Cover feature: Rieger Orgelbau, Saint Mary’s Basilica, Kraków, Poland

Taylor & Boody Organbuilders, Staunton, Virginia, Opus 83; Ancilla Domini Chapel, Plymouth, Indiana

 

From the director of liturgy and music and the organ project advisor

On August 15, 1851, Katharina Kasper and four companions pronounced their vows as a new religious community, the Poor Handmaids of Jesus Christ (Ancillae Domini), and began their ministry to the poor, the sick, and those most in need. Under the shadow of a linden tree beside Heilborn Chapel in Dernbach, Germany, the congregation grew, and was called to minister all around the world. Today, Saint Katharina’s community serves in nine countries, including the United States, where the first motherhouse was established in 1868. The present motherhouse of the United States Province was dedicated in 1923 and is a thriving ministry center focused on serving the most vulnerable in society, a place of openness and welcome where people of all faiths and spiritual expressions can find a home.

At the center of life in the motherhouse is Ancilla Domini Chapel, a majestic building constructed to last for the ages and inspire countless searching souls. The chapel’s gallery first held the final organ by Louis Van Dinter, a Dutch-born organ builder who settled in Mishawaka, Indiana. The instrument was typical of those built for Catholic churches in the 1920s. It was relatively small, almost entirely composed of 8′ and 4′ stops voiced very smoothly, and designed to accompany the choir of sisters and play music during the Mass. It was never intended to lead the congregational singing that became common after the reforms of the Second Vatican Council. Like many such instruments, the Van Dinter was altered to suit the changing needs of the liturgy, but these renovations sapped the instrument of its original character and were made using low-quality materials. When the instrument began rapidly failing in the 2010s the need for a change became clear.

Respecting its history in the chapel, and recognizing its still-extant lovely core, we first considered renovating and expanding the Van Dinter organ. However, after considering several proposals, we ruled out this option. The necessary work was simply too extensive and making such an investment to yield a relatively unsatisfying result would not have been prudent. We also considered re-homing an existing instrument, but none were available that suited the needs of the project. A new pipe organ was the most economical and musically promising option.

Any new organ project requires assessing priorities. No one organ can play all literature compellingly or serve all needs equally. In Ancilla Chapel, the organ’s primary function is to accompany congregational singing. Particularly given the German heritage of the Poor Handmaids, our primary inspiration came from the great instruments of northern Europe, which were designed and built to accompany robust congregational singing. We desired a totally mechanical instrument of the highest quality, the kind of instrument that will stand the test of time and last as long as the breathtaking building housing it. This is in line with the Poor Handmaids’ commitment to integral ecology, sustainability, and true economy (which considers the timespan of generations, not simply the present moment). The new instrument also had to meet practical considerations: occupy a minimal footprint in the gallery, include modern playing aids (combination action, etc.), and fit within budgetary constraints. Given limitations of space and budget, a complete two-manual and pedal instrument was the best option to fulfill this vision. Finally, we desired a true musical instrument with its own integrity and identity, the kind of instrument that speaks to the soul and is more than an acoustical synthesizer of amalgamated tone colors.

After considering four proposals, in March 2019, the Provincial Council of the Poor Handmaids selected Taylor & Boody Organbuilders to build the new instrument. It was a difficult decision, since all the proposals were excellent and could have yielded wonderful instruments. Taylor & Boody’s proposal stood out for its attention to detail and spiritual connection to the Poor Handmaids. From the hand-drawn case design incorporating elements from the chapel architecture to the stoplist and specification, the proposal showed great care and commitment to the vision of the project.

Now that Taylor & Boody Opus 83 is installed and playing, we are proud to report that the vision has been fulfilled beyond expectations. When Saint Katharina sat praying under the linden tree by Heilborn chapel 150 years ago, could she have imagined that the linden wood from a tree by the motherhouse of her sisters an ocean away would adorn the case of a magnificent pipe organ? Perhaps she could, because, guided by the Holy Spirit, Saint Katharina’s faith and charism were rooted in something larger than herself: the God who surpasses all understanding, from whom untold graces can flow through those open to following the call to serve.

New pipe organs can never be about one person, or even one institution. These grand instruments are of and for the whole community, for all who encounter them. The Poor Handmaids of Jesus Christ are proud to offer Taylor & Boody Opus 83 for the glory of God and as an oblation to present and future generations. All are welcome to visit Ancilla Domini Chapel and play, hear, and pray with this splendid instrument.

