Cover Feature

The University of Michigan Organ Department, School of Music, Theatre & Dance, Ann Arbor, Michigan

James Kibbie

The University of Michigan Organ Department, one of the nation’s oldest, largest, and most recognized programs, is an international leader in the fields of organ, harpsichord, carillon, and sacred music. Its home, the School of Music, Theatre & Dance, is a highly selective professional school offering programs in music, dance, theatre, and musical theatre on a welcoming campus in the culturally rich college town of Ann Arbor. The school combines the rigor of a conservatory with the academic breadth and depth of a major public research university. Students pursue a comprehensive program of performance and study that embraces a liberal arts education and emphasizes innovation and diversity in the arts. The faculty—eminent performers and scholars with a broad range of specializations—share a profound commitment to teaching. The Organ Department’s reputation for fostering talent is evidenced by the number of graduates enjoying careers as recitalists, university professors, published composers and scholars, and music directors of major churches.

Faculty and staff

• James Kibbie, Professor of Organ and Chair; University Organist

• Kola Owolabi, Associate Professor of Organ and Sacred Music

• Joseph Gascho, Assistant Professor of Harpsichord and Early Music

• Tiffany Ng, Assistant Professor of Carillon; University Carillonist; Digital Studies Institute Affiliate Faculty

• Jerroll Adams, University Organ Technician

• Colin Knapp, Organ Conference Coordinator

• Andrew Meagher, Hill Auditorium Scheduling Coordinator

• Distinguished former faculty members include organists Palmer Christian, Robert Noehren, Marilyn Mason, Robert Glasgow, Robert Clark, and Michele Johns, carillonist Margo Halsted, harpsichordist Edward Parmentier, and composers William Bolcom and William Albright.

Guest artists

The Organ Department sponsors recitals, masterclasses, and workshops by leading international artists. Recent faculty residencies have featured Vincent Dubois (Cathedral of Notre Dame, Paris; Conservatory of Strasbourg) and Daniel Roth (Church of St. Sulpice, Paris). Recent guest artists and clinicians include Olivier Latry (Cathedral of Notre Dame; Paris Conservatory), Keith Hampton (Chicago Community Chorus; specialist in the Black Gospel tradition), Jaap ter Linden (Royal Conservatory of the Hague and Amsterdam Conservatory, the Netherlands, early music specialist), Nicole Keller (Baldwin Wallace Conservatory, Berea, Ohio), Jörg Abbing (Hochschule für Musik Saar, Germany), Andrzej Szadejko (Gdańsk Music Academy, Poland), Jaroslav Tůma (Academy of Performing Arts, Prague, Czech Republic), and Jean-Baptiste Robin (Royal Chapel of Versailles).

Degrees offered

• Bachelor of Music in Organ Performance and Sacred Music

• Bachelor of Musical Arts in Organ Performance

• Master of Music in Organ Performance

• Master of Music in Sacred Music

• Master of Music in Harpsichord Performance

• Master of Music in Early Keyboard Instruments

• Master of Music in Carillon Performance

• Doctor of Musical Arts in Performance: Organ

• Doctor of Musical Arts in Performance: Sacred Music

• Doctor of Musical Arts in Performance: Harpsichord

• Dual degree programs with six other University of Michigan colleges and joint degree programs with other departments in the School of Music, Theatre & Dance are also available.

Organ and sacred music

Student career preparation includes development of artistry, technique, scholarly research skills, and the ability to play music of all periods with integrity. Students attain knowledge of specific performance practices, supported by a wide range of courses in repertoire and technique. Hymn-playing and choral accompaniment are pursued with the same seriousness as solo repertoire. Studies in improvisation enable students to develop their creative voices as church musicians and performers. In sacred music, a graded curriculum exposes students to the musical practices of diverse cultures and liturgical traditions. Choral conducting and continuo are offered at both undergraduate and graduate levels.

Harpsichord and early music

Both solo and continuo playing are emphasized for harpsichord students, who also build a strong foundation in historical performance practices. Other early music opportunities include participation in Renaissance Choir, Baroque Chamber Orchestra, and a wide variety of chamber music events. Students have the opportunity to study and perform on period instruments, including those in the university’s extensive Stearns Collection of Musical Instruments. Recent performances include a fully-staged production of Charpentier’s opera La Descente d’Orphée aux Enfers.

Carillon

The carillon program is built on the dual pursuit of innovative artistic excellence and inclusive community engagement and offers one of the only Master of Music in Carillon Performance degrees in existence. Students enjoy frequent performance opportunities and new acoustic and electroacoustic music collaborations, develop socially engaged outreach projects for diverse audiences, and pursue original research in campanology. Alumni hold faculty and performance positions throughout the country.

Organ, harpsichord, and sacred music courses

In addition to studio instruction in organ, harpsichord, and carillon, students elect from a rotating sequence of courses designed to prepare musicians for professional careers as organists, church musicians, harpsichordists, and carillonists:

• Organ Literature: Antiquity to 1750

• Organ Literature: 1750 to Present

• Early Music for Keyboard

• Baroque Organ Music

• Music of the French Baroque

• Organ Music of the 19th Century

• Contemporary Organ Music

• Topics in Historical Performance

• Basso Continuo

• Basso Continuo II

• Advanced Continuo and Partimento

• Organ Pedagogy

• Harpsichord Pedagogy

• Harpsichord Maintenance

• Improvisation I

• Improvisation II

• Contrapuntal Improvisation

• Advanced Improvisation

• Service Playing

• Creative Hymn-Playing

• Blended Worship Music Styles

• Contemporary Issues in Sacred Music

• The Church’s Song: Critical Issues in Hymnology

• African-American Spirituals and Gospel

• Students also find arts leadership development, entrepreneurial opportunities, and grants in the EXCEL Department (Excellence in Entrepreneurship Career Empowerment & Leadership).

Research

Organ Department faculty and students engage in major scholarly and creative projects within the nation’s top-ranked public research university (as recognized by the National Science Foundation in 2018). Recent faculty grants have supported a project to develop applications of data science to performance issues in the Bach trio sonatas; innovations in carillon scholarship, technology-augmented performance, and multimedia publishing; audio and video recordings integrating scholarship and recording on historic instruments; the pioneering of team teaching with architecture; and scholarly publications. Current graduate students are receiving grant support for projects including a series of compact disc recordings of organ music by women composers and research and performance on North German Baroque instruments.

