Cover Feature: Lewtak Pipe Organ Builders

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia; Saint Andrew’s Episcopal Church, Fort Pierce, Florida

As I contemplated writing this article about the new pipe organ for Saint Andrew’s Episcopal Church in Fort Pierce, Florida, many things came to mind, several of them cathartic and all of them personally important. Fort Pierce is a location where, as they say, I have “roots.” I was born in the Fort Pierce area in 1967, and was baptized at the First United Methodist Church. In the ensuing years, my family would continue to come back to this community to visit, to rest, and for recreation. It was an important enough location to me that when I got married in the early 1990s, I brought my young wife to one of the barrier islands near Fort Pierce for our honeymoon. This area was special to me, and I wanted to share it.

Moving forward to 2022 and a country still in the grip of Covid, I am glad that, in light of the pandemic, the building of this instrument occurred at a time and place that is familiar, and that I was working for a congregation and clergy that are some of the finest people on this planet. One cannot have endured the last couple of years without considering the pandemic and its effects on the world, our houses of worship, and on many of us personally. This church and its people buoyed us. They have offered unyielding prayer, support, and an unbridled excitement for the completion of this project.

The commission to build this instrument started out in a world that was Covid-free. By the time we were taking out the old organ, we were in masks, with travel and work restrictions and navigating a brave new world. In the meantime, we continued our work with a myriad of social, business, and personal interaction changes.

Along with the personal challenges (and losses) that have been endured, we also have had to deal with supply chain and vendor issues. There have been several suppliers and major vendors that were not able to weather this disruptive period and ceased operations. We have been fortunate with our depth of resources, the excellence of our staff, and full order books, that we have been able to navigate this period in a way that not all have been able to do. This is and has been a very real blessing. As I write this, I am hoping that we are in the waning period of the pandemic, but we are still in masks, and there are still many in the hospital from this malady.

How it started

When we were approached to evaluate the original organ at Saint Andrew’s, we arrived to find an instrument that was in a failing condition. We made a detailed study of the entire instrument with its mechanical condition, scaling, and tonality, balanced with the church’s musical needs. We also looked at the organ layout, the chamber spaces, and the acoustics.

The former organ was an electric-action, open-toe instrument that was built in the late 1970s. The organ did have some nice moments and some good materials, but, as a whole, with its stoplist and tonal design, it was not well suited to support the choral and congregational needs of this Episcopal church. In its later years, the organ had been damaged in a hurricane and endured some unfortunate attempts by others to repair, augment, and change it. The organ had a number of older relay components along with a console that had been rebuilt by others with a used solid-state combination system of various ages of materials. Its condition had been further exacerbated by lightning strikes to its systems. The console and relays were not reliable and could not be made so without heroic work that simply could not be justified.

The layout of the original instrument caused multiple tuning and tonal issues. This was due to a Choir division that was double stacked with the main air return of the church in front of this division, the Great division located four feet above the choir loft floor, directly behind the choristers and below a stained-glass window, and the Swell division in a freestanding box in an organ chamber fronted with a fabric grille. All of this conspired to create major tuning issues inter- and intra-divisionally, as well as a lack of tonal focus.

Our plan

We proposed to work with a clean sheet in design that would fully support worship along with a new façade and case to provide visual enhancements to the chancel. With the proximity of the church to the coastline, we chose a façade design that was evocative of the billowed boat sails that one sees in the waters around the church. The center of the case includes quatrefoils and moulding details found in the stained-glass windows from the original church building. The center case features an open top to allow the central window to be seen with minimal occlusion. The façade pipes are built of polished aluminum and include 16′ and 8′ bass pipes of the Pedal and Great divisions.

The design of the new organ moved the divisions and the return ducts, placed a roof over the center division to mitigate the effects of the central stained-glass window, and generally has placed the pipework on a similar thermocline. There are openings behind the façade pipes to allow a free exchange of heat and air to the chamber spaces.

The church and its contractor must be commended for their revisioning of the chancel and renovation of the worship center of the church. Notably, this included the removal of carpet and the installation of marble in the altar area. The choir area was finished with custom tile and individual chairs replacing fixed pews. Not only is the area more functional, it is visually beautiful and aurally supportive to the organ and the choir. This church acoustic gives back to the listener, and it has gotten even better.

The new stoplist was envisioned first and foremost to support the musical needs of this church and its English choral tradition. There has always been a hope to use the music ministry for community outreach, so while focused on the choral and congregational worship needs of the organ, the stoplist is purposely eclectic in design, allowing it to support many different schools of organ and choral music.

As we designed the new organ, we did look at some of the existing pipes. The pipework contained in the old organ was generally of high quality with low cut-ups and an absence of nicks and other voicing techniques that were permanent to the pipes. It was, in a way, raw media waiting to be voiced. As a company, we have never shied away from evaluation of extant pipework for consideration. Equally important is that one should never—I emphasize, never—design an organ around the pipes that are present with this being the only consideration. It was clear to us that some of the pipework, for purposes of stewardship, could and should be considered for reuse as long as it did not compromise the overall tonal design. It was also clear that some pipework would not, and indeed should not, find a home in the new instrument. Our approach was to design the specification and scaling that should be at the church, and only then did we look afresh at the existing pipework to see if it could be recast. The pipes that were reused were revoiced, rescaled, and/or repitched for their new role. Many of these allowed the fiduciary luxury of additional pedal resources and mutations.

The specification is designed around a Great division with a well-developed, leading principal chorus. The design includes a second 8′ Geigen Principal to allow a differing root structure in the chorus or doubling of the 8′ pitch line. The flutes are designed to fold hand in glove with the chorus while maintaining an individual identity and voice for melodic solo lines. The reeds of the Choir-Positiv and Swell are duplexed to the Great.

The Great division is located at the cantilevered façade level of the organ case, which allows the sound to bloom forward of the choir. To help focus the Great division, the Bourdon chest and upper walkboard act as a canopy above the Great to project this division.

The Choir-Positiv division sits in the former central location of the old Great division, and was conceived as a diminutive, dual-natured division. Its design supports text painting under the choir while also supporting the literature bias of an unenclosed Positiv division. With a secondary principal chorus rooted with the 8′ Holzgedeckt and 8′ Erzahler, it acts as a counter chorus voice to the Great and Swell divisions. The 2′ Schweigel and 1-1⁄3′ Quint allow the chorus to have “mixture texture” that is unweighted and some of the first upperwork available in building the organ to its full voice.

The 8′ Erzahler was chosen because it allows a voice that is at one time a diminutive string while at another time a soft accompanimental voice that can be broadened with the 8′ flute line. It is given an 8′ celeste of similar scale and construction, and becomes one of the voices in the ether of the church acoustics.

The flutes of the Choir-Positiv include the 8′ Holzgedeckt and 4′ Gedeckt-Pommer that are voiced to retain a degree of chiff and puckishness while still folding in with their string and principal neighbors. The Choir-Positiv mutations and 2′ Schweigel are stops that walk the line between principal and flute. As hybrid voices, the 2-2⁄3′ Nasat, 2′ Schweigel, 1-3⁄5′ Terz, and 1-1⁄3′ Quint allow for a great deal of color, building of multiple solo stops, and upperwork support for chorus registers.

The color reed in the Choir-Positiv is an 8′ Cromorne with parallel shallots and lift lids. It supports a generous vowel cavity that allows it to be a chameleon stop: it can be a piquant solo voice that easily is broadened into the woodwind timbre of a Clarinet when compounded with the Holzgedeckt or drawn into the Great as a weightless ensemble reed to add color and complexity to the principal chorus.

The Swell division is designed with a secondary principal chorus that is harmonically rich and complements the leading voices of the Great. The Swell Mixture III is pitched at 2′ to allow for the logical completion of its principal chorus. As a lower-pitch enclosed mixture, it is the first mixture that can be drawn in building a seamless crescendo. As with the Choir-Positiv, the Swell was designed with a flute chorus of differing voices that allows color and a multiplicity of compound registers.

The Swell reeds have English shallots and are unified to develop the 16′-8′-8′-4′ reed chorus. For the desired color and tuning stability, all of the reeds are on an individual winding system to allow higher pressures and tremolos separate from the flue voices.

The Pedal division is grounded with an independent 16′-8′-4′ principal chorus and independent and duplex flute registers at multiple pitches. The Pedal reed is an independent 16′ Posaune that can be combined with the duplex registers of the Swell and Choir-Positiv reeds.

To provide 32′ weight in the Pedal we included the discrete use of some custom digital voices to allow for this pitch register where there was not space to accommodate the pipes. With the “genie out of the bottle” we opted to also include the color of several additional companion strings and celestes along with the ubiquitous 8′ Vox Humana to allow the building of a string organ within the Swell division. Please note that we have allowed the physical space in the Swell chamber for these pipe additions, minimizing the compromise.