­—Andrew Jennings

Director of Liturgy and Music

United States Province, Poor Handmaids of Jesus Christ

—Dr. Benjamin A. Stone

Organ Project Advisor

 

From the organbuilders

George Taylor and Robbie Lawson first visited the Ancilla Domini chapel in February of 2019 while delivering our Opus 75, a continuo organ, to the University of Notre Dame. Their reaction was one of great surprise, to find such an imposing structure in so remote a location. They were struck by the quality of the building, the level of detail in the neo-Gothic architecture, and most of all, the room’s enveloping and generous acoustic. George recalls of their visit: “I asked Ben [Stone, the organ project advisor] to play a hymn on the 8′ Diapason. The turgid sound brought to mind E. Power Biggs’s put down (in his inimitable British accent) of a similar stop as ‘wooly.’ Then I went downstairs and asked Ben to repeat the verse. Thanks to the building those tubby old pipes now sounded lovely. Clearly, here we would be blessed with arguably the best room we had ever worked in.”

The towering case of the organ is modeled after 17th- and 18th-century Dutch instruments. It is constructed of white oak, much of which came from our sawmill, and stands at an imposing 34 feet tall to the top of the center spire. An aging and precariously leaning linden (basswood) tree that had to be removed from the Ancilla Domini campus was sent to our sawmill, and supplied the lumber for the carvings, providing a very special connection between the organ and its home. All of the case decoration is reflective of the sanctuary, and especially its beautiful and ornate high altar.

The façade contains pipes from the Hauptwerk 16′ Principal, down to low F-sharp, as well as the Oberwerk 8′ Principal. Behind it, at impost level, sit the two large windchests of the Hauptwerk division. Located above that, in the center, are the Oberwerk windchests. The Pedal is housed in a separate, two-tiered open case that stands behind the main case. The vaulted ceiling above the organ is the perfect reflector not only for the encased manual divisions, but likewise allows for the Pedal to stand behind the case without any loss of tonal presence.

Though the focus of many of our recent instruments has been toward the accompaniment of choirs and congregations in an Anglo-American style, with complete Swell divisions behind foundational Great choruses, we were asked for this project to return to a more pure form of the idiom in which we have worked for many decades, that of the high North German Baroque organ. This perfectly suits their primary requirement of robust congregational accompaniment in a large, reverberant room.

Far from being a collection of screeching mixtures, the opulent specification provides a variety of 16- and 8-foot stops in each division, as well as complete choruses and a plethora of flutes and mutations. The Oberwerk’s high-tin 8′ Principal in façade is modeled after 18th-century examples, and its instrumental speech is the perfect foil to the Hauptwerk’s hammered lead 8′ Octave, whose dark, vocale sounds recall an earlier era. The Hauptwerk is lent gravitas by its full-compass 16′ Principal. The high bass response of the room allows the largest pipes to speak naturally and gently, completely unforced. The 8′ Holzflöte of the Oberwerk is a tapered wooden stop that sings with an ethereal charm from its position high atop the organ. The 8′ Salicional of the Hauptwerk has more refined speech characteristics than some of its Baroque cousins, but there is still plenty of rosin on the bow.

Perhaps more so than the brilliant choruses, it is the variety of reeds that distinguish the North German Baroque organ, and Opus 83 is no exception. The German-faced shallots help relate the sound of the dark and covered Trompets of the Hauptwerk to the brash and noisy 8′ Trompet that cries from the Oberwerk. The room demands a 32-foot pedal reed, and our Pedal Fagott can be heard under full organ, or used under just 8-foot stops. The woody and clarinet-like Dulcian, the strident Vox Humana, and the piquant Cornett provide an array of accompanimental and solo possibilities.

The key and stop action of the organ are completely mechanical, though the utility of the organ has been augmented by a combination action and sequencer by Solid State Organ Systems. Carbon fiber trackers are used throughout the instrument. The wind for the organ is provided by three large wedge bellows, located in a room behind the back wall of the gallery. The entire organ plays on 80mm (31⁄8 inches) wind pressure. Though normally blower-winded, the organ can also be foot-pumped. The tremulant affects the entire organ, and wind stabilizers can be engaged to calm the lively wind.