Organs

The University of Michigan recognizes the pipe organ as the only instrument suitable for practice, teaching, and performance of the organ repertoire. Students perform, study, and rehearse on 16 pipe organs on campus, including:

• Frieze Memorial Organ, Hill Auditorium: four manuals, 124 ranks, electro-pneumatic action; Farrand & Votey (1893), Hutchings (1913), Skinner Organ Company (1927), Aeolian-Skinner (1955);

• Marilyn Mason Organ, Blanche Anderson Moore Hall: two manuals, 27 stops, mechanical action; C. B. Fisk, after instruments of Gottfried Silbermann;

• James Walgreen Organ, School of Public Health: two manuals, 12 stops, mechanical action; Orgues Létourneau;

• Organ teaching studios: three manuals, electro-pneumatic instruments by Reuter and M. P. Möller;

• Italian positiv organ: one manual, three stops, mechanical action; unknown 16th-century Italian builder;

• Kistorgel (continuo positiv): one manual, four stops, mechanical action; Henk Klop;

• Portativ organ: one manual, one rank; Wendhack, Redeker & Kreuzer, after a medieval model;

• Practice organs: eight two-manual mechanical and electro-pneumatic instruments by A. David Moore, Aeolian-Skinner, Reuter, and M. P. Möller;

• Students also study and perform regularly on instruments in Ann Arbor churches by Karl Wilhelm, Orgues Létourneau, and Schoenstein.

Harpsichords

• Keith Hill: German double manual;

• William Dowd: Franco-Flemish double manual after Ruckers;

• Peter Fisk: French double manual;

• Hubbard/Eckstein: French double manual;

• Hill and Tyre: German single manual;

• David Sutherland: Flemish single manual;

• William Post Ross: Italian single manual after De Quoc;

• Two Zuckermann kit instruments;

• Randall Scott: clavichord after a 1784 instrument of Christian Gottlob Hübert.

Carillons

• Charles Baird Carillon, Burton Memorial Tower: 53 bells cast by John Taylor & Co., England, 1936;

• Robert & Ann Lurie Carillon: 60 bells cast by Royal Eijsbouts, the Netherlands, 1996;

• Three practice keyboards.

Conferences, competitions, and workshops

The annual Organ Conference, a tradition for almost sixty years, presents recitals, workshops, and masterclasses by international artists and performances by University of Michigan students and faculty. The summer Early Keyboard Institute, presented by University of Michigan faculty and resident artists, provides an intensive six-day experience focusing on harpsichord and fortepiano.

Co-sponsored by the American Center of Church Music, the annual Organ Improvisation Competition has featured finalists from North America, Europe, and Asia. The Schoenstein Competition in the Art of Organ Accompaniment, presented with support from Jack M. Bethards, Schoenstein & Co. Organ Builders, recognizes artistry in the accompaniment of solos, choral repertoire, and hymns.

Recent special events have included the 2018 Annual Conference of the Historical Keyboard Society of North America, with over 70 performances, lectures, and other events on the theme “Kenner und Liebhaber.”

The UM Summer Carillon Series presents leading international recitalists each year. Supported by a UM Bicentennial Grant in 2017, “Resonance & Remembrance: An Interdisciplinary Bell Studies Symposium,” pioneered new directions in scholarly and applied campanology research and technology-augmented performance.

Performance opportunities

Organ students perform for the annual Organ Conference, the bi-weekly Brown Bag Recital Series on the James Walgreen Organ, AGO recitals, and outreach recitals at churches. There are also frequent opportunities to perform with the university orchestras, bands, and choral ensembles. Carillon students perform on the daily recitals at both carillon towers, at student guild recitals, official university events, and during field trips to area carillons. Harpsichord students perform in solo recitals, chamber ensembles, and with the Baroque Chamber Orchestra and Early Music Choir.

International organ study tours

Students in the Organ Department have the opportunity to participate in European study tours to play historic organs, study with eminent artist-teachers, and perform in group recitals. Student expenses are funded in part through fundraising recitals at area churches. During their 2019 tour to the Netherlands and Germany, students studied 13 historic organs by van Covelens, Schnitger, Silbermann, Trost, Ladegast, and Sauer and performed in masterclasses with Pieter van Dijk, Thiemo Janssen, Ullrich Böhme, and Johannes Trümpler.

Application and financial aid

The Organ Department supports students with financial aid packages that reward artistic and academic excellence, while also considering a student’s overall financial resources. Undergraduate applicants are eligible to compete in the annual Undergraduate Organ Scholarship Competition. Master’s students are considered for a variety of scholarships, and nearly all DMA students receive full-tuition fellowships and are also eligible to apply for fellowships to fund research, travel, and performance. For further information and to apply, visit smtd.umich.edu.

Juget-Sinclair Organbuilders, Montréal, Québec, Canada

Christ Church, Episcopal, Pelham, New York

The making of Opus 51

Designing pipe organs has always been a big challenge. The large organs can only be the result of teamwork and are, in a way, a collective work. The point is also that church organs are among the only instruments not to be for private use, but for community use. The process of acquiring an organ is also far from the ordinary procedure of buying a good or a service, it is rather a human experience dotted with twists and turns that ultimately has a positive impact on an entire community.

It is with this in mind that we approached the project for Christ Church, Pelham. Although the beginnings of the project go back more than ten years, the winning conditions were met in 2017, and we consider ourselves privileged to have been given the mission of designing and manufacturing this instrument. As soon as we visited, we received the request to design a casework façade inspired by the motifs present in the church and to respect the Gothic Revival style, typical of the churches of this time, to create a symbiosis between the organ and the church.

The visual and technical concept

The main challenge in the visual design of the instrument was to emphasize verticality. This is why the five main pipes of the Pédale 16′ Principal (7–11) form the backbone of the concept. On each side, the subdivision of the pipe flats arouses visual excitement, as much by the use of small pipes as by the density of decorations and molding. The lateral pipe flats, whose starting point is lower, reinforce the central element, thus creating verticality within the whole. The zimbelstern star, gilded with 23-karat gold leaf, illuminates the façade by referring to the stained-glass window by William Jay Bolton, The Adoration of the Magi (1843). Although the space allocated to the organ is rather limited considering the requested stoplist, we were able to position the divisions without compromising access to the various components of the organ.

Choral music is very important in Pelham, and one of the mandates was to leave space for more than twenty singers between the console and the casework. The detached console has been positioned to leave as much space as possible for the singers while allowing the organist to conduct while accompanying. Finally, the constraints of depth and height guided the positioning of the windchests: The Pédale is on the ground, the Grand-Orgue on the first level aligned with the impost of the casework, and the Récit expressif on the second level, centered above the Grand-Orgue.