The 8′ Festival Trumpet is one of several stops gifted from the Schlueter family to the church. This particular stop is given in honor of my wife, Stephanie Schlueter, whom I brought to Florida for our honeymoon so many years ago and who has personally supported me in the building of instruments for over thirty years. It is located in the Choir-Positiv expression box and includes console controls to allow it to independently float to all manual divisions and the Pedal. Being enclosed in the box provides for wide dynamic control that allows this reed to be used as an ensemble voice with the expression box closed. It is my hope that this signature stop is used often in the coming years to support weddings and festive occasions with church worship.

Much of the emotive quality of an instrument is not only the quality of the voices but also how they project from the organ chamber and their reaction to enclosure in an expression box. The expression boxes were carefully designed to be as sonically transparent as possible when open and to fully contain the divisions when closed. We also functionally use the expression shades to direct sound when they are open. In the Choir-Positiv we used horizontal expression shades on the front and on top of the expression box to direct the pipe speech up and forward of the choristers and, importantly, out to the congregation. In a like but disparate fashion, the Swell division with its off-axis location was designed with a very large two-story shade front that opens bi-directionally. This evenly focuses the voices of the Swell to the choir and congregation along the center core of the church.

The windchests on the organ are electro-pneumatic slider and electro-pneumatic unit action. The winding system is our normal combination of spring and weighted reservoirs with independent concussion bellows on the windchests. This church’s generous acoustic allowed us to use moderate wind pressures on the organ ranging from 2½ to 4 inches.

To control the instrument, we built a three-manual console with terraced drawknobs. It was constructed of sapele mahogany with drawknobs custom turned from African blackwood. With its low profile, it allows excellent sightlines to the choristers, and the inbuilt castors permit it to be moved as needed. For a control system, the console features the Syndyne 8400 system, which supports a large number of functions.

As I started this article, I mentioned that building this instrument was a cathartic exercise. One year prior to this, I was at Saint Simons Island Presbyterian Church finishing an instrument and received the imposition of ashes on my forehead for Ash Wednesday. At that time, I was still recovering from a bout of Covid that saw me hospitalized just prior to that installation. I was well reminded about my mortality. One year later, I was in Fort Pierce working on the completion of this instrument—again, on Ash Wednesday. When one is an organ builder, it is invariable that the church becomes the worksite. It was therefore my good fortune to have an opportunity for worship where I entered the church as a congregant. I was able to sit contemplatively in the church and see an image of Christ in the center window framed and focused by the new organ façade. I heard the music of the church. I heard the recitations of the members of the church mixed with my own voice. Again, I received the imposition of ashes on my forehead from a congregation that has adopted me as their own. This was followed by the communion and the bounty of grace it represents. On this day the instrument’s voice began to come alive to support the worship of this ministry. As pipe organ builders, the work that all of us do is to design and build instruments that will outlive us as they support worship and praise in the church. On this particular Ash Wednesday, it was personally brought home to me how welcome it is to see the sign of the Cross on my forehead and realize how truly fortunate I am as a father, husband, organ builder, and a Christian.

As always there are too many people to thank with a project like this one. First and foremost I would like to thank the Reverend Canon Ellis E. Brust, rector; Mr. Peter Charles and Mr. Andrew Hemmer, senior wardens; Mrs. Karen Kozac and Mr. Chris Kasten, organ committee chairs; Mr. Larry Clancey and Mr. Richard Stable, treasurers; Dr. Jerry Davidson, organist/choir director; and Kirk Carlson, general contractor.

I would also like to extend a thank you to our staff: Arthur E. Schlueter, Jr., Arthur E. Schlueter III, John Tanner, Marc Conley, Patrick Hodges, Jeremiah Hodges, Marshall Foxworthy, Peter Duys, Kerry Bunn, Shan Dalton-Bowen, Michael DeSimone, Al Schroer, Dallas Wood, Josse Davis, Bob Weaver, Preston Wilson, Clifton Frierson, Kelvin Cheatham, Ruth Lopez, Elio Lopez, Chad Sartin, Sara Cruz, Ruth Gomez, Yolanda Sandoval, Kymoni Colbourne, Juan Hardin, Demitrius Hardin, Rico Hardin, and Angie Lindsey.

Visit www.pipe-organ.com for more information or to contact A. E. Schlueter Pipe Organ Company.

—Arthur E. Schlueter III, Visual and Tonal Direction, A. E. Schlueter Pipe Organ Co.

 

GREAT (manual II)

16′ Sub Principal (1–12 Ped 16′ Sub Princ, 13–61 Gt 8′ Geigen Princ)

8′ Principal 61 pipes

8′ Geigen Principal 49 pipes (1–12 Ped 8′ Octave)

8′ Bourdon 61 pipes

4′ Octave 61 pipes

4′ Hohlflöte 61 pipes

2′ Super Octave 61 pipes

V Cornet TC*

1-1⁄3′ Mixture IV 244 pipes

16′ Contra Oboe (Sw)

8′ Trumpet (Sw)

8′ Oboe (Sw)

8′ Cromorne (Ch)

CHOIR-POSITIV (manual I, enclosed)

8′ Holzgedeckt 61 pipes

8′ Erzahler 61 pipes

8′ Erzahler Celeste (TC) 49 pipes

8′ Schwebung II*

4′ Prinzipal 61 pipes

4′ Gedeckt Pommer 61 pipes

2-2⁄3′ Nasat (from G1) 54 pipes

2′ Schweigel 61 pipes

1-3⁄5′ Terz (from G1) 54 pipes

1-1⁄3′ Quint 61 pipes

8′ Cromorne 61 pipes

Tremolo

Zimbelstern (multiple bells)

Chimes

SWELL (manual III, enclosed)

16′ Lieblich Gedeckt 12 pipes (ext 8′ Rohr Flute)

16′ Flauto Dolce*

8′ Viola Pomposa 61 pipes

8′ Viola Celeste II 49 pipes (draws Viola Pomposa)

8′ Muted Violes II*

8′ Aeoline Celeste II*

8′ Rohr Flute 61 pipes

4′ Principal 61 pipes

4′ Spindle Flute 61 pipes

4′ Unda Maris II*

2-2⁄3′ Nazard (TC) 49 pipes

2′ Flageolet (ext 8′ Rohr Fl) 24 pipes

1-3⁄5′ Tierce (TC) 49 pipes

2′ Mixture III 183 pipes

16′ Contra Oboe (TC, from 8′)

8′ Trumpet 61 pipes

8′ Oboe 61 pipes

4′ Oboe (ext 8′ Oboe) 12 pipes

8′ Vox Humana*

Tremolo (Vox)

Tremolo (Main)

FANFARE (floating division)

16′ Festival Trumpet (TC) 49 notes

8′ Festival Trumpet 61 pipes

4′ Festival Trumpet 49 notes

Fanfare On Pedal

Fanfare On Great

Fanfare On Swell

Fanfare Off Choir-Positiv

PEDAL

32′ Untersatz*

16′ Sub Principal 32 pipes

16′ Bourdon 32 pipes

16′ Lieblich Gedeckt (Sw)

8′ Octave 32 pipes

8′ Bourdon 32 pipes

8′ Gedeckt (Sw)

4′ Choral Bass (Gt)

4′ Gedeckt (Sw)

2′ Gedeckt (Sw)

32′ Bombarde*

16′ Posaune 32 pipes

8′ Trumpet (Sw)

4′ Oboe Clarion (Sw)

* Digital stop/prepared for pipe additions

Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir-Positiv to Pedal 8

Choir-Positiv to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir-Positiv to Great 16

Choir-Positiv to Great 8

Choir-Positiv to Great 4

Choir-Positiv to Choir-Positiv 16

Choir-Positiv Unison Off

Choir-Positiv to Choir-Positiv 4

Swell to Choir-Positiv 16

Swell to Choir-Positiv 8

Swell to Choir-Positiv 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

MIDI (as preset stops)

MIDI on Pedal

MIDI on Great

MIDI on Swell

MIDI on Choir-Positiv

60 stops, 38 ranks, 2,147 pipes

Builder’s website: www.pipe-organ.com

Church’s website: www.mystandrews.org/

 

Cover photo: Arthur E. Schlueter III; article photos contributed by the Reverend Canon Ellis E. Brust and the staff of A. E. Schlueter Pipe Organ Company

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

M. P. Rathke, Inc., Cincinnati, Ohio; Grace Episcopal Church, Carthage, Missouri

From the builder

When Father Steven Wilson, rector of Grace Church, first invited us to submit a proposal for a new pipe organ, he had my undivided attention from the start. Father Steve spoke of a historic 1869 Episcopal church with a distinguished tradition of liturgy and music, as well as a longtime focus on drama and the visual arts. Subsequent conversations led to the commissioning of our Opus 12, whose future arrival both church and organ builder looked forward to with fine enthusiasm.