The first truck of organ parts arrived the week before Thanksgiving of 2022, and the last tuning cone was packed up three months later near the end of February. Tonal finishing was completed by Aaron Reichert and the author, assisted by Sean Dye. I would be remiss if I did not mention the wonderful hospitality extended to us during installation and voicing. The organ was dedicated in a service of blessing on March 25, 2023, followed by a recital played by organ project advisor Dr. Benjamin A. Stone. The sisters have truly fostered a friendly and welcoming community, and it was a true joy to work with them, Ben Stone, and Andrew Jennings in bringing this instrument to life!

—Joel A. VanderZee

Taylor & Boody Organbuilders

 

HAUPTWERK (manual I)

16′ Principal  

16′ Quintadena  

8′ Octave  

8′ Rohrflöte  

8′ Salicional  

4′ Octave  

4′ Spitzflöte 

2-2⁄3′ Quinte

2′ Superoctave

Mixture IV–VI

Cornet IV (mounted, gº–d′′′)

16′ Trompet  

8′ Trompet  

OBERWERK (manual II)

8′ Principal  

8′ Gedackt  

8′ Holzflöte  

4′ Octave  

4′ Rohrflöte  

2-2⁄3′ Nasat

2′ Octave

2′ Waldflöte

Sesquialtera II

Scharff  IV–VI

16′ Dulcian

8′ Trompet

8′ Vox Humana

PEDAL

16′ Principal (HW)

16′ Subbass

8′ Octave

4′ Octave

Mixture V

32′ Fagott

16′ Posaune

16′ Trompet (HW)

8′ Trompet

2′ Cornett

 

Couplers:  OW to HW, HW to PD, OW to PD

Tremulant, Zimbelstern, Wind Stabilizer

 

Metal pipes of hammered lead-tin alloys

Natural keys of polished cow bone

Sharps and stop knobs of ebony

Mechanical key action

Mechanical stop action with combination capture system and piston sequencer

Manual compass:  C–a′′′, 58 notes; Pedal compass: C–f′, 30 notes

Case of solid white oak

Three wedge bellows with foot pumping levers and blower

Temperament: T&B’s “Ancilla”

Pitch: A=440hz at 70ºF

36 stops, 52 ranks, 2,486 pipes

 

T&B’s “Ancilla” Temperament offsets from Equal in cents:

C +5.87 C-G -1/6 PC

Cs -1.30 G-D -1/6 PC

D +1.96 D-A -1/6 PC

Ds +2.61 A-E -1/9 PC

E -0.65 E-B -1/6 PC

F +6.52 B-Fs -1/9 PC

Fs -3.26 Fs-Cs 0

G +3.91 Cs-Gs 0

Gs +0.65 Gs-Ds 0

A 0.00 Ds-As 0

As +4.56 As-F 0

B -2.61 F-C -1/9 PC

 

www.taylorandboody.com

 

thecenteratdonaldson.org

Lewtak Pipe Organ Builders, Mocksville, North Carolina; Haymount United Methodist Church, Fayetteville, North Carolina

In our previous cover features in The Diapason and The American Organist, we exclusively showcased our own work. However, this time, we aim to spotlight another crucial aspect of our business endeavors—high-quality organ renovations and additions to existing instruments. These projects constitute nearly half of our workload and are just as essential to us as our new builds.

The importance of preserving our cultural heritage is undisputable. The pipe organ plays a particularly prominent role in the modern history of human civilization. For centuries, its majestic sound has inspired us, its external beauty has dazzled, and its technical complexity has astonished all who have had the chance to explore its inner workings. There is a good reason why the organ bears the title of the King of Instruments—no other instrument has the ability to fill vast interiors of even the largest buildings with sound that can transition from a shimmer to thunder with ease and grace. The pipe organ is truly an awe-inspiring instrument!

For these reasons, we undertake renovation projects with great joy and reverence. It is both a duty and a privilege. Naturally, it is our responsibility to care for instruments built by others, with the hope that someday someone else, younger and more capable, will care for the ones we built. But renovating is also a treat in a way that only technical buffs can understand—there is always so much to learn and explore. Human ingenuity never fails to inspire, and in the process of discovering someone else’s work, we benefit from their wisdom and creativity. Through many years of working on different organs, we can say with absolute certainty that each time is a humbling experience. Repairing these complex instruments requires a labor of love and dedication.