At ground level, the electric windchests of the large Pédale 16′ pipes (Principals 16′-8′, Soubasse 16′-8′, Trombone 16′-8′, and the first octave of the 8′ Violoncelle) are placed at the back and occupy the entire width of the church, the large pipes passing on each side of the swell box. The mechanical windchest, which includes the trebles of all the stops and the entire 4′ Flûte, is located under the Grand-Orgue, sharing the space with the three wedge bellows. On the first level, the Grand-Orgue is divided into two windchests, and the basses of the 8′ stops also stand on each side of the swell box. The five-rank Cornet is mounted over the Grand-Orgue pipes, just behind the façade. The Récit expressif occupies the second level above the Grand-Orgue and the Pédale. It is divided into two windchests, and the ceiling of the swell box follows the design of the façade to make it invisible.

The casework and console are in quarter-sawn white oak, stained and oiled. The music rack is made with myrtle veneer enhanced with ebony inlays. The keyboards are covered with bone, and the sharps are in solid ebony. The stop knobs are turned in black walnut, and the stop labels are in porcelain. According to our practice, the large wooden pipes, the frames, bellows, and windchests are mostly made of poplar and white oak. The 16′ and 8′ stopped pipes and the 4′ Pédale Flûte are made of white pine and cherry. Most of the mechanical parts are in beech, and the trackers are in carbon fiber. The metal pipes are made using three different alloys: the stopped pipes and flute mutations are 98% lead; all the reeds and the Récit principals are 52% tin; while the front pipes, the Grand-Orgue plenum, the gambas, and salicionals are 82% tin.

The tonal concept

From the beginning of the project, the committee’s choice centered on a French aesthetic, adapted to the North American context. Though this choice may seem unusual to support a liturgy inherited from the British tradition, the diversity of color and power of the foundations, the variety in mutations and reeds, combined with the efficiency of the swell box make it a very effective and versatile accompaniment instrument for the Episcopal liturgy.

Generally speaking, as voicers we are looking for refinement in sound colors and balance between each stop rather than power. At Christ Church, we used the progressive entailles de timbre (tuning slots) for the bass, tenor, and alto and cut-to-length trebles for the principals. The gambas are voiced with tuning slots only, while the harmonic flutes are cut to length. The windpressures are 90 mm for Grand-Orgue and Récit and 105 mm for the Pédale. The organ is tuned in equal temperament.

The Grand-Orgue division

The Grand-Orgue division is built on a 16′ Plein-jeu. If an 8′ plenum is registered, the low rank of the Fourniture V (22⁄3′–51⁄3′) will be automatically removed. The breaks in the Fourniture are on the C’s to favor clarity in polyphonic music. The Grand-Orgue has the four typical 8′ foundation stops of the French symphonic organ. These four stops are complementary in strength and timbre and can blend with each other. The Montre is rich and generous, and the trebles do not lose their intensity. The Flûte harmonique is the most ascending stop of the organ; it is a self-accompanying stop. The delicate Salicional brings richness when mixed with other 8′ stops while the Bourdon brings depth. The 16′ and 8′ Bourdons and the 4′ Flûte douce have chimneys. The Cornet V has two main roles: it can be considered a solo stop, and in the tutti, it compensates for the natural loss of power of the reed stops in the trebles. The Grand-Orgue 8′ Trompette is uninhibited without being vulgar and brings power to the whole organ. The Cromorne is in the French tradition, but in the fashion of the nineteenth century; it is rounder and warmer than its eighteenth-century predecessor. This therefore makes it a fairly versatile stop that can be used in Baroque, Romantic, and contemporary music. The Trompette is constructed with Bertounèche-type shallots and the Cromorne with slightly conical shallots in the bass and cylindrical shallots in the trebles.

The Récit expressif division

The Récit expressif is a great 16′ symphonic swell and has some of the most colorful stops of the organ. A secondary 8′ plenum is present to be able to dialogue with the Grand-Orgue. The breaks of the swell Plein-jeu are on the second, third, and fourth F so as not to coincide with those of the Grand-Orgue. The gambas have the narrowest scales of the organ. They bring clarity to the foundations of the whole organ and allow the Voix-céleste to be sparkling. The mutations are cylindrical and fluty according to French tradition. The Trompette and Clairon have harmonic trebles, which favors their presence in the church. Bertounèche reeds were used for Trompette and Clairon and tear-drop shallots for Bassons. The swell shades system we use allows the box to be opened completely, giving the most presence to the sound. This opening system also provides greater control and a better dynamic range between open and closed box. The full swell can literally disappear completely behind the Grand-Orgue foundations when the box is closed.

The Pédale division

Based on a 16′ Principal, the Pédale division has a variety of foundations covering the principal, flute, and gamba families. The 8′ Violoncelle is a chameleon stop that blends with the Principal as well as with the Bourdon. The 4′ Flûte is strong enough to allow it to be played solo. German-style plated shallots have been used for the 16′ Trombone and 8′ Trompette to allow these stops to be more versatile than typical French reeds. Although the Trombone is powerful enough to support the whole organ, it is much rounder than a Bombarde, and it is balanced with the large plenum and full swell to support the accompaniment of large hymns. The 8′ Trompette can be easily included in a Germanic plenum to reinforce the contrapuntal lines.

Project completion

The instrument-making process required nearly 18,000 man-hours of work from summer 2018 to fall 2019. Installation of the instrument was from October to November 2019, and the end of the voicing coincided with American Thanksgiving. The assembly of the casework and the mechanical action took place over two weeks, and voicing over seven weeks. During this period, we were able to establish close relationships with the community of Pelham, in particular with the main actors of the project, without whom all of this would not have been possible. We warmly thank the members of the organ committee who put trust in us: Martin A. Nash, Margaret Young (chairman), Jeffrey Hoffman, Father Matthew Mead, Kari Black, Jeff Bodenmann, and Kim De Beaumont, as well as all our hosts and collaborators in this project.