First, though, we were challenged with designing a successful organ for a dry acoustic, in a space as compact and intimate as it is beautiful, and likely utilizing a somewhat unorthodox placement. Father Steve quipped that our reputation for engineering 10 lbs. to fit the proverbial 5-lb. bag would surely be tested here, and his words were to prove prescient.

Precisely where the organ would go was our first decision. The existing instrument, a decaying pipe/electronic combination whose metal pipework was nonetheless of extraordinary quality, if not voiced to its full potential, included a set of deep flower box-style windchests hung from the end wall of a shallow transept (see photo: “Removing pipework”). This singular arrangement did locate pipework high in the room, thus engaging the ceiling and helping carry sound out into the nave; it also created rather a claustrophobic atmosphere, looming darkly over choristers below, blocking light from a trio of high windows above, and literally overshadowing the transept. My first reaction—which some might consider unusual for an organbuilder—was “Father Steve, whatever we do, we’ve got to uncover those windows and get those pipes down off the wall.” Easily enough said, of course, but then where could they go, with floor space already at a premium?

The building helped make that decision for us. There was really only one location suitable for the choir in this small church: the transept, where the choir already sat. And the organ clearly needed to be close to the choir, not only for musical reasons, but also so that organist/choirmaster Peter Frost could continue to conduct from the console. Father Steve, himself a talented chorister, saw potential benefits in my suggestion that the main organ case be located per Sketch A, with the attached keydesk oriented as shown.

This is admittedly an unusual blind-corner placement for any significant portion of a pipe organ, let alone the sole two manual divisions, whose resources generally speak to better advantage directly into the main body of the church. But in this case, because the room is quite dry and because we had no opportunity to place manual pipework behind a façade fronting the swell shades—there simply wasn’t enough available depth without crowding the window—we were keen to obtain maximum blend by any legitimate means. It occurred to me that if we allowed sound to mix first in the transept, then reflect once off the front wall, both blend and projection might be served. And that’s exactly what happened. Early listening during finish voicing disclosed the uncanny illusion that all sound was actually emanating from the front walls (somehow!), producing a clarity and presence in the nave that both puzzled and pleased us.

Grace Church’s lack of acoustical resonance also informed Opus 12’s size and specification, for this is certainly a good-sized organ for a relatively small room. Although sound generally gets around well enough, music doesn’t really bloom, and appreciable reverberation is basically nonexistent. Never having previously designed and voiced for a space like this, I went back to the stately Hook & Hastings instruments I knew, played, and admired during my apprenticeship with C. B. Fisk, Inc.
H & H’s general approach, which greatly informed our work at Grace Church, was to saturate the space with plenty of rich fundamental tone, undergirded by manual doubles (here, one in each department) and supported by a generously scaled and winded Pedal. Reeds would almost invariably be on the smoother side, upperwork colorful but by no means aggressive.

Guided by Dr. Susan Marchant of nearby Pittsburg State University, the church settled on a two-manual, 24-stop specification with suspended mechanical key action, apart from the largest bass pipes, which are winded via conventional electro-pneumatic chests. Most of these large pipes reside in the so-called “Attic Pedal” division behind a speaking tin façade fronting a shallow chamber with limited headroom. Most interior Attic Pedal pipes are thus placed horizontally, as are notes #1–19 of the Great 16′ Bourdon, the latter located beneath the choir platform. The full-length 16′ Double Trumpet stands within the main case.

The pipework has truly eclectic origins. From the previous instrument we retained six choice ranks of 30% tin, superbly crafted by Stinkens, the renowned Dutch pipemaking firm. (The original voicers having really done no meaningful voicing, we were able to start essentially from scratch with fresh, unvoiced pipes.) Several lovely stops of pine, poplar, and oak were acquired from a church that was set to be demolished in a neighboring town. The remainder of Opus 12’s pipework is new.

Casework design was the result of a close and lengthy collaborative effort between Father Steve and me. Happily, both of us wished the organ to look as if it had always been there. The results reflect Father Steve’s and my firm conviction that, where possible, an organ’s casework and ornamentation should be in congenial dialogue with the room’s architecture and appointments.

Carvings were designed and executed by noted Boston-area sculptor Morgan Faulds Pike, who wrote the following in preparation for the organ’s dedication:

The carved white oak panels—above the console, above the swell shades, and in the attic pedal case—represent flora and fauna which symbolically resonate with the church interior, the city of Carthage, and, most endearingly, Father Steven Wilson’s specific requests for a carefully camouflaged “sparrow and her nest” (Psalm 84:3) and “somewhere, a little mouse.” Our design process was a stimulating collaboration from which Father Steve’s wishes and my design drawings produced something more like a working friendship than a design challenge.

The Alpha and Omega shades on the Attic Pedal directly relate to other A & Ω carvings in the room. The maple and oak leaf designs are representative of Carthage, Missouri (“The Maple Leaf City”) and the organ’s quartered oak casework, respectively. Above the console two panels, one depicting a Marian rose, the other the ancient Holly and Ivy of pre-Christian ritual, echo motifs that appear in more simplified forms elsewhere in the church. The designs evolved in keeping with Father Steve’s desire for the case to have everything to do with the church interior and the greater community; I must say here that they also reflect his own remarkable and unselfconscious aura of holiness. He wished the sparrow and her nest to be discretely perched within one of the swell façade shades, to be discovered only after some study. We based the sparrow on a North American song sparrow that was nesting at the time in a bush beneath Father Steve’s window. Her beautiful song might just allude to the choir singing beneath her perch above the swell louvres. The mouse, “a creature of great personal valor,” is a cheeky surprise, clinging to the lower frame of an otherwise-smooth front pipe shade.

This organ has been at once the most difficult and most rewarding we’ve ever undertaken, owing partly to the fact that so much of it is densely woven into the fabric of this lovely historic structure, one where nothing is truly level, plumb, or square. We thank the parishioners and staff of Grace Church for their unswerving support, friendship, and patience during installation and finish voicing. We sincerely hope our Opus 12 will serve this remarkable church for years to come.

—Michael Rathke

Builders of the organ

Saskia Croé

Rebecca Madison

Lauren McAllister

Stella O’Neill

Michael Rathke

Caleb Ringwald

Jefimija Zlatanovic

 

We are deeply grateful to the following individuals and organizations:

†The Reverend Steven Wilson (project leadership)

Dr. Susan Marchant (consultation)

Brad White (technical assistance)

Peter Frost (onsite voicing assistance)

Paige Rhymer (onsite voicing assistance)

A. J. Rhymer (onsite voicing assistance)

Will Endicott (onsite voicing assistance)

Jerin Kelley (onsite voicing assistance)

Chris Church (onsite voicing assistance)

Morgan Faulds Pike (carvings)

Nami Hamada (tonal finisher)

Casey Dunaway (tonal finisher)

Vladimir Vaculik (solid state installation)

Patrick J. Murphy & Associates (casework)

 

Diagram and photo credits

All photographs by Regina Newport except as noted:

Sketch A – Michael Rathke

Removing pipework – John Hacker, The Joplin Globe (used by permission)

 

From the organist/choirmaster

It was my great fortune to accept the position of organist/choirmaster at Grace Episcopal Church in 2017, just as the organ committee was reviewing proposals for a new instrument. Happily, the group needed little persuasion to select M. P. Rathke, Inc., to build their new organ. (By coincidence, I had just completed a summer internship in the Rathke workshop.) We worked with the builder to create a stoplist to fulfill a variety of needs: accompanying the choir, supporting congregational singing, and convincingly playing the repertoire, all while occupying a decidedly small space.

In addition, the 1890s nave would undergo significant cosmetic changes that, while uncovering original details of the building, might potentially be jarring for parishioners. Melinda Wilson, a gifted artist, fashioned an elaborate and clever gingerbread organ and choir layout based on the contract drawings so church-goers had an early 3-D explanation of the new look they could expect as the instrument took shape. The late Reverend Steven C. Wilson motivated the parish to fund the continuation of a well-established tradition of Anglican music. In signature Father Steve jest, threats of an “Organ Donor Dinner,” at which would be served the internal organs of various critters, resulted in many generous donations. The Reverend Joseph Pierjok expertly followed in the footsteps of his predecessor, continuing to support the construction of Opus 12 and bolstering the legacy of traditional worship at Grace.

Upon completion of Opus 12, the congregation immediately became less cautious singers, now being supported by the organ, rather than drowned in electronic sound. The choir enjoys improved acoustics: where they’d previously been tucked under imposing “flower boxes” that both stifled their sound and covered original stained glass, the transept is now open all the way to the ceiling. Voices now fill the space with ease, and the design of the case blends seamlessly into the architecture of the building.