But the same requirement is placed upon the owners of these instruments. It takes love and dedication to commit to the renovation process, one that very often carries a significant price tag and necessitates sacrifices from the entire faith community. It takes vision, determination, and great organizational skills to carry out a project that, let’s face it, is rarely at the top of the list of priorities. These exact traits were evident at Haymount United Methodist Church in Fayetteville, North Carolina, where the strong-willed members of the congregation made it possible to breathe new life into a magnificent organ from the now-extinct M. P. Möller organ factory.

The organ at Haymount United Methodist Church was built as Möller’s Opus 11011, completed in late June of 1975. During its nearly fifty years of service to this church, the instrument underwent several planned additions and necessary updates. Among the most significant changes was the installation of an electronic organ control system, which replaced the outdated and cumbersome original electro-pneumatic equipment inside the console. However, this update did not stand the test of time. Rapid advancements in the electronic industry rendered the old system obsolete and incapable of meeting the requirements of modern performance. Additionally, the leather components were reaching the end of their lifespan and began to show signs of trouble, manifesting in dead notes, ciphers, and unresponsive ranks. It became evident that a comprehensive solution was needed—a total renovation and overhaul of the entire organ.

During the planning stages of the renovation, a surprising idea emerged—the addition of a horizontal trumpet. Not just any trumpet, but a high-pressure en chamade trumpet requested by the client, positioned on the opposite side of the church to effectively project its sound through the full volume of the chancel organ. The only logical placement for this feature was at the back of the nave, between the stained-glass windows, necessitating an unusual configuration of the en chamade in two vertical rows. Nonetheless, we welcomed these challenges with enthusiasm.

By the end of 2019, the contract was signed, and we were preparing to commence work sometime in the middle of 2020. However, unforeseen circumstances arose—the pandemic disrupted our plans entirely. Life as we knew it ground to a halt across the United States and beyond. Our workshop was mandated to close for several months as a “non-essential business,” and our suppliers halted the provision of necessary parts due to the same circumstances and shortages. Despite these formidable obstacles, we resolved to press ahead with the renovation, buoyed by the unwavering support of the church in making this decision.

The renovation at Haymount United Methodist Church was truly comprehensive, leaving no detail overlooked. Every aspect of the organ received scrupulous attention, ensuring its restoration to peak performance. Bellows were carefully removed and underwent complete refurbishment at our state-of-the-art workshop. Approximately 2,000 leather pouches in the windchests were replaced with new pneumatics. All pipes underwent cleaning, repair, voicing correction, and precise reinstallation.

The console underwent a thorough transformation in our workshop, being stripped down, refinished, and outfitted with new electronics, drawknobs, pistons, LED lights, and an updated electronic system interface. The existing keyboards, crafted with ivory and ebony, along with the pedalboard, were restored to mint condition. We upgraded the entire switching system from analog to digital, implementing optical sensors for all keyboards and the pedalboard, and transitioning communication between the console and organ chamber to a fiber-optic network.

Reed pipes received meticulous attention, undergoing cleaning of the reeds and shallots, while wooden pipe stoppers were repacked with fresh leather. Existing swell shade motors were re-placed with new electronic operators by Peterson. Alongside numerous repairs, we introduced several new components, including a brand-new adjustable-height bench for the console and a redesigned music rack made from tempered glass.

Two new high-pressure blowers were installed, one for the Trompette de Gabriel (en chamade) and another for the Festival Trumpet. Additionally, we constructed a new Zimbelstern, featuring sixteen bells with adjustable speed.

Crucially, we replaced the existing organ control system with a new one from Matters Inc., which offers an array of features tailored to the organist’s needs, such as record/playback, transpose, MIDI capability, unlimited memory levels, and programmable crescendos. This system is characterized by its robustness, speed, reliability, and ease of installation and future servicing.

Following a period of fine-tuning and adjustments, the organ resumed serving the faith community of Haymount United Methodist Church in June of 2021, embodying a renewed spirit and enhanced capabilities.

The entire team at Lewtak Pipe Organ Builders extends our heartfelt gratitude to the members of Haymount United Methodist Church for their steadfast support and confidence in our craftsmanship. This project has been challenging, but the outcomes are sure to instill pride in the community for years to come.