Robin Côté, President, Juget-Sinclair Organbuilders

The team of Juget-Sinclair organ builders

Robin Côté

François Couture

Dean Eckmann

Jean-Dominique Felx

Denis Juget

Michal Michalik

Alexander Ross

Stephen Sinclair

Mathieu Thomas-Guy

Philipp Windmöller

 

GRAND-ORGUE (Manual I)

16′ Bourdon

8′ Montre

8′ Bourdon

8′ Salicional

8′ Flûte harmonique (1–17 fr 8′ Bdn)

4′ Prestant

4′ Flûte douce

2′ Doublette

Fourniture V (V with 16′)

Cornet V (fr tenor F)

8′ Trompette

8′ Cromorne

Tremblant

II/I

RÉCIT EXPRESSIF (Manual II)

8′ Principal Amabile

8′ Bourdon

8′ Viole de gambe

8′ Voix-céleste

4′ Principal

4′ Flûte octaviante

2-2⁄3′ Nazard

2′ Piccolo

1-3⁄5′ Tierce

2′ Plein-jeu IV

16′ Basson

8′ Trompette

8′ Basson-Hautbois

4′ Clairon

Tremblant

PÉDALE

16′ Principal

16′ Soubasse

8′ Principal (ext 16′ Principal)

8′ Bourdon (ext 16′ Soubasse)

8′ Violoncelle

4′ Prestant (ext 16′ Principal)

4′ Flûte

16′ Trombone

8′ Trompette (ext 16′ Trombone)

I/P

II/P

General specification

61-note keyboards

32-note AGO pedalboard

Equal temperament

Multi-level electronic combination action

400 memory levels

10 general pistons

6 divisional pistons per division

Sequencer

 

Builder’s website

Church website

 

35 stops, 42 ranks, 2,351 pipes

 

Read about another Juget-Sinclair project here.

Wichita State University, Wichita, Kansas

Lynne Davis

The Marcussen organ in Wiedemann Hall—The vision realized

In 1956, Walter J. Duerksen, dean of the College of Fine Arts, and Gordon B. Terwilliger, graduate coordinator for the School of Music at the then University of Wichita, envisioned the installation of a three-manual organ in the recently completed Duerksen Fine Arts Center’s Miller Concert Hall as the pièce de resistance for that attractive and functional building. Although a fund was started for this purpose, other considerations intervened, and in 1964 Dean Duerksen instead decided to use the fund for the installation of an 18-rank Casavant organ (voiced by Lawrence Phelps, then at Casavant) in the new Grace Memorial Chapel.

However, the dream of an organ for Duerksen Fine Arts Center persisted. Terwilliger, who had become dean of fine arts, invited organ builder Lawrence Phelps, who then had his own firm in Erie, Pennsylvania, to the campus in 1975 to discuss whether or not the installation of a pipe organ was feasible in Miller Concert Hall. By this time, nearly twenty years after its completion, the building had limitations that precluded the successful installation of any fine organ. Phelps reported that a new building was needed. Such a prospect seemed hopeless—or decades away.

However, the extraordinary achievements of many Wichita State organ students of that time—thirty-five students in 1965—kept the vision alive. Some reason for optimism occurred in 1979, when an organ recital hall was added to a long list of university building needs and again in 1981, when it was moved to a top-priority status.

Robert Town, associate professor of organ, was encouraged enough to consult Lawrence Phelps, who suggested shapes and dimensions for the proposed building. Also, President Clark D. Ahlberg began soliciting municipal support for what had become a most ambitious vision. By 1982 Town felt that university planning and funding were progressing well enough for him to contact nine organbuilders, both American and European, regarding an estimate and preliminary stoplist for an organ with mechanical key action.

Community philanthropist and music-lover Gladys H. G. Wiedemann was one of those who believed the dream could become reality. In 1983, as president of the K. T. Wiedemann Foundation, Inc., she pledged $500,000 for the purchase of the recital hall organ. Her single generous act provided the impetus necessary to carry the project forward. University President Warren B. Armstrong reaffirmed the plan; Mrs. Rie Bloomfield, through the Sam and Rie Bloomfield Foundation, pledged $150,000 toward the building; the Wichita State University Board of Trustees guaranteed the remainder of the financing; and contracts were signed with the local architectural firm of Schaefer, Johnson, Cox, and Frey Associates, and with organbuilders Marcussen & Søn of Aabenraa, Denmark.

S. J. Zachariassen (great-great-great grandson of the founder) of Marcussen & Søn, Kansas City acoustical consultant Robert Coffeen, the architects, and the university organ committee met in Wichita to meticulously collaborate on the building and organ dynamics. The final design of the organ and the stoplist was drawn up by Robert Town and Zachariassen, with suggestions from Lawrence Phelps and renowned concert organist Gillian Weir.

The firm of E. W. Johnson and Son began construction of Wiedemann Hall in December 1984; it was finished in the spring of 1986. Of neoclassic design, this glorious building houses a main auditorium which is 100 feet long and 40 feet high, has slightly fanned side walls, and originally sat 425 people. (In 2014, all the seats were replaced to adhere to accessibility concerns. As a result, there are now 412 seats, including twelve accessible ones.)

Neither effort nor expense was spared to ensure the ideal acoustical setting for the great Marcussen organ, the first of three installed in North America by the respected now 216-year-old firm. The auditorium walls are 26 inches thick, and the stage wings are of oak paneling. The side and rear walls are made of sealed plaster and are fitted from top to bottom with sound-diffusing panels; the ceiling’s irregularly shaped forms serve the same purpose. The seating’s terraced floor is made of glazed concrete. Two aisles are carpeted, and the stage floor, steps, and apron are of oak parquet. The result is three seconds of reverberation time. The vision, the years of hoping and planning, and the generosity and efforts of many culminated in this crucial measure of success for Wiedemann Hall.

The Marcussen organ itself is no less impressive. Entering the hall, one is immediately struck by the harmonious and grandiose focal point the organ represents at the bottom of the auditorium seats. Its case is 34 feet high, 25 feet wide, and seven feet deep, made of European white oak. The console is made of exclusive palisander, also known as Brazilian rosewood. Console measurements are a modified American Guild of Organists standard, and the tuning is in equal temperament. It took five highly skilled workers from the Marcussen firm seven weeks in 1986 to install the organ; ten more weeks were required for the voicing, which was directed by Olav S. Oussoren and his assistant, Emil Bladt.

The naturals of the organ’s manual keys are ivory covered, the sharps, ebony. The organ has three pedals: a crescendo pedal; a mechanical swell pedal, which operates vertical shutters across the entire front and top of the Swell case; and a third pedal, which mechanically opens and closes the Brustwerk doors. The pedal keys are oak, the sharps ebony capped. The stopknobs are made of rosewood, and their stems are brass. The pedal combinations are brass tongues. Upgrading the original combination action of 16 generals, Solid State Organ Systems installed a new 256-series combination action in 2007.

The Brustwerk is in its traditional location above the console. Above it are the Spanish Trumpet and Positiv organ. The Positiv is slightly recessed, with the 8′ Praestant in front. The Great organ is divided on either side of the Positiv, with the 8′ Prinzipal in front. In the absence of a Rückpositiv, the Positiv’s effect is nonetheless successful; its smaller-scale sound emanates from the very center, while that of the Great organ spans the entire front. At the top, the Swell organ extends forward. The pipes of the Great 8′ Hohlflöte are in front of it, and the Pedal, with the 16′ Prinzipal in front, is on the sides.