Opus 12 is a welcome addition to the shrinking inventory of traditional instruments in southwest Missouri. It has been a great joy to help create an organ that will be an integral part of worship at Grace Church for generations to come.

—Peter Frost

GREAT (expressive, Manual I)

16′ Bourdon white pine & red oak 58 pipes

8′ Principal zinc & 50% tin 58 pipes

8′ Chimney Flute 30% tin 58 pipes

4′ Octave 50% tin 58 pipes

2-2⁄3′ Twelfth 50% tin 58 pipes

2′ Fifteenth 30% tin 58 pipes

1-3⁄5′ Seventeenth 30% tin 54 pipes

2′ Mixture III 50% tin 174 pipes

Zimbelstern

SWELL (expressive, Manual II)

8′ Dulciana (1–11 façade) zinc & 50% tin 58 pipes

8′ Celeste (TC) 50% tin 46 pipes

8′ Stopped Diapason white oak 58 pipes

4′ Principal 50% tin 58 pipes

4′ Open Flute 30% tin 58 pipes

2-2⁄3′ Quinte 30% tin 58 pipes

2′ Doublette 30% tin 58 pipes

16′ Bass Clarinet zinc & 50% tin 58 pipes

8′ Trumpet zinc & antimonial lead 58 pipes

PEDAL (unenclosed)

16′ Subbass poplar and 50% tin 30 pipes

16′ Bourdon (Great)

8′ Open Diapason (12–30 façade) pine & 70% tin 30 pipes

8′ Bass Flute (ext Subbass) 12 pipes

4′ Octave (ext Open Diapason) 12 pipes

16′ Double Trumpet (ext Swell) zinc & 30% tin 12 pipes

8′ Trumpet (Swell)

 

Three unison couplers

General tremulant

Direct mechanical key action apart from certain large bass pipes

Electric stop action with solid-state combination action

24 stops, 21 ranks, 1,182 pipes

 

Builder’s website: www.rathkepipeorgans.com

 

Church’s website: gracecarthage1869.org/

Gerhard Grenzing

Born in Insterburg, Germany, Gerhard Grenzing trained in organbuilding with Rudolf von Beckerath in Hamburg, and gained further qualification by working with several other European workshops, mainly in Austria and Switzerland.

Beginning in 1967, he restored several organs in Majorca. In 1972, he set up his own workshop in El Papiol, near Barcelona, Spain. Approximately 250 new and restored organs have left the Grenzing workshop for Spain, France, Germany, Portugal, Belgium, Switzerland, Austria, Denmark, Italy, Sweden, Japan, South Korea, Bogotá, Brazil, Uruguay, Mexico, and Russia.

Since its founding in 1975 Radio France has remained the sole public radio broadcaster in France. The sprawling premises in the 16th arrondissement, occupied by the station from its inception, have been enhanced by a new 1,461-seat concert hall. However, in the design by the Parisian architectural bureau AS Architecture-Studio with acoustic consulting by the renowned firm of Nagata Acoustics from Japan, no organ was foreseen at the outset.

Only with a spirited campaign by dozens of leading figures in organ circles and the music world at large did the authorities eventually become convinced that in an organ city the likes of Paris and in a room like this one, a one-of-a-kind concert-hall organ must not be lacking. The attention that was aroused in this way spurred Radio France to have the organ project overseen by a committee of six organists, made up of Michel Bouvard, Thierry Escaich, François Espinasse, Bernard Foccroulle, Olivier Latry, and Jean-Pierre Leguay.

Once our firm had been awarded the contract for building the organ, and subsequent to an international call for tenders, we were actively supported and stimulated by the committee during the total of six years that the design phase, execution, and finishing were to last. The intense dialogue that came about among us as organbuilders and these experienced specialists was extraordinarily enriching and has already become a significant basis for future offshoot projects.

When I began to build organs in Barcelona, Spain, in the 1970s my work was quickly noticed in France and acknowledged with important contracts there. The company leadership in the Grenzing firm has meanwhile been transferred to my daughter Natalie Grenzing, seconded by the German master-organbuilder Andreas Fuchs. My sixty years’ knowledge is always appreciated. Our particular responsibility for the realization of the Radio France concert hall organ was shared by our entire team, consisting of twenty seasoned collaborators from seven nations.

Hallmarks of an organ for a concert venue

How, then, does a concert hall organ differ from its sibling in a church? It needs to feature a formal and coloristic relationship to all the tone colors of our instrumental and vocal musical culture. From a wafting pianissimo to the most massive fortissimo it should accompany, enhance, and provide the foundation for soloists, choirs, a chamber orchestra, and the large symphony orchestra. It should be capable of fulfilling its role in the orchestral literature and serve in the various styles of organ repertory. Finally, composers and improvisers should construe such an organ as an inspiring and subtly appointed medium for new works.

In May 2010, following the awarding of the contract, a meeting was held with the committee, in which, with the participation of six collaborators from our team, the technical and especially the tonal conceptions as well as the design of the consoles and accessories were discussed and voted on. It was only in this meeting that, through creative interplay among all those participating, the definitive specification and the technical details of the organ were determined; some among them were decidedly innovative. Several registers are located on an auxiliary windchest, so that they can be used in the Grand-Orgue as well as in the Pedal.

In many aspects of designing this organ we broke new ground tonally and technically. To our knowledge, for example, there exists no other instrument that may be played simultaneously from an electric console with proportional action and from a mechanical console. Our idea of a three-rank Gamba chorus with 4′ extension was accepted. For this we envisioned a bright tone color, almost as a preliminary stage leading up to the use of high mutations or mixtures.

Our wish to have variety in the area of reeds was received favorably as well. Thus not only was a chamade instituted but also a high-pressure division with tubas, which—enhanced by high-pressure flutes—sets the instrument off against the orchestra or, with its “broad shoulders,” underpins the same. Similarly, the Cor anglais in the Solo division, for example, was developed with a particular color for solo work.

We understand that French ears have a predilection for the sound of the indigenous French reed stops. As a result of our studies we are constantly aware in what country and for what ears we are creating (or, even more important, restoring) sounds. Hence a careful distinction was made between reed stops in the German style—which, versatile in their combination possibilities and together with the flues yielding various vowel sounds, can be used polyphonically—and the reed stops usual in French organs. The names of these stops make them recognizable by the wording, such as Trompete as opposed to Trompette.

The organ casework was designed by the architect of the hall, taking our technical/stylistic specifications into account. The instrument is thus so integrated into the hall that it comes across not so much as a distinct body but above all by virtue of the huge, 12 meter by 12 meter organ façade.

Our technical designer succeeded in fitting the eighty-seven registers with their 5,230 pipes into a depth of only some 3.84 meters, yet with a sense of order and clarity. In the foremost row of the façade stand the 8′ and 4′ pipes of the Grand-Orgue and Pedal, then just behind them the corresponding 16′ pipes, which fill up the entire space of the central case image.

The austere basic outline is relieved by the array of pipe ranks in a free play of pipe sizes and foot lengths. The swell shades framing the façade symbolize in three levels the enclosed divisions of the first, third, and fourth manuals, which opens up on a glimpse of the pipes standing behind. The effect, further enhanced by lighting setups, lends a dynamic visual dimension to the organist’s playing. This lighting function may of course be turned off.

The case pipes, in typical Spanish fashion, are polished with a scraper applied perpendicular to the pipe body. Together with the multi-faceted artificial illumination an enlivening effect of subtle contrast with the pipe bodies is achieved, which in neutral light is transformed into a gossamer sheen.

The main façade is formed by pipes. Next to it are found the visible swell shades, and to the outside on either side the pedal, which is masked by acoustically transparent fabric.

The console arrangements

The mechanical-action attached console features a visual link to the conductor via a screen and a mirror. Both can be slid into the case. Special functions of the console include:

• four adjustable crescendos that may be assigned to any of the swell pedals;

• a cumulative device for all enclosed divisions (“All Swells”);

• for the manual couplers, mechanical or electric action may be selected;

• a MIDI replay and tuning system;

• freely adjustable interval couplers (prepared for; you can chose any interval—for example a third, fifth, ninth, or any other “strange” interval—for coupling to any manual and thus enrich the color of registration);

• freely adjustable divided pedal couplers (prepared for).

The mobile console on the orchestra plateau is equipped with proportional electric action (sensitive touch).

A tracker organ with refined touch-sensitive action enables the organist to control the crucial attack and release parameters of the pipe speech, the only way the potential for musical expressivity can be realized by means of the corresponding reaction of the wind. With a normal electric action this is not possible, since only an on/off contact is involved. On the other hand, proportional electric action accurately conveys the movement of the fingers to the pallets in the windchest. Even a pedal tone, which the organist has such a hard time controlling at a large instrument, can henceforth be given a surprisingly slow sound decay.