—Tom Lewtak

www.lewtak.com/

www.haymountumc.com/

Photo credit: Kacper Lewtak

 

M. P. Möller Opus 11011 (1975)

GREAT (Manual II, exposed)

16′ Gemshorn 61 pipes

8′ Principal  61 pipes

8′ Bourdon  61 pipes

8′ Gemshorn (ext 16′) 12 pipes

4′ Octave 61 pipes

2′ Super Octave 61 pipes

Fourniture III–IV 220 pipes

8′ Trompete 61 pipes

8′ Festival Trumpet 61 pipes

8′ Trompette de Gabriel 49 pipes (new, en chamade, 50–61 repeat)

Great Unison Off

Great 4′

Chimes 21 tubes

POSITIV (Manual I, enclosed)

8′ Geigen Principal (TC) 49 pipes (1–12 Gemshorn 8′)

8′ Holzgedeckt 61 pipes

8′ Flauto Celeste (TC) 49 pipes

4′ Spitzflöte 61 pipes

2′ Prinzipal 61 pipes

1-1⁄3′ Quint 61 pipes

Zimbel III 183 pipes

16′ Dulzian 61 pipes

8′ Krummhorn 61 pipes

Tremolo

8′ Festival Trumpet (Great)

8′ Trompette de Gabriel (Great)

Positiv 16′

Positiv Unison Off

Positiv 4′

SWELL (Manual III, enclosed)

16′ Flûte à cheminée  61 pipes

8′ Flûte à cheminée (ext 16′) 12 pipes

8′ Viole de gambe 61 pipes

8′ Viole celeste 61 pipes

4′ Prestant  61 pipes

4′ Flûte à fuseau 61 pipes

2-2⁄3′ Nasard 61 pipes

2′ Flûte à bec 61 pipes

1-3⁄5′ Tierce  61 pipes

Plein Jeu III–IV 220 pipes

16′ Basson  61 pipes

8′ Trompette 61 pipes

8′ Basson (ext 16′) 12 pipes

8′ Voix Humaine 61 pipes

4′ Clairon 61 pipes

Tremolo

8′ Trompette de Gabriel (Great)

Swell 16′

Swell Unison Off

Swell 4′

PEDAL

32′ Violone (digital)

16′ Contrebasse  32 pipes

16′ Subbass  32 pipes

16′ Gemshorn (Great)

16′ Flûte à cheminée (Swell)

8′ Octave (ext 16′) 12 pipes

8′ Gemshorn (Great)

8′ Flûte à cheminée (Swell)

4′ Choralbass 32 pipes

4′ Flûte à cheminée (Swell)

Mixture III 96 pipes

32′ Basson (digital)

16′ Posaune  32 pipes

16′ Basson (Swell)

16′ Dulzian (Positiv)

8′ Trompette (ext 16′) 12 pipes

8′ Trompette de Gabriel (Great)

4′ Basson (Swell)

Inter-divisional couplers

Great to Pedal 8′

Swell to Pedal 8′

Swell to Pedal 4′

Positiv to Pedal 8′

Swell to Great 16′

Swell to Great 8′

Swell to Great 4′

Positiv to Great 16′

Positiv to Great 8′

Positiv to Great 4′

Great to Positiv 8′

Swell to Positiv 16′

Swell to Positiv 8′

Swell to Positiv 4′

Combinations

Great-Positiv Transfer

General pistons 1–10

Divisional pistons 1–5, all manuals and pedal

Set, Cancel, Tutti, Next, Previous, Zimbelstern, Sequencer On/Off

Console

Existing console shell completely restored to mint condition

Existing keyboards with ivory/ebony tops completely restored

Existing pedalboard completely restored

New organ bench with adjustable height

New music rack, tempered glass with laser etched Möller and Lewtak logo

New music rack, coupler rail and pedalboard LED dimmable lights

Swell and Positiv expression shades LED indicators

Mechanical and electrical

Electronic organ control system by Matters Inc. with unlimited memory levels, internal Record/Playback, and MIDI capability

Fiber-optic communication connection between console and organ chamber/en chamade

New high-pressure blower and winding system for the en chamade 8′ Trompette de Gabriel