The front pipes are 75% tin, and their mouths are leafed in 23-carat gold, as are the interiors of the Spanish Trumpet’s flared resonators. The bass pipes of the 32′, 16′, and 8′ ranks are made of copper. The remaining metal pipes are made of tin and lead alloys. Except for the Brustwerk’s 8′ Holzgedackt, which is oak, all of the wood pipes are spruce. The low 12 pipes of the very large-scale 32′ Untersatz are behind the case on the back wall.

The principals are warm and of generous scales. The Great reeds are of German character; those of the Swell and the Positiv Cromorne, French. Single stops and small combinations are clear and distinct, and the full choruses and tutti are intense but never obtrusive. The organ’s very complete specification, including two individual-rank Cornets as well as one mounted Cornet, accommodates literature of all periods equally well.

The reason for the project’s success is both simple and complex: thirty years after a vision began, resourcefulness, expertise, talent, funds, and commitment coalesced on the campus of this university to create a recital hall designed especially for an organ and an organ specifically for a hall. Through Wiedemann Hall and the great Marcussen organ, the dream was realized. It is a truly magnificent accomplishment, to be enjoyed by countless numbers of music-lovers and dreamers.

The organ was dedicated by Gillian Weir in two recitals on October 2 and 6, 1986, followed by a year-long recital series, including an appearance by Catharine Crozier on March 24, 1987.

Perpetuating the dream

How to prolong, conserve, and sustain a dream? The desire for a lasting legacy, a way of serving the community and providing a particularly spectacular performance venue for the School of Music and other artists provoked the creation of two main recital series.

It is interesting to note that this beautiful setting of the organ and the building were almost entirely funded by two women—Gladys Wiedemann for the organ, and Rie Bloomfield for the lobby, its decoration, and the endowed series.

Rie Bloomfield Organ Series

After the inauguration of the organ, Rie Bloomfield visited Wichita for seven years from California, always asking my predecessor, Robert Town, to play the organ for her. Her love for this organ prompted her sizeable gift in 1994 of $200,000 to endow a new recital series for the great Marcussen organ in Wiedemann Hall, baptized the “Rie Bloomfield Organ Series.” Artists of national and international importance have given of their brilliant talents for over twenty-eight years.

For the first twelve years, artists signed a panel in the back of the organ! They now sign a guest book. A feature I added some years ago is the popular “Conversation with the Artist,” during which I interview the guest organist during the concert. It gives the audience a more personal view of the artist, who shares with us details of their activities, what message to give to young organists, and program notes about the pieces they are performing.

To this day, the Sam & Rie Bloomfield Foundation has always generously supported this series without reserve. The twenty-fifth anniversary of the series, celebrated with a brilliant gala in 2021 due to covid lockdowns, was in 2019.

Wednesdays in Wiedemann

In 2007, I created the “Wednesdays in Wiedemann with Lynne Davis” organ recital series, which consists of eight half-hour recitals over two semesters, each with verbal program notes. These include Christmas and year-end Pops concerts. My desire was to give the university and Wichita community the opportunity to regularly hear and see this extraordinary hall and instrument. With the advent of YouTube and live-streaming, I started video-recording the recitals and have a list of over fifty videos on the organ channel of our WSUTV, which is accessible through www.wichita.edu/organ.

Another vital reason to create this series was to give an opportunity for organ students to perform and to invite other instrumentalists, either faculty or other School of Music students, to perform with the organ. For each performer, a great advantage is that their performance is forever archived as a live-stream recording on the School of Music’s Facebook page or on the YouTube organ channel. Thus, the organ’s vast number of musical possibilities as a supreme collaborator, accompanying in a quasi-orchestral capacity, and as a solo instrument are offered to the public, nationally and internationally thanks to the live streaming.

An active organ program

The very existence of the Marcussen and Wiedemann Hall provides a singular opportunity for organ students to develop necessary traits for a variety of jobs that are proposed today in the workplace. Not everyone will make their living as a concert artist. What are the other talents, then, that one needs to develop? Technique will always have its base in the practice of playing the piano. Virtuosity and basic organ coordination in advanced organ repertoire depends on it. But then, how does one manage an instrument that is a wind instrument and not a percussive one like the piano? Singing, voice training, being in a choir, conducting, accompanying choirs and other instruments gives the student organist ammunition to be competent in a variety of ways in their future jobs. It’s a way of creating a whole and complete method to develop his/her talents.

At Wichita State University’s School of Music, we have the necessary classes and courses to address this accession to a primary level of competence. Core courses in applied organ, organ literature and design, organ pedagogy, keyboard skills are offered for bachelor’s and master’s degrees in performance (keyboard/organ) and music education (keyboard/organ emphasis). A Performer’s Certificate is also offered, which is an ideal way of taking a year following a bachelors’ degree, before or after a master’s, or just as a way of further developing one’s performance skills.

Additionally, graduate staff assistant positions are available, offering the possibility of accompanying the major choirs at the school both on the piano and on the organ. Other performance possibilities include playing for the Wednesdays in Wiedemann series and other school of music events. The extent of community involvement, becoming well known to the greater university and city audiences is significant, and there are many church job possibilities. Scholarships are important, and we have many to offer.

Great advantages are to be had with lessons taken directly on the Marcussen with added practice time available. Development in touch (mechanical action), familiarity with the inner workings of the organ, its complex electronics, mechanics, easy access to the various divisions and their pipes, even tuning, are all addressed. One of the most significant advantages of studying on this instrument is to be able to develop a qualified and serious aptitude for registration. The organ “plays” all periods very well and can be used to hone one’s knowledge of registrations of these various periods.

Pedagogical projects range from student-teaching in area teachers’ studios to researching and putting together a complete video presentation on registration and pedal technique. In 2020, the Wichita chapter of the AGO requested such a video for their programming. Two of my students and I wrote, performed, and recorded this 1½-hour video.

Other advantages of studying here at WSU include participation in organizing the different organ events. Yes, it helps to know what to do, and how and when to do it. It’s a good apprenticeship. Greeting and getting to know distinguished guest artists as well as hearing them perform is a very big perk!

Other important ways to learn

We have had quite a few special events in the past sixteen years of my tenure here at WSU. All have involved sharing with the public in an exceptional way this grand organ in its grand hall.

RBOS Organ Day. From 2008 to 2020, we hosted an afternoon of presenting the Marcussen to local young musicians, how an organ works, lectures by Bertrand Cattiaux on the organ at Notre-Dame de Paris, guest organists performing and giving a masterclass to students.

