. Directly in front of the large Subbaß pipes, the 32′ Posaune stands on two windchests at floor level, the tallest of the tin resonators reaching to the top of the case.

The large pipes in the center façade are the lowest nine pipes (C to G-sharp) of the Great 16′ Principal. The largest four pipes of the Pedal 16′ Principal (C to D-sharp) are wooden, made of sugar pine, mounted inside the case. The Pedal façade pipes begin at E and continue to tenor f. The four smaller façade pipes in the outer fields and closest to the center field continue the Great 16′ Principal up to tenor e.

The pipes for both organs were made entirely in the Fritts workshop, the metal ones constructed of two alloys—high lead and high tin—that have been cast on sand. The process dates to ancient times and was the method used for the pipe making of Gothic and Renaissance organs and continued in some instances well into the Baroque period. The very rapid cooling of the pipe metal on the sand bed (compared to a relatively long cooling period on a cloth-covered table) produces material with a smaller crystalline structure, which has discernible benefits to the sound of the pipes. The speech of the pipes is enhanced with the pipes reaching their steady-state tone seemingly more quickly with less fuss, and with less obtrusive harshness and speech noise. Windways can be generous and pipe toes open encouraging a free, colorful, and unforced sound on relatively low wind pressures. The overall impact of the organs can then be determined by wind pressure and to a lesser degree pipe scales.

The Gallery Organ has five wedge-shaped bellows, all positioned within the case. The Great and Positive divisions share two bellows that have been carefully balanced to work together for good support of these divisions. The Pedal division makes use of one similarly sized bellows for the C and C-sharp sides and the Swell has its own bellows. The bass octave pipes of the 32′ Subbass are directly winded from the blower’s static pressure windline, which provides them with 120 mm (4¾ inches) of wind pressure. The Great and Positive divisions are winded at 74 mm, the Swell on 70 mm and the Pedal division on 76 mm.

The two organs are pitched identically at 440hz @ 70°F. Both utilize Kellner’s “Bach” temperament.

The Gallery Organ is provided with a dedicated air conditioning system that was planned at the outset and built as a part of the chapel construction. During summertime, air-conditioned air is circulated throughout the organ case and is regulated by a thermostat high in the Swell. During the heating season, air will continue to circulate throughout the case to control temperature stratification. Experience with similar systems in our organs has shown this to be critical for keeping vertically separated divisions in tune with one another.

The success of an organ project, or in this case, two projects, depends upon a great number of contributing factors. Chief among them is installing the organs in advantageous locations in a great space. A well-developed design and tonal plan along with meticulous craftsmanship and expert voicing and tonal finishing lead to outstanding results. The melding of the countless and seemingly disparate elements into a cohesive whole that is greater than the sum of its parts is the special alchemy that is superb organ building.

Special thanks go to the administration of Hillsdale College for their foresight and vision in commissioning these instruments and to project advisor, Dr. Paul Thornock. Thanks and appreciation also go to the staff of Paul Fritts & Company: Greg Bahnsen, Zane Boothby, Rain Daley, Paul Fritts, Raphi Giangiulio, Erik McLeod, Andreas Schonger, Bruce Shull, Ben Wooley, and to our bookkeepers and business managers, Robyn Ellis and Marlon Ventura. Carving work was provided by Dimitrios Klitsas. 

The completion of the Gallery Organ will be celebrated with an inaugural concert by Nathan Laube on April 13, 2023.

—Paul Fritts

From the consultant

The Hillsdale organ project began with a phone call from the architect who expressed the desire for a new organ to be as special and specialized as the building itself. The desire for mechanical action was in place before the consultant was hired.

An organ in the new Christ Chapel would be required to do many things, including playing for academic ceremonies, accompanying the college’s choirs and orchestras, playing repertoire, and serving as a teaching instrument. Hillsdale College President, Dr. Larry P. Arnn, believes that, “To elevate the hearts and minds of the faithful, Christ Chapel must be a home for musical beauty of the highest order.” Further, his desire to create a regularly sung evensong in the chapel was given considerable weight. The college’s large symphony orchestra also had to fit in the chancel.

The available space in the chancel precluded building a single large instrument in the front of the building that would completely fulfill the musical mission. Further, there was no appetite for placing an organ on the main axis at the front of the building. The only solution was two organs of complementary but distinct characters.

This visionary project was truly an “if you build it, they will come” affair. The college wished to build a sacred music program, and the administration understood that the infrastructure had to be in place to do it. Therefore, an organ professor was not yet in place during the design phase. The committee, which consisted of the architect, consultant, and various administrators, traveled throughout the Midwest to see and hear dozens of instruments by six of North America’s distinguished builders. It is fascinating how committees often have an “Aha!” moment in visiting a particular organ; this moment happened when they visited the Fritts organ at the DeBartolo Performing Arts Center at the University of Notre Dame. 

The result is a workhorse two-manual organ in the chancel with an efficient but developed Swell division that enables the organist to render choral accompaniments convincingly and to play the many liturgical events in the chapel, including evensong. The instrument also has sufficient power to pair with the orchestra. The Gallery Organ is the heroic instrument the college desired for large convocations and concerts.

Dr. Arnn’s ideals are borne out in these examples of the organ art: “There never has been a great university unconcerned with the question of the Divine. More than one-third of our students are involved in music—an invaluable gift that helps us to contemplate beauty, harmony, and meaning. To that same end, our splendid organs will help point man’s thoughts toward God.”