New high-pressure blower and bellow for the 8′ Festival Trumpet

New custom-built Zimbelstern with 16 bells

New swell expression motors, 8-stage, by Peterson

New power switching system for the entire organ

New internal power supply for Walker Paradox System

Tuning, temperament, wind

Equal temperament

A=440 HZ at 19 degrees Celsius

Thirteen single-rise bellows, various sizes, all completely refurbished or manufactured new

Wind pressure:

Great, Positiv and Pedal at 2.75 inches

Swell at 3 inches

 

55 stops

46 pipe ranks + 2 electronic

2,579 pipes

Klais–Fisk organ, Saint Peter’s Church, New York City

In Midtown Manhattan, at the corner of Lexington Avenue and 54th Street, stands a comparatively humble yet eye-catching edifice. Dwarfed by the iconic tower soaring overhead, Saint Peter’s Church appears grounded and approachable. From street level, the sanctuary, clad in Caledonia granite, rises to sixty feet, but the sanctuary floor lies twenty-five feet below, making for an impressive interior height of eighty-five feet. A skylight bisects the building diagonally from southwest to northeast, providing dynamic natural light and giving passersby the opportunity to see into the sanctuary. Completed in 1977, both church and skyscraper were conceived by architects Hugh Stubbins and W. Easley Hamner as a single redevelopment project, Citicorp Center.

Saint Peter’s interior, designed by Lella and Massimo Vignelli, is said to be one of the finest examples of late mid-century modernism. For the Vignellis, it was important that the space be flexible in order to serve the established purposes of Lutheran liturgy and much more. Their vision allows the sanctuary to serve as a house of worship as naturally as a place for concerts, lectures, performances, meetings, and community gatherings. Johannes Klais Orgelbau in Bonn, Germany, was commissioned to build a two-manual, 32-stop mechanical-action organ for the new sanctuary. Klais worked in tandem with the Vignellis on the case and console designs, resulting in an organ uniquely integrated into its architectural setting.

On January 4, 2021, Saint Peter’s suffered a severe trauma in the form of flood damage from the rupture of a municipal water main. Hundreds of thousands of gallons of water surged into the building, causing major damage to the below-ground sanctuary and the basement-level black box theater, community spaces, and administrative offices underneath. A layer of fine muddy silt covered every surface. Mitigation efforts, including rapid dehumidification to prevent a mold outbreak, stressed all wooden furnishings, in particular the pipe organ.

Pastor Jared R. Stahler and Cantor Bálint Karosi received expert guidance with regard to their predicament, and on January 26, twenty-two days after the flood, a crew from the Organ Clearing House arrived to begin dismantling and packing the Klais for shipping. On February 5, the organ parts arrived at the Gloucester workshop of C. B. Fisk, Inc., for evaluation and, eventually, reassembly. The initial plan called for a thorough restoration of the instrument, and a strategy was developed to accomplish that. But after the organ had been standing in the Fisk erecting room for some months, giving all parties opportunity to inspect and fully grasp the organ’s condition, creative minds got to pondering. A gradual evolution in the collective mindset followed­—from that of simple restoration to one of reimagination.

At its installation in 1977, the Klais instrument was an important addition to the emergent mechanical-action organ scene in the United States. A mere sixteen years had passed since the 1961 debut of Charles Fisk’s landmark tracker at Mount Calvary Church in Baltimore. Historically informed musical instrument building and attention to early performance practice were leading edge. Now, nearly a half-century later, the tracker movement has matured; instrument builders are more and more conscious of ways to be inclusive of multiple traditions without sacrificing the central attributes of the historically informed philosophy. The Saint Peter’s flood, though unexpected and deeply disruptive, offered a compelling opportunity for artistic renascence of the Klais.

Keen to authentically perform the sacred music of Johann Sebastian Bach and his contemporaries in a worship setting, Dr. Karosi founded the Bach Collegium at Saint Peter’s in 2017. As a professional vocal and instrumental ensemble, it offers worshippers faithful re-creations of eighteenth-century Lutheran church music. Bach spent his professional career in the central German region of Thuringia, which, together with neighboring Saxony, were home to some exceptional organbuilding in the eighteenth century. Dr. Karosi, who knows these organs well, proposed adding some authentic Thuringian voices to the Klais, and he put forth a detailed plan. To accomplish his objectives, selected stops would need to be repurposed, others relocated, and a few removed. At the Fisk workshop, studies were made to determine what would be feasible in terms of windchest modifications, and pipe scaling practices of the eighteenth-century central German builders were examined in detail.