The American Alain Festival. To celebrate the 100th anniversary of the birth of Jehan Alain in 1911, we organized a conference in 2011 with concerts of Alain’s organ, choral, piano, and chamber music, discussions, lecture presentations (Aurélie Decourt, Marie-Claire Alain’s daughter), receptions, collective meals, and a final performance on the mighty Wurlitzer at Century II by Jim Riggs.

Thirtieth anniversary of the Marcussen (1986–2016) gala. To mark this significant date, I gave a concert including the interdisciplinary participation of students from the other two schools in our College of Fine Arts­—performing arts and art & design. Art & design created the special poster and made three sculptures to reflect the three movements of Jehan Alain’s Trois Danses: Joies, Deuils, Luttes (joys of life, death, struggles in life). Performing these dances with an organ on a stage gave me the possibility of choreographing these dances in an exceptional way: students from the school of performing arts and their teacher choreographed each of the movements, making the Marcussen also dance, using in a different way this extraordinary space.

Twenty-fifth anniversary of the Rie Bloomfield Organ Series (1994–2019) gala. Two illustrious graduates of WSU gave a brilliant joint concert, Brett Valliant and Tate Addis. Each performed works as soloists, gave a joint performance on piano and organ, and presented a masterclass for organ students. In each of these events, organ students played an important part in the organization and implementation of the schedule.

The future

From the early dream to present-day activities, the great Marcussen and Wiedemann Hall continue to carry on the tradition of excellence established from the beginning. The 2022–2023 season of the RBOS continues with two distinguished guest artists, the third being our very own WSU Symphony Orchestra, Mark Laycock, director, and myself in a grand concert of organ and orchestra on November 28, featuring the Poulenc and Guilmant, opus 42, organ concerti.

From May 21–25, 2023, a special opportunity for advanced organists will take place: Masterclass on the Marcussen with Lynne Davis. Limited to ten applicants and some auditors, we will take an in-depth look at French organ music, including morning sessions and afternoon lessons, as well as a participants concert at the conclusion of the class. Further details will be forthcoming, and those interested are invited to contact me directly. Following the masterclass, a Pipe Organ Encounter (POE), sponsored by the Wichita chapter of the AGO, will take place from June 25–30, 2023.

The continuous objective of shining a light on the “organ” for all to discover or to rediscover is our ongoing theme; to do our part in promoting this exquisite and complex instrument throughout the world and to train talented students to be its unique ambassadors. We are fortunate that the great Marcussen organ and Wiedemann Hall are the ideal tools to accomplish these goals.

—Lynne Davis

Robert L. Town Distinguished Professor of Organ

www.wichita.edu/organ

[email protected]

Marcussen & Søn (1986)

GREAT (Manual II)

16′ Gedacktpommer

8′ Prinzipal (in façade)

8′ Hohlfloete (in façade)

8′ Rohrgedackt

4′ Oktave

4′ Spitzfloete

2-2⁄3′ Quinte

2′ Oktave

8′ Cornet V (from f)

2′ Mixtur V–VI

2⁄3′ Zimbel III

16′ Dulzian

8′ Trompete

4′ Trompete

Chimes (25 notes)

SWELL (Manual IV, enclosed)

16′ Bourdon

8′ Salicional

8′ Voix Celeste

8′ Flute Harmonique

8′ Flute a cheminee

4′ Prestant

4′ Flute Octaviante

2-2⁄3′ Nasard

2′ Octavin

1-3⁄5′ Tierce

2′ Plein Jeu V

16′ Basson

8′ Trompette

8′ Hautbois

4′ Clairon

Tremulant

POSITIV (Manual I)

8′ Praestant (in façade)

8′ Gedackt

4′ Prinzipal

4′ Blockfloete

2-2⁄3′ Nasat

2′ Oktave

2′ Waldfloete

1-3⁄5′ Terz

1-1⁄3′ Quinte

1-1⁄3′ Scharf IV

8′ Cromorne

8′ Spanische Trompete

Zimbelstern (6 bells)

Tremulant

BRUSTWERK (Manual III, enclosed)

8′ Holzgedackt

8′ Quintadena

4′ Koppelfloete

2′ Prinzipal

2′ Gedacktfloete

1′ Siffloete

1⁄6′ Zimbel II

8′ Regal

Tremulant

PEDAL

32′ Untersatz

16′ Prinzipal (in façade)

16′ Subbass

8′ Oktave

8′ Gedackt

4′ Choralbass

4′ Rohrpfeife

2′ Nachthorn

2-2⁄3′ Mixtur V

32′ Kontra Fagott

16′ Posaune

16′ Fagott

8′ Trompete

4′ Schalmei

Couplers

Sw/Gt, Pos/Gt, Bw/Gt

Sw/Pos, Sw/Bw, Pos/Bw

Gt/Pd, Sw/Pd, Pos/Pd, Bw/Pd

 

Solid State Organ Systems MultiLevel Capture System, with 256 memory levels (16 generals)

Brustwerk pedal

Swell pedal

Adjustable Crescendo

 

Manual compass: 61 notes

Pedal compass: 32 notes

Mechanical key action

Electric stop action

65 stops, 84 ranks, 4,623 pipes

 

Photo credit: Jeff Tuttle and Lynne Davis

Tyler Boehmer plays the Intermezzo, op. 80, no. 2, by Max Reger.

This was recorded on the Hellmuth Wolff Opus 40 organ in Bales Recital Hall at the University of Kansas, Lawrence, Kansas.

The Organ and Church Music Department of the University of Kansas is cover feature of the October issue of The Diapason.

For information: https://music.ku.edu/organ

Peragallo Pipe Organ Company, Patterson, New Jersey; Saint Malachy Catholic Church, Brownsburg, Indiana

From the builder

When you arrive at a church for the first look and are greeted by the entire staff, you are off to a good start! That was the case with Saint Malachy. Hector Salcedo, the music minister, was joined by the pastor, Father Sean Danda, and the associate pastor, Father Michael Clawson, the business manager, John Kiefer, and the facility manager, Doug Tapscott, and finally the technical wizard, Michael Jasiak, as we walked through the door. This collegial team listened as we discussed everything from acoustics, organ location and casework design, tonal specifications, funding the instrument, and of course—where the best Italian trattoria in the area would be found.

This parish is so welcoming, with a generous gathering space with warm greeters flanked by social areas before entering the nave. You can feel that this place is built and operates well beyond just “Sunday Mass” and provides its parishioners with a full offering of social gatherings. All throughout the installation we were surprised with community events the church would host such as the county fair and hog roast! Approaching the church from the corn fields, one is taken with the free-standing bell tower and the church leaping high into the sky.