Particular features of the mobile console include:

• transparent design, with no pedestal of its own, thereby being extremely low-lying and easily movable;

• all divisions can be assigned to various keyboards, meaning an inversion between Grand-Orgue/Positif and Récit/Solo, e.g., Grand-Orgue on the first manual, the Positif on the second or vice-versa;

• the “point of contact,” that is the exact place within the keydrop at which the note sounds or cuts off, can be adjusted;

• the lateral position of the pedalboard can be variously adjusted, for example C2 under manual C3 or D2 under manual C3.

Features common to both consoles:

• both consoles have four 61-note manual keyboards that are capped with bone and ebony. The pedalboards with 32 keys are made of oak. Via the touchscreen the organist can store personal files or, for example, adjust the speed of the tremolos;

• the key sostenuto functions either as an addition (that is, all depressed keys continue to sound) or as a substitution (the previously depressed keys are cancelled when new keys are depressed). When one of the two functions is activated, it is cancelled by activation of the other function;

• both consoles can be played simultaneously. Priority for the respective registration can be assigned at will to the mechanical or to the electric console.

Further particularities:

• there is a sequencer with wireless remote control for the assistant, so that the organist is not inconvenienced;

• USB memory sticks can be used for personal data;

• via a decimal keyboard (like a telephone keyboard) and a touchscreen the combination action in its versatile modes of utilization is memorized. Thousands of combinations can be called forth. Various combinations and levels are accessible only by means of a code. Organists can rest assured that they will truly have their combinations available to them.

Tonal considerations

We exchanged views extensively with composers, conductors, and organists (especially with organist-conductors) over tonal conceptions and once again express our thanks for the patient exchange of debate on this important subject. Often the remark was made that conductors ask organists to reduce the registration more and more, as the organ is one way or another too intrusive. We believe that this intrusiveness may be attributed in the pianissimo realm to the attack, the transient speech process (Einschwingvorgang) of each pipe, and in the forte realm mainly to the “organ-typical strident” tone of the mixtures, being too set apart from the tone color of the orchestra.

For a long time now we have felt confident in having recognized the solution in the most thoroughly refined attack behavior of each pipe. Despite its initial emission, at once quick and gentle, each tone should develop freely and in an unforced way. Thereby a certain “merging” into the sound of the orchestra can be furthered. Olivier Latry expressed the same idea in the symposium (see Appendix: A symposium on the concert hall organ).

Typical organ tone is to a very significant extent produced by mixtures and their quint ranks. For this reason we set the unison ranks in the Grand-Orgue mixture apart. The quints are then available via a separate register.

As a contrasting function there is in the Grand-Orgue a Cymbal with freely adjustable intervals. The sound can thereby be registered in the most varied colors as well as in the manner of actual Cymbals, but particularly as Ninths and Septièmes, whereby the organ, even in the midst of a triple forte in the orchestra, remains audibly distinct.

The instrument is divided into seven tonal groups in all that can either correspond with each other or be set off soloistically: Grand-orgue, Récit expressif, Positif expressif, Solo expressif, Solo Haute Pression [high-pressure] expressif, Chamade, and Pedal.

As an unusual tonal effect, in the Positif a wind pressure is available that is progressively modifiable by means of a separate swell pedal. As opposed to the standard wind cutoff this has the advantage that the manipulated pipe tone of all stops in this division remains less out-of-tune and better supplied, as not the quantity but only the pressure of the wind flow is changed.

From November 7 to 9, 2013, there was an initial, in-depth examination by the commission of the almost fully set up organ in our generously proportioned erecting room. For the first time in the large room with its 17 meters height and acoustics acclaimed for their high quality, the experts were able to play the instrument, exploring its features and discussing it with us. It thus seemed appropriate to organize the first concerts on the next day, followed by a symposium entitled “Organs in Concert Halls.” The members of the commission offered the concert, allowing as well the possibility of a discussion among some eighty specialists we had invited from throughout Europe (see https://www.youtube.com/watch?v=Xw1D5i_luFA; www.youtube.com/watch?v=YtagKK0VALo; and the summary of the discussion in the appendix).

Installation of the organ in Paris and its tonal characteristics

Following erection of the organ and the first on-site tests, the instrument was optimally adjusted to the room. We were eager, as a challenge from the outset, to take on the dauntingly dry acoustic of the hall. Once again, the instrument had to be adjusted to the tonal power of the orchestra, without relinquishing the tonal poetry and subtleties of the various colors and dynamic levels. We were most grateful indeed for the close collaboration and numerous instructive and supportive moments spent with the organists of the commission, in particular Olivier Latry.

From May 7 to 9, 2016, Radio France hosted dedication concerts with fifteen organists whose programs ranged from family concerts, a “Poetry and Organ” program, and one of improvised Andalusian-Arab music, to the avant-garde. The performers were Pascale Rouet, Coralie Amedjkane, David Cassan, Guillaume Nussbaum, Freddy Eichelberger, Juan de la Rubia, Lionel Avot, and Els Biesemans. The crowning final concert featured organists Michel Bouvard, Thierry Escaich, François Espinasse, Olivier Latry, Shin-Young Lee, and Jean-Pierre Leguay on May 9. You can hear the program on the internet at https://www.youtube.com/user/GerhardGrenzing.

Radio France intends to put the newly created instrument to use in highly multifarious ways. A campaign has been undertaken for the founding of a circle of patrons and donors committed to future activities focusing on this organ. The idea has been broached for workshops and study trips, public masterclasses, promotion of young titular organists, organ and cinema, a cycle of radio plays with France Culture, as well as a composition contest. Since Radio France records all its concerts, thorough maintenance of our instrument is important: it is carried out by our Parisian colleague Michel Goussu.

My heartfelt thanks for the confidence and the patient, consistently professional collaboration goes out to the six organists of the Radio France organ commission, the construction director Nadim Callabe, the conservator (or curator) of the organ Jean-Michel Mainguy, and most particularly the twenty collaborators on my staff.

I have in gratitude dedicated the success of the project to my master teacher Rudolf von Beckerath, who came as an apprentice to Paris and went away seven years later with knowledge to impart, and to our collaborator and friend Andreas Mühlhoff, who departed from us in sorrowful circumstances.

Perspectives

Following completion of the instrument one is beset with many thoughts: wherefore this effort? In the course of the last turn of the century the question was often asked: What will become of the organ in the future? Aware that the organ is the most evolution-prone of instruments, one could answer the question about its future development that the organ adapts to the needs and the spirit of the society of its time. Or, better put, it expresses it as a kind of mirror. But what is indeed our Zeitgeist of today?

Perhaps this: more and more we are determined by today’s technology. Our entire doings must occur ever faster. We want to have everything that can possibly be had. Even acknowledging that what seems modern today will already be outdated the day after tomorrow, we cannot simply exit this cycle. As was remarked at the end of the symposium, it seems to me that observance of musical ethics provides guidance in value boundaries.

In our shop we give full rein to the most novel technical developments and further enhance them. We are nevertheless very careful not to let ourselves be distracted, cultivating or incorporating noble, time-tested musical values.

Appendix: A symposium on the concert hall organ

We value any opportunity for enhancing the exchange of ideas. The Barcelona airport is located only twenty-five minutes away from our shop. Our slogan, “We are not far away, but rather neighbors,” was once again confirmed. On November 8, 2013, a symposium on concert hall organs was held in our shop. The impetus came from the new organ for Radio France, which at that time was nearly completed and set up in the shop. Thanks to the spontaneous initiative of our collaborators, the space occupied by our restoration division was converted into a standing buffet restaurant. The symposium was followed by two further days with public children’s concerts, a jam session, and a concluding silent film with Juan de la Rubia as improvising organist.

Summary of the symposium on November 8, 2013, in El Papiol

Bernard Foccroulle opened the symposium and noted the lack of organs in concert halls in France. The new instrument should serve the needs of Radio France and the two orchestras that perform there.

Olivier Latry expressed his regret that, for the most part, organs in concert halls do not live up to the expectations of musicians, orchestras, and conductors. The reason: the organs are often designed in the style of a special era or in the particular style of a given organbuilder. An example thereof is the wonderful organ in Taiwan with its sixty stops. Playing it requires two assistants, and very little literature is playable on the tracker instrument.

An instrument of lesser beauty will seldom be played. A few organs have been restored and brought up to date (for example, the Gewandhaus in Leipzig), and are played thirty-five to forty times each year.

In the Radio France complex an all-encompassing project needed to take in not only the organ but also the hall, the construction in general, and the acoustics. An organ cannot sound good in just any acoustic. Hence the need for the collaboration of an acoustician.