Acoustician Dana Kirkegaard advised on acoustical matters, including updates to the sanctuary’s amplification and recording systems. Preservation architect Angela Wolf Scott joined the team to guide all aspects of the sanctuary restoration, ensuring that the Vignellis’ original designs would be respected in every detail, including all visual aspects of the organ console, bench, and case. Given the integrated design of every element of the sanctuary, a new audio-visual control board as well as speaker cabinets made to look like the originals but containing state-of-the-art interior components and electronics were constructed at the Fisk shop of wood and finish to match the organ.

By June 2022, a revamped organ stoplist had been generated. Three entirely new 8′ registers—Principal, Grossgedackt, and Quintadehn—all in eighteenth-century Thuringian style, were added to the Great division. The Klais façade 8′ Principal was retained and renamed 8′ Prestant. The original Great 8′ Rohrgedackt was moved to the Pedal and rechristened 8′ Gedackt. A new 8′ Rohrflöte, scaled and voiced in nineteenth-century style, replaced the original 8′ Gedackt in the Swell. The two 4′ flutes traded places, with the Rohrflöte relocating to the Great and the wooden Traversflöte moving to the Swell. The latter, in order to fit on the Swell chest, received new metal pipes from CC–F0. Other space-management revisions included saying farewell to the Great 11⁄3′ Larigot and the Swell 2′ Principal. In the Pedal, the wooden 16′ Subbass received a new CC pipe, increasing its scale by one note, and higher cut-ups.

Due to the fact that the Klais 8′ and 4′ principals had been previously revoiced (work that included raising the wind pressure in the Great from 2.75 inches to 3.35 inches, and raising cut-ups), overarching decisions with regard to pitch and wind pressures were necessary. Having had the opportunity to hear the Klais in situ before the flood, our remembered impressions, together with Dr. Karosi’s input, guided our decision making. With regard to wind pressures, the Great was left as we found it, the Swell was increased from 2.55 inches to 3 inches, and the upper Pedal chest pressure was raised from 2.95 inches to 3.35 inches to match that of the lower Pedal. The temperament was changed from equal to Kellner. The pitch of the organ as we received it was curiously high, with pipes on the voicing jack registering between A 446–447. In order to lower it to something within reason, we were obliged to fit slide tuners to all cone-tuned flue pipes. Reed remedies were more complicated.

In contrast to the tonal breadth of the renamed 8′ Prestant, the new Thuringian Principal, of high tin content and with delicate nicking, offers an array of concentrated overtones, suitably prompt speech, and a pleasing textural quality. The Grossgedackt, constructed of hammered lead, exhibits purity, roundness, transparency, and calm. The Quintadehn, a fine example of the colorful Thuringian models, is replete with subtle harmonics, articulate speech, and an attractive buoyancy. Together, these recreated antique voices show an ability to blend with ease in various combinations. What’s more, while offering the listener a fascinating window into the organ soundscape familiar to J. S. Bach, these stops integrate well within the instrument’s overall tonal design. Without question, they enhance the organ’s potential for musical expression.

With the reeds, there were three intertwining factors to be addressed: wind pressure, pitch, and tongue curvature. The Great 8′ Trompete was given new heavier tongues throughout; from CC–B0 resonator slots were soldered shut; and from c1 up resonators were lengthened. The Swell 16′ Dulcian (small scale wood) required a new longer C0 resonator and the moving up of resonators by one note from that point. The Pedal 8′ Holztrompete (conical wood) needed a new longer CC resonator and the bumping up of the remainder by one note. The Swell 8′ Cromorne was the beneficiary of extra-long slide tuners and tongue weighting. The Pedal 4′ Schalmey, a stop with a troubled history, was replaced with a mid-1970s era Fisk Cremona at 8′ pitch. All tongue curvatures were revised to accommodate the higher wind pressures; the utterly transformative nature of this tongue work cannot be overstated. The once excessively bright Great Trompete became rounder and more foundational thanks to its heavier tongues and proper curvature. The Swell Dulcian filled out and became milder, and, though still endowed with a measure of characteristic quirkiness, is now an effective underpinning for a 16′ chorus registration. The Cromorne, once bold and sassy, now speaks as a controlled yet charming clarinet, offering versatility as both a solo and chorus register. The Pedal