This nave is grand, with a seating capacity of over 1,200 and a very unconventional 270-degree in-the-round floor plan. The challenge quickly became how to situate an organ that could cover the full breath of floor space. The acoustical environment was perfectly bright and semi-reverberant, with plenty of height and lots of hard surfaces.

The first order of business was the tonal design. The back and forth with Hector was great—with many late-night conversations. The resulting instrument grew to “cathedral” proportions with a French design controlled from our low-profile terraced four-manual console. The console is movable, as the parish concert series is most active. Within minutes of completion, before the tools were even packed, Hector combined forces with the Diocesan Cathedral Choir and director Andrew Motyka, and accompanied a performance of the Duruflé Requiem as part of a parish Mass.

Frank Peragallo and John Peragallo IV designed a stepped, angled casework to project the tone of the instrument around the church. This proved most effective, and the ceiling’s reflectiveness added to the success of the full tonal coverage. Finally, the addition of a Celestial division, positioned high in the center of the room, offers the organist another tool in accompanying congregational hymnody and moving the solo colors around the room.

The repurposed Reuter pipes were reworked and placed on a new chassis, with the only “new” rank of pipes being the Trompette en Chamade with flared resonator bells. Rather than it being a true commander, it tops the chorus nicely and can be pulled in smoothly for big endings. We left the “party horn” for the Celestial organ where the Walker digitally sampled Tuba Magna offers a powerful yet comfortable alternative to the pipe “chamade.”

The tonal specification provides complete divisions in typical French style. There are three expressive divisions to properly accompany choral singing. A variety of celestes, solo reeds, and percussion are available. The tonal finishing was performed by John Peragallo III with Anthony Peragallo, a fourth-generation organ builder; they were able to successfully blend the repurposed pipework into a true bouquet of sound.

The Solo division, which lives on the fourth clavier, allows the organist to access a variety of stops from various divisions—such as the Great Cornet décomposé, the Positif 8′ Cromorne, and 16′ Clarinette playing at 8′ pitch. The Trompette en Chamade is also available at 16′, 8′, and 4′ pitches non-coupling for easy access. Hector’s skills at improvisation are evident as he employs these stops without concern for the plenum of the other divisions. The Solo is also home to an additional principal chorus of large scale and fiery chorus reeds.

As mentioned, the heavenly Celestial division floats down from on high, offering a nice alternative with a full complement of flutes, strings, reeds, and an additional principal chorus and a tower carillon.

Considerable thought, design, and engineering was put into the planning of this beautiful instrument, so that three important functions of a church organ would be achieved: the leading of worship in song, satisfying the performance requirements of the major musical compositions written for “The King of Instruments,” and finally, enhancing the architectural magnificence of the building. We firmly believe these goals have been fulfilled with the new Peragallo organ at Saint Malachy Church. Since its installation the organ has supported an ambitious concert series and weekly liturgies, taking the music to a new level of inspirational praise.

Many thanks to all at Saint Malachy who assisted in this noble project including Reverend Sean Danda, pastor, Mr. Hector Salcedo, director of music, John Kiefer, business manager, Michael Jasiak, videographer, who documented the entire project; and finally, the talented staff of the Peragallo Organ Company.

—John Peragallo III

From the music director

Saint Malachy Catholic Church in Brownsburg, Indiana, has a history dating back more than 150 years. It was founded by natives of Ireland who immigrated to America in the late 1840s. In 2014 the parish relocated to a site outside town in the beautiful countryside. The parishioners insisted on building a bigger church, and after much effort, our current magnificent structure became a reality. Since the project’s inception, the possibility of having a pipe organ was considered.

In 2017 I was hired as music director of the parish, and I had the dream of fulfilling the task of seeing a pipe organ installed in our church. Of course, purchasing a pipe organ is not an easy task. I first subscribed to an email list to receive notifications of any second-hand pipe organs for sale.

In May 2019 I received an email announcing the sale, at an affordable price, of Reuter Opus 1368 (1962), three manuals, 33 ranks, at the Northminster Presbyterian Church, located in Indianapolis. What a great opportunity to be able to play the organ before buying it, and even better, to take my pastor to listen to it! He was so enthusiastic that after a month he signed the contract. Goulding & Wood removed the instrument, and we put the organ in storage until we were able to raise the necessary funds.

The organ was originally built in 1958 for the American Guild of Organists convention in Houston, Texas. It then had two manuals, 25 ranks. In 2006 Schantz built a new three-manual console; following that, Goulding & Wood added the 16′ Principal extension to the Pedal.

After making a short list of organbuilders, we interviewed three of them, and decided that Peragallo was the best option for us. Their unique approach as well as their quality workmanship were just what we were looking for. John Peragallo III is also an organist, so he knows what an organist needs. We had many conversations about the tonal palette and the best option to enlarge it. We wanted an organ to support the liturgy by accompanying the congregation, choir, and cantors, while also providing sufficient tonal resources for organ literature. We decided to expand the organ with more pipes and with digital stops from Walker Technical Company. There was no doubt that the French style would cover all our needs. We also needed a moveable console for the different activities we have in our parish, and thus decided to build a new console.

Frank Peragallo inspected the organ in storage and pointed out major defects and other concerns. After many conversations, we decided to build a completely new chassis, keeping only the pipes.

Our church has a semicircular shape where the sides open a little more at an angle. This meant that if we built an organ parallel to the wall, the sound would be projected in a direction other than the center of our church. We decided to angle the casework in such a way that near the chancel it would be narrower, and it would widen as you move away from it. Frank Peragallo created the design, and we loved it from the first sketch. He used visual elements from our own church to make the organ look like it had always been there. Even the music rack is reminiscent of the railing that surrounds the sanctuary.

This pipe organ was built in a short period of time thanks to our many generous donors and the incredible crew of the Peragallo Pipe Organ Company. It was amazing to see how many people were eager to have a pipe organ in our parish.

—Hector Salcedo

Hector Salcedo studied composition, organ, and improvisation at the Pontifical Institute of Sacred Music in Rome. He was an assistant organist in the Vatican and a member of the Cappella Giulia and the Choir of the Vicariato della Basilica di S. Pietro.