What are the particularities of a concert hall organ? Conductors often blame the organ either for being too loud (thereby overpowering the orchestra) or too soft (thus being covered up by the orchestra). The organ must possess a wide dynamic range. The multiplicity of sounds and transient attack parameters of the orchestral instruments bring about synchronization problems with the organ. Hence the necessity of a sound with cautious attack that can thereby come about with a kind of inertia. The sound of the organ must be capable of entering more or less slowly. The Radio France instrument meets this criterion; to this are added dynamic enclosed divisions, mechanical action, as well as the proportional electric action.

Olivier Latry emphasized that the collaboration of all the organists involved in the project was highly useful. Michel Bouvard noted that the comprehension of the various authorities at Radio France made it possible to enlarge the specification, such that the organ can serve not only as an organ for orchestra (and accompaniment for choir and children’s choir), but also as a solo instrument.

Gerhard Grenzing explained that the new organ is not an orchestral organ but should be an organ for the orchestra. This implies a refined voicing style and individually cultivated attack of each pipe. He emphasized the dynamics of the swell boxes, of the very soft stops for the accompaniment of the room-filling soloists, and of the very loud stops that—without succumbing to vulgarity—are meant to give the instrument “broad shoulders.” This makes it possible to respond to the orchestra without lording over it.

This is the result of many considerations shared among conductors and organists, for which Grenzing expressed his gratitude once again, as well as of the work of his team that contributed its sensitivity, perseverance, and soul to the cause, without which success would not have been possible.

Michel Bouvard shared his experience as director of the Toulouse les Orgues festival. In Toulouse a considerable richness in organs is available, but even if the ten best organists in the world had been invited that would not have been enough; in ten years the audience would have become weary of the same basic fare, and so numerous innovative programs and activities enriched the festival offerings. The high level of the concerts was maintained. Bouvard holds great hope for the same success at Radio France.

The organ must be brought “out of the chapel” in order to create momentum for a new public; a new place in music history must be found to lend it a new role of its own, and not only as a church instrument. It is important to gain a young audience through educational endeavors, for which models exist in the world, for example the Philharmonie in Budapest. Another possibility would be to organize “cinema concerts.”

Olivier Latry underscored Bouvard’s suggestion and reported on his experience in Manchester. There he was asked, as a prelude to Mahler’s Eighth Symphony, to improvise for twenty minutes on Veni Creator. To many who had never heard an organ, this came as a revelation.

François Espinasse suggested developing initiatives with schools and universities. In this way public relations work and scientific research would be brought together in fruitful collaboration.

It is also among the organist’s tasks to turn to composers, since the latter often seem to be wary of the instrument. It is to be hoped that the organ of Radio France will enable a dialogue with them.

Jean-Pierre Leguay recalled his experience with the composers of the 1960s and 1970s, which was a very good time for the development of contemporary music. It was discovered that the organ is an unbelievable generator of tone colors. However, for many organists, above all those who were not composers, the organ was “slumbering, back there in the organ loft, hidden away and dusty.”

Study of orchestration at the conservatory changed the composers’ way of hearing and revealed the organ’s countless possibilities for tone colors. Working together with composers is of crucial importance. It is important to show them that the organ is just as rich and expressively potent an instrument as others. A concert hall organ is ultimately an element of this musical laboratory, an opportunity for composers to expand their resources through experimentation. The public should not consider the organ as a purely liturgical instrument.

Michel Bouvard recalled an anecdote concerning Pierre Boulez. To the question of why he had not composed anything for the organ he answered: “The organ has no relation to my musical ideas, since it functions for large masses of sound such as crescendo-decrescendo, whereas I seek the gentle substance of a flute or an oboe.” (A symptomatic answer from the lips of such an eminent composer.)

Christian Dépange noted that this new organ that we are now getting to know must be a kind of combative element of conviction and pedagogy for the public.

Yves Rechsteiner, successor to Michel Bouvard with Toulouse les Orgues, asked, can the pipe organ open up musical aesthetics other than classical music? How does the role of the pipe organ stand up to that of the electronic organ, which offers a much broader variety of sounds?

Bernard Foccroulle noted two applications of technology: on one hand that of the image in the service of information and publicity that could be used to make the organ more accessible, more comprehensible, and on the other hand that of making modification of the sound possible, thereby producing new sounds. Foccroulle encouraged Olivier Latry to report on his experience in digital production and the relationship between synthesizer and organ. Latry told of his experiences in Hollywood with a system in which the synthesizer was a part of the organ, opening up many perspectives. Seen in this light, the question is perhaps the possibility of an eventual addition of such a system to this organ. “I’m thinking for example of the possibility to capture the tone of the organ with swell shades closed, then projecting it via loudspeakers into the room.” Gerhard Grenzing noted in conclusion, “In this race with technology that makes nearly everything possible, I would like to recall that the nature of the organ emerging out of inner necessity is the conveying of musical emotions based on acknowledgement of ethics.”

Documentation of the symposium may be reviewed on the internet at: http://grenzing.com/RadioFrance/.

This article is a free translation by Kurt Lueders of Gerhard Grenzing’s updated text in German, used with kind permission of the original publisher, the review Ars Organi.

Builder’s website: www.grenzing.com

Radio France website: www.radiofrance.fr

Listen to the organ here: https://www.youtube.com/watch?v=nR0gTDZmRR8

 

2016 Gerhard Grenzing organ

GRAND-ORGUE

16′ Montre (61 pipes)

16′ Bourdon (61 pipes)

8′ Montre (61 pipes)

8′ Suavial (61 pipes)

8′ Flûte harmonique (12 basses from Bourdon, 49 pipes)

8′ Bourdon à cheminée (61 pipes)

51⁄3′ Grosse Quinte (61 pipes)

4′ Prestant (61 pipes)

4′ Flûte conique (61 pipes)

31⁄5′ Grosse Tierce (61 pipes)

22⁄3′ Quinte (61 pipes)

2′ Doublette (61 pipes)

II Sesquialtera (122 pipes)

II–V Grand Cornet (305 pipes)

III–IV [Mixtur] Octaves (207 pipes)

II–III [Mixtur] Quintes (183 pipes)

III–IV Cymbal (220 pipes)

16′ Trompete (61 pipes)

8′ Trompete (61 pipes)

Positif Expressif

16′ Quintaton (61 pipes)

8′ Principal (61 pipes)

8′ Salicional (61 pipes)

8′ Meditation (TC, celeste, 49 pipes)

8′ Bourdon (61 pipes)

4′ Prestant (61 pipes)

4′ Flûte douce (61 pipes)

22⁄3′ Nasard (61 pipes)

2′ Doublette (61 pipes)

13⁄5′ Tierce (61 pipes)

11⁄3′ Larigot (61 pipes)

11⁄7′ Septime (61 pipes)

1′ Sifflet (61 pipes)

IV Mixture (244 pipes)

16′ Basson (61 pipes)

8′ Trompette (61 pipes)

8′ Clarinette (61 pipes)

Tremblant

Récit Expressif

16′ Principal (6 basses fr Bdn, 54 pipes)

16′ Bourdon (61 pipes)

16′ Gambe (6 basses fr Bdn, 54 pipes)

8′ Principal (32 basses fr 16′ Principal, 29 pipes)

8′ Gambe (32 basses fr 16′ Gambe, 29 pipes)

8′ Voix céleste (TC, 49 pipes)

8′ Flûte harmonique (61 pipes)

8′ Cor de nuit (32 pipes fr 16′ Bourdon, 29 pipes)

4′ Octave (61 pipes)

4′ Flûte octaviante (61 pipes)

22⁄3′ Nazard (61 pipes)

2′ Octavin (61 pipes)

13⁄5′ Tierce (61 pipes)

IV Plein jeu (244 pipes)

16′ Bombarde (61 pipes)

8′ Trompette harmonique (61 pipes)

8′ Hautbois (61 pipes)

8′ Voix humaine (61 pipes)

4′ Clairon (61 pipes)

Tremblant

Solo Expressif

8′ Choeur de cordes (I–III, 147 pipes)

8′ Voix céleste (TC, 49 pipes)

8′ Flûte traversière (61 pipes)

4′ Choeur de cordes (ext 8′, 36 pipes)

4′ Flûte traversière (ext 8′, 12 pipes)

2′ Flûte (ext 8′, 12 pipes)

8′ Cor anglais (61 pipes)

Solo Haute Pression

8′ Flûte (61 pipes)

4′ Flûte (ext 8′, 12 pipes)

16′ Tuba (61 pipes)

8′ Tuba (ext 16′, 12 pipes)

4′ Tuba (ext 16′, 12 pipes)

Chamade

16′ Chamade (fr 8′)

8′ Chamade B (25 pipes)

8′ Chamade D (36 pipes)

Pédale

32′ Bourdon (ext 16′, 12 pipes)

16′ Principal (32 pipes)

16′ Soubasse (32 pipes)

16′ Contrebasse (32 pipes)

16′ Montre (G.-O.)