—Paul Thornock

From the architect

Christ Chapel at Hillsdale College, Michigan, is the first freestanding chapel in the college’s 175-year history. Located on the main axis of campus and forming a new quadrangle, the classical brick and limestone exterior features a domed circular entrance portico with Doric columns. Three concave entry doors lead into an elegant barrel-vaulted nave with limestone columns and mahogany side balconies. Large arched windows fill the space with natural light. 

The Choir Organ is located along the side wall of the chancel and framed by a limestone arch and Doric columns engaged to the wall. The case is 24 feet tall by 13 feet wide. Carved mahogany Corinthian columns divide the façade of the organ case into a taller central section and two side wings. This architectural motif (called a “Serliana”) is found throughout the chapel, such as on the second level of the main exterior façade, and the window above the altar in the chancel. A gold leaf inscription in the frieze of the entablature of the organ case reads: Laudate eum in Chordis et Organo (“Praise him with strings and pipes,” Psalm 150). Carved mahogany laurel wreaths punctuate the pedestal of the organ. Limestone relief panels in the chancel show a harp, trumpets, cymbals, and floral swags, visually depicting the praise of God called for in the psalm.

The Gallery Organ case harmonizes with the Choir Organ but is much larger, 30 feet tall by 30 feet wide. Its overall shape is also a Serliana motif. It has four 15-foot-tall fluted composite columns. An elaborate entablature and broken pediment with a receding apex are above. It also has an inscription across the pulvinated frieze: Cantate Domino Canticum, Novum Quoniam Mirabilia Fecit (“Sing to the Lord a new song, for he has done great wonders,” Psalm 98). 

While there are some examples of college chapels with two organs in the United States, there are few examples of the organs being conceived together. The architect has designed five other cases in the United States for both new and historic organs, and was inspired by the Saint-Sulpice grand orgue case by the architect Jean-François Chalgrin. The two new organs will be the centerpieces of Hillsdale’s expanding music program.  

—Duncan G. Stroik 

 

Builder’s website: www.frittsorgan.com

Architect’s website: www.stroik.com

College website: www.hillsdale.edu

 

Choir Organ, Opus 44

GREAT (Manual I)

16′ Bourdon

8′ Principal

8′ Salicional

8′ Rohrflöte

4′ Octave

4′ Spitzflöte

2-2⁄3′ Quinte

2′ Octave

Mixture IV

8′ Trompet

4′ Trompet

SWELL (Manual II)

8′ Principal

8′ Gamba

8′ Voix celeste

8′ Gedackt

4′ Octave

4′ Rohrflöte

2-2⁄3′ Nasard

2′ Gemshorn

1-3⁄5′ Tierce

Mixture III–IV

16′ Fagott

8′ Trompet

8′ Basson/Hautbois

PEDAL

16′ Subbass

8′ Principal

8′ Bourdon*

4′ Octave*

16′ Posaune

8′ Trompet

*Some pipes transmitted from other stops

Couplers

Swell to Great, Great to Pedal, Swell to Pedal

 

Polished tin front pipes

Suspended, direct mechanical key action

Mechanical stop action with electric pre-set system

Tremulant

Compass: Manual 58 notes; Pedal: 30 notes

Gallery Organ, Opus 45

GREAT (Manual I)

16′ Principal

8′ Octave

8′ Salicional

8′ Rohrflöte

8′ Flûte Harmonique

4′ Octave

4′ Spitzflöte

3′ Quinte

2′ Octave

Mixture VI–VIII

Cornet V

16′ Trompet

8′ Trompet

8′ Trompette

SWELL (Manual III)

8′ Principal

8′ Gedackt

8′ Baarpijp

8′ Violdigamba

8′ Voix celeste

4′ Octave

4′ Koppelflöte

2-2⁄3′ Nasat

2′ Octave

2′ Blockflöte

1-3⁄5′ Terz

Mixture V–VI

16′ Trompet

8′ Trompet

8′ Hautbois

8′ Vox Humana

POSITIVE (Manual II)

8′ Principal

8′ Gedackt

8′ Quintadena

4′ Octave

4′ Rohrflöte

2-2⁄3′ Nasat

2′ Octave

2′ Waldflöte

1-1⁄3′ Larigot

Sesquialtera II

Mixture VI–VII

16′ Dulcian

8′ Trompet

8′ Cromorne

PEDAL

32′ Subbaß*

16′ Principal

16′ Subbaß

8′ Octave

8′ Bourdon*

4′ Octave

4′ Nachthorn

Mixture VI–VII

32′ Posaune

16′ Posaune

8′ Trompet

4′ Trompet

2′ Cornet

*Some pipes transmitted from other stops

Couplers

Swell to Great

Positive to Great

Swell to Positive

Great to Pedal

Swell to Pedal

Positive to Pedal

 

Polished tin front pipes

Suspended, direct mechanical key action

Mechanical stop action with electric pre-set system

Swell Tremulant

Great & Positive Tremulant

Wind Stabilizer

Compass: Manual 58 notes; Pedal: 30 notes

 

 

Opus 44 Choir Organ: 

30 stops; 38 ranks; 1,854 pipes

Opus 45 Gallery Organ: 

57 stops; 85 ranks; 4,115 pipes