Photo credit: Michael Harker

 

Builder’s website: www.peragallo.com

Church’s website: stmalachy.org

GRAND ORGUE  (manual I)

16′ Violone 61 wps

8′ Montre I 61 wps

8′ Montre II 61 pipes

8′ Violoncelle 61 wps

8′ Flûte Harmonique* 49 pipes

8′ Bourdon 61 pipes

8′ Cor de Nuit (Récit)

8′ Cor de Chamois Celeste II (Positif)

4′ Prestant 61 pipes

4′ Flûte Fuseau 61 pipes

2-2⁄3′ Quinte 61 wps

2′ Doublette 61 pipes

2′ Flûte à Bec (ext) 12 pipes

1-3⁄5′ Tierce  61 wps

III Fourniture 183 pipes

IV Cymbale 244 wps

16′ Contre Trompette 61 wps

8′ Trompette 61 wps

4′ Clairon 61 wps

8′ Trompette en Chamade (Solo)

16′ G.O.

  G.O.Unison

  4′ G.O.

Chimes

G. O. Midi 1

  G. O. Midi 2

POSITIF (expressive, manual II)

16′ Quintaton 61 wps

8′ Montre 61 wps

8′ Flûte à Cheminée 61 pipes

8′ Viola Pomposa 61 wps

8′ Viola Celéste 61 wps

8′ Cor de Chamois 61 pipes

8′ Cor de Chamois Celéste (TC) 49 pipes

4′ Principal 61 pipes

4′ Flûte Traversière 61 pipes

4′ Unda Maris II (composite)

2′ Octavin 61 pipes

1-1⁄3′ Larigot 61 pipes

1′ Sifflet 61 pipes

III Fourniture 183 wps

III Scharf 183 pipes

16′ Clarinette 61 wps

8′ Trompette Doux 61 wps

8′ Cromorne 61 pipes

Tremulant

8′ Tuba Mirabilis (Celestial)

16′ Positif

Positif Unison

4′ Positif

Positif Midi 1

Positif Midi 2

RECIT (expressive, manual III)

16′ Bourdon Doux 61 wps

8′ Montre 61 pipes

8′ Flûte Bouchée 61 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Celéste (TC) 49 pipes

8′ Flauto Celeste II 122 wps

4′ Prestant 61 pipes

4′ Flûte Ouverte 61 pipes

2-2⁄3′ Nasard 61 pipes

2′ Doublette (ext) 12 pipes

2′ Flûte à Bec 61 pipes

1-3⁄5′ Tierce 61 pipes

III–IV Plein Jeu 244 wps

16′ Basson 61 pipes

8′ Trompette 61 pipes

8′ Hautbois  61 wps

8′ Voix Humaine 61 wps

4′ Clarion (ext) 12 pipes

Tremulant

8′ Trompette en Chamade (Solo)

16′ Récit

Récit Unison

4′ Récit

Récit Midi 1

Récit Midi 2

SOLO (manual IV)

16′ Montre (G.O.)

8′ Montre 61 wps

8′ Flûte Majeure 61 wps

8′ Bourdon (G.O.)

4′ Octav 61 wps

4′ Flûte Octaviante (G.O.)

2-2⁄3′ Quinte (G.O.)

2′ Octavin (G.O.)

1-3⁄5′ Tierce (G.O.)

V Fourniture Harmonique 305 wps

III Tierce Cymbale 183 wps

16′ Bombarde Harmonique 61 wps

8′ Trompette Harmonique 61 wps

4′ Clairon Harmonique 61 wps

8′ Cor Anglais 61 wps

8′ Cromorne (Positif)

8′ Clarinette (Positif)

16′ Trompette en Chamade (G.O.)

8′ Trompette en Chamade* 49 pipes

Tremulant

Solo Unison

Chimes

CELESITAL (floating)

8′ Principal 61 wps

8′ Flûte à Pavillon 61 wps

8′ Viole Sordone 61 wps

8′ Viole Celéste 61 wps

4′ Octav 61 wps

4′ Flûte Amabile 61 wps

2-2⁄3′ Nasat 61 wps

2′ Octavin 61 wps

1-3⁄5′ Tierce 61 wps

V Fourniture 305 wps

8′ Tuba Mirabilis 61 wps

8′ Corno di Bassetto 61 wps

Tremulant

16′ Celestial

Celestial Unison

4′ Celestial

PÉDALE

32′ Contre Basse 32 wps

32′ Contre Bourdon 32 wps

16′ Flûte Ouverte 32 wps

16′ Montre 32 pipes

16′ Violone (G.O.)

16′ Bourdon 32 wps

16′ Bourdon Doux (Récit)

8′ Octav Basse 32 pipes

8′ Bourdon (ext 16′) 12 wps

8′ Flûte Doux (Récit)

8′ Cor de Chamois (Positif)

4′ Doublette 32 pipes

4′ Flûte Ouverte (G.O.)

IV Fourniture 128 pipes

32′ Contre Bombarde 32 wps

16′ Bombarde 32 wps

16′ Contre Trompette (G.O.)

16′ Basson (Récit)

8′ Trompette (G.O.)

4′ Cromorne (Positif)

8′ Trompette en Chamade (Solo)

Tower Carillon

wps = Walker pipe sampled

* 1–12 wps

 

Couplers

Grand Orgue à Pédale 8, 4

Recit à Pédale 8, 4

Positif à Pédale 8, 4

Solo à Pédale 8, 4

Celestial à Pédale, 8

Récit à Grand Orgue 16, 8, 4

Positif à Grand Orgue 16, 8, 4

Solo à Grand Orgue 8

Celestial sur Grand Orgue 8

Récit à Positif 16, 8, 4

Solo à Positif 8

Celestial sur Positif 8

Grand Orgue à Positif 8

Celestial sur Récit 8

Solo à Récit 8

Celestial sur Solo 8

Manual Transfer G.O./Positif

 

Pedal Movements

Celestial / Solo

Positif

Récit

Crescendo

 

Combination System

General 1–12 thumb and toe

Récit 1–6 thumb

G.O. 1–6 thumb

Positif 1–6 thumb

Solo 1–6 thumb

Celestial 1–4 thumb

Pédale 1–5 toe

Cancel

Grand Orgue à Pédale thumb and toe

Récit à Pédale  thumb and toe

Positif à Pédale thumb and toe

Récit à Grand Orgue thumb

Positif à Grand Orgue thumb

Solo a Grand Orgue thumb

Recit a Positif

Etoile Sonore toe

Tûtti thumb and toe

Next and Previous thumb and toe

Contre Basse 32 toe

Contre Bourdon 32 toe

Contre Bombarde 32 toe

Ipad Page Back thumb and toe

Ipad Page Forward thumb and toe

All Récit à Récit thumb

Bass Coupler thumb

G.O. Melody Coupler thumb

 

40 ranks / 50 Walker pipe sampled