16′ Bourdon (Réc.)

102⁄3′ Quinte (32 pipes)

8′ Principal (ext 16′, 12 pipes)

8′ Bourdon (ext 16′, 12 pipes)

8′ Violoncelle (32 pipes)

8 Flûte (Solo)

62⁄5′ Tierce impériale (ext 31⁄5′, 12 pipes)

51⁄3′ Quinte (ext 102⁄3′, 12 pipes)

4′ Octave (32 pipes)

31⁄5′ Grosse Tierce (32 pipes)

32′ Posaune (32 pipes)

16′ Posaune (ext 32′, 12 pipes)

16′ Basson (32 pipes)

8′ Trompete (32 pipes)

8′ Basson (ext 16′, 12 pipes)

4′ Clairon (ext 8′, 12 pipes)

8′ Chamade (fr Chamade)

4′ Chamade (fr Chamade)

Couplers

G.-O–Ped.

Pos.–Ped.

Réc.–Ped.

Solo–Ped.

G.-O 4′–Ped.

Pos. 4′–Ped.

Réc. 4′–Ped.

Solo 4′–Ped.

 

G.-O. 16′–G.-O.

Pos. 16′–G.-O.

Pos.–G.-O.

Recit 16′–G.-O.

Récit–G.-O.

Solo 16′–G.-O.

Solo–G.-O.

Ped.–G.-O.

 

Pos. 16′–Pos.

Récit 16′–Pos.

Récit–Pos.

Solo–Pos.

 

Récit 16′–Récit

Solo–Récit

 

Tuba–G.-O.

Tuba–Pos.

Tuba–Récit

Tuba–Solo

Tuba–Pédale

 

Chamade–G.-O.

Chamade–Pos.

Chamade–Récit

Chamade–Solo

 

93 stops, 93 ranks, 5,308 pipes

Manual compass: 61 notes (C–C)

Pedal compass: 32 notes (C–G)

a1=442 Hz at 22 degress Celsius

Photo credit: Christophe Abramowitz.

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

From the Builder

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—Andrew Forrest, Artistic Director

Fernand Létourneau, President

Dudley Oakes, Project Consultant

From the Chair of the Organ Committee

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

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

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

—Wilson Green

GREAT – Manual II, 80 mm wind pressure

16′ Contra Geigen (Ch)

8′ Open Diapason (façade) 61 pipes

8′ Geigen (Ch)

8′ Chimney Flute 61 pipes

4′ Principal 61 pipes

2′ Fifteenth 61 pipes

11⁄3′ Mixture IV 244 pipes

Tremulant

8′ French Horn (Ch)

8′ Tuba (Ch)

Swell Reeds on Great

Great 16–Unison Off–Great 4

Chimes (Ch)

Cymbelstern (8 tuned bells)

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

16′ Lieblich Gedackt 73 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Celeste (G8) 54 pipes

8′ Lieblich Gedackt (ext)

8′ Dolce Flute 61 pipes

8′ Flute Celeste (C13) 49 pipes

4′ Gemshorn 61 pipes

22⁄3′ Nazard 61 pipes

2′ Flageolet 61 pipes

13⁄5′ Tierce 61 pipes

2′ Full Mixture III–V 259 pipes

8′ Hautboy 61 pipes

Tremulant

16′ Double Trumpet* 61 pipes

8′ Cornopean* 66 pipes

4′ Clarion* 78 pipes

Swell 16–Unison Off–Swell 4

* 125 mm wind pressure

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

16′ Contra Geigen 73 pipes

8′ Flûte harmonique 61 pipes

8′ Geigen (ext)

8′ Unda maris (G8) 54 pipes

4′ Flûte octaviante 61 pipes

2′ Octavin 61 pipes

8′ Clarinet 61 pipes

Tremulant

8′ French Horn (c13–f42)§ 30 pipes

8′ Tuba§ 66 pipes

Swell Reeds on Choir

Choir 16–Unison Off–Choir 4

Chimes (37 notes)†

Harp (61 notes)†

Glockenspiel (37 notes)†

§ 325 mm wind pressure

† Walker Technical Company

PEDAL – 110 mm w.p.

32′ Resultant (derived)

16′ Contrabass 32 pipes

16′ Bourdon 32 pipes

16′ Geigen (Ch)

16′ Lieblich Gedackt (Sw)

8′ Principal (façade) 32 pipes

8′ Lieblich Gedackt (Sw)

4′ Choral Bass (85mm) 32 pipes

16′ Contra Tuba (ext, Ch) 12 pipes

8′ Tuba (Ch)

Swell Reeds on Pedal

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

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

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

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

Great Mixture IV

c1 to b12 19 22 26 29

c13 to b24 15 19 22 26

c25 to b36 12 15 19 22

c37 to b48 8 12 15 19

c49 to c61 5 8 12 15

Swell Full Mixture III–V

c1 to e17 15 19 22

f18 to e29 12 15 19 22

f30 to e41 8 12 15 19 22

f42 to e53 1 8 12 15 19

f54 to c61 1 5 8 12 15

Photo credits: Barbara Steimle

Pasi Pipe Organ Builders, Inc., Roy, Washington; Saint George’s Episcopal Church, Arlington, Virginia

From the organ builder

When all the stars line up as they have for this project, a happy outcome is almost a sure thing. Right from the beginning, several years ago, when I was invited to submit a proposal for a new organ at Saint George’s Episcopal Church in Arlington, Virginia, all the different components of a good chance were there.

Dr. Benjamin Keseley sent me a packet of complete information about the building and the music program at Saint George’s and their desire for a new instrument. Following a site visit and meeting with the organ committee, we submitted the proposal with specifications and drawings. The window needed to be preserved in its full glory and there needed to be ample space for the choir. The goal was to end up with a rather complete two-manual and pedal instrument without borrowing between stops.

I would like to take this opportunity to express my deep gratitude to the good people at Saint George’s led by the Reverend Shearon Sykes Williams, rector, who has lent a great amount of support to the music ministry. A special thank you to Dr. Benjamin Keseley, minister of music, always ready to listen and act on the many components that made this project a success. Thank you to the choir, the backbone of a church music program, and all the friendly people at Saint George’s.

None of all this could have happened without the team effort at Pasi Organ Builders, starting with Markus Morscher, long-time right-hand wood guy who ensures smooth operations at the shop and installations; Maurine Pasi, reed pipe maker, carver and general organ builder; Luke Sumerfield, pipe maker; Anthony Balducci, on site installation; David Cason, finish voicing assisting on site; Mark Matters, stop action combination system including wiring.

Thank you to everyone contributing in any way to the successful completion of Opus 28.

—Martin Pasi

From the voicing assistant

I assisted with the voicing of Pasi Opus 28 during the month of November 2021. Part of that experience, unique for an organist, was to hear the instrument come into being in an integral way, a kind of slow-motion evolution. It has been fascinating to hear so many individual voices and colors emerge into a cohesive and artistic whole!

At 33 stops over two manuals and pedal, this instrument includes complete principal and flute choruses in all divisions, colorful variety in foundation and reed voices, and several uniquely colorful stops. Principal choruses have the required brilliance for clarity while the individual tone of the pipes is remarkably warm and vocal in quality; these are plenums with both liveliness and gravitas. The Swell plenum is not secondary to the Great but stands on its own with brilliance and character. Capped and open flutes are available at 8′ and 4′ pitches, and the 4′ flutes are particularly “telling” in the room, giving the cornet combinations remarkable weight. The mutations and 2′ stops simply dance. The Great Trumpet has plenty of brilliance, and like the principals, it is warm throughout its range. The Swell 16′ Dulcian adds transparent warmth and color to the ensemble and is of course a beautiful solo stop. The Swell strings are quite bright, with gentle speech, and carry throughout the room beautifully. Pedal reeds also lend harmonic color while adding to the fundamental presence of that division. The two 16′ Pedal flues—one open, one stopped—complement each other well; the bass tones in the Pedal are present, and never out of balance. (At the conclusion of my time with the organ, the Swell Trumpet and Oboe were not yet in place.)

A few unique features lend even more interest to this already expressive instrument. Most Pasi instruments include an 8′ Suavial, which is tuned as a celeste to the 8′ Principal; the effect is bold and swimming foundation tone. The Quintadena is transparently bright and colorful in contrast to the warm flutes. A rare luxury is the Swell Principal, which is in the façade! Its construction is nearly the same as that of the Great Principal, and its tone is only slightly different. Having both principals in the façade is part of what gives Opus 28 its sense of gravitas, and along with the Pedal Principal, the option to play a Bach trio on balanced and singing principals is more than welcome! These layers of effect, placement, and color from the principals, Quintadena, and Suavial lend the kind of color and variety that we normally only expect from choruses and upperwork. These quieter effects coupled with a responsive action make this instrument imminently expressive; there are layers and layers of color to explore.

Organists who play this instrument for the first time will notice the sensitive action and buoyant acoustic. The overall playing experience is a delight and quite intimate thanks to the proximity of the console to the case; the console is detached, but not distant. At the bench one can hear the room and still sense the immediacy of the action. The console layout is neat and comfortable, with all stops and controls easily visible. The control system is by Pipe Organ Control, which integrates perfectly with the console, with minimal pistons for memory and sequencer control.

I must not omit an obvious first impression for any who see this instrument: the case. The visual impact of this instrument is stunning. Like the tone of the instrument itself, the visual element of the case and façade complements the church without overwhelming the space, a clear testament to the artistry of Martin Pasi and his immensely talented shop of artisans.

Congratulations to Martin Pasi and Saint George’s congregation on this collaboration.

—David Cason

David Cason is organist of Trinity Lutheran Church, Lawrence, Kansas. He continues organ study with James Higdon at the University of Kansas where he earned master’s and bachelor’s degrees in organ performance.

From the minister of music

Saint George’s Episcopal Church is a vibrant, social-justice-minded parish located in the heart of Arlington, Virginia, a few miles from downtown Washington, D.C. The music ministry spans from cradle to grave, offering a graded choir program for children as well as choral and bell opportunities for adults. Music is a cornerstone of the Saint George’s community, from Sunday morning to monthly Evensong, concerts, and informal gatherings.

When I arrived in the summer of 2009, I found a delightful congregation strongly committed to their ministries, including music. The organ was a 1911 Wicks that was reengineered by Newcomer Organ Company and installed into an annexed chamber off the front of a newly built nave in 1952. At two manuals, 25 stops, and 27 ranks, the organ received minor reconfigurations throughout the years. In the past twenty years it had fallen into disrepair, not because of neglect, but simply because it was not designed to last for that long. The console and switching system were in a very fragile state. There were also fundamental design flaws: its scaling was too small for the room, and a floor level placement meant the pipes spoke directly into the choir’s ears. Despite these things, the organ sounded remarkably better than it deserved because the room’s acoustic was quite good.

With the arrival of a new rector in December 2010, the parish soon began to address the need for an updated and accessible worship space. The church recognized that the organ and room were linked: changes to one affected the other. An organ committee was formed to work alongside the renovation committee to evaluate the organ and determine how to best support the needs of a growing and dynamic music ministry. After receiving a thorough education in organ building, the committee commissioned an independent review of the instrument from John Santoianni, curator of organs at Duke University, to supplement their own review and study. The vestry unanimously agreed with John and the committee’s conclusion that building a new instrument would yield the most successful result, and in the long run be the most cost-effective path forward.

The committee continued their work visiting many organs from electronic to hybrid to electric-action and mechanical-action instruments. Through this extensive survey and research, they determined that a mechanical-action instrument would be the best choice for the church. After soliciting proposals and interviewing several organ builders, the committee and vestry chose Martin Pasi. His proposal was for a two-manual, mechanical-action instrument of 33 stops, 39 ranks, with a detached console. The committee was impressed by Pasi’s approach to organ building and the fine attention to detail in all aspects of his instruments.

As an organist who knew Pasi’s work, I was thrilled with the choice. I have played several of Pasi’s instruments and have been impressed with the responsive action, the quality of stops rich in fundamental tone, and the lyrical voicing—and his organ cases are beautiful.

While the organ committee did its work, the renovation side of our project focused on the redesign of the nave to provide an accessible altar and space. Plans for the choir area were designed in conjunction with Martin’s design. This allowed us to prepare a proper seating area for the choir with clear sight lines to the organ console, construct steel floor supports for the organ, design in-floor heating so that it was not under the organ or other instruments, and provide proper humidification and future electrical connections for the organ.

From the very beginning of these projects, I insisted that Saint George’s retain the services of an acoustician. Having experienced the exceptional results of Bob Mahoney’s work at Bales Organ Recital Hall at the University of Kansas, I knew this was essential to a successful space renovation. We hired Bob to guide our process and committed to having acoustical considerations be one of our core principles for the renovation. I was pleased that the parish quickly understood addressing these considerations at each step of the journey, while not inexpensive, would yield invaluable results. We were thankful for Bob’s approach to acoustical design that sought to tune the building acoustic for music and treat the spoken word with technology. To this end, the church installed a Meyer line-array column speaker that successfully allows for the spoken word to be understood clearly in a reverberant space.

Acoustical modifications to the room included the installation of a new silent HVAC system, complete with tunneling large, insulated ducts under the floor to move large quantities of air slowly. Care was taken to ensure air returns were at a significant distance from air supply to reduce noise. All HVAC systems were designed to noise criterion 25.

Further acoustical upgrades to the building included the addition of an inch of solid wood to the nave ceiling to increase bass response and filling voids in the plaster walls of the chancel with high density foam insulation to create a solid mass. The old chamber that would be used for the Pedal division was strengthened with double layers of sheetrock placed on studs eight inches on center. Cavities were filled with high-density foam.

A new ceiling was constructed above the choir area with a sawtooth design to help move sound out past the proscenium arch. This ceiling design proved extremely effective. Final acoustical tests reaffirmed our acoustical work was highly successful with a new reverb time of over four seconds (before organ installation) and a significant increase in bass response. This was all one could hope for in a simple room from the 1950s that seats 300 people. The tremendous results of the room’s acoustical modifications have enabled our new organ to speak in a very relaxed and free manner.

The installation of the organ was a joyous occasion for the people of Saint George’s with nearly fifty people, aged 4 to 92, carrying in many parts of the organ on a Sunday afternoon in early October 2021. The parish support for and excitement about this organ is broad and infectious. This beautiful instrument will support our needs for leading congregational singing, accompanying the choir, and playing of a wide range of organ repertoire for generations to come.

Opus 28 is a sheer joy to play. From the quality of its sounds to the vocality of its voicing, soulful winding, and exquisite action, this instrument sings. I am continually impressed with each stop’s ability to function well both in solo and ensemble roles. It is efficient and plays like a larger instrument. The layout of this organ makes it an exceptional tool for teaching about all aspects of the organ, including construction, design, and winding (with its optional foot-pumped bellows). It is an instrument that teaches you how to play.

I commend Martin and his team for their exceptional work. We are thrilled to be a part of the Pasi family and blessed to count Martin and his associates a part of our community. They brought forth a beautiful instrument of praise for the worship of God. This project is a fine example of the perfect marriage of room and instrument, and we couldn’t be happier. We look forward to sharing it for years to come. Soli Deo Gloria!

—Ben Keseley

Minister of Music, Saint George’s Episcopal Church, Arlington, Virginia

 

Builder’s website: pasiorgans.com

Church’s website: saintgeorgeschurch.org

Photo credit: Dr. Benjamin Keseley

GREAT

16′ Bourdon 58 pipes

8′ Principal 58 pipes

8′ Suavial (MC) 34 pipes

8′ Spitzflöte 58 pipes

8′ Quintadena 58 pipes

4′ Octave 58 pipes

4′ Nachthorn 58 pipes

3′ Quinte 58 pipes

2′ Octave 58 pipes

1-3⁄5′ Terz 52 pipes

1-1⁄3′ Mixture IV 221 pipes

8′ Trumpet 58 pipes

Zimbelstern

SWELL

8′ Principal 58 pipes

8′ Gedackt 58 pipes

8′ Viol 58 pipes

8′ Viol Celeste (TC) 46 pipes

4′ Principal 58 pipes

4′ Rohrflöte 58 pipes

2-2⁄3′ Nazard 58 pipes

2′ Octave 58 pipes

2′ Waldflöte 58 pipes

1-3⁄5′ Tierce 52 pipes

1′ Mixture IV 221 pipes

16′ Dulcian 58 pipes

8′ Trumpet 58 pipes

8′ Oboe 58 pipes

PEDAL

16′ Open Bass 30 pipes

16′ Subbass 30 pipes

8′ Principal 30 pipes

8′ Spitzflöte 30 pipes

4′ Octave 30 pipes

16′ Posaune 30 pipes

8′ Trumpet 30 pipes

 

Tremulant

Swell to Great

Great to Pedal

Swell to Pedal

 

Freestanding case in solid hardwood, detached console

Hand-carved pipe shades

Mechanical suspended key action

Electric stop action with combination system by Pipe Organ Control/Matters

Foot-pumped winding system with three bellows in addition to the blower-fed bellows (75mm of wind on water column)

Well tempered tuning

Balanced Swell pedal

Slightly concave pedalboard

33 stops, 39 ranks, 1,996 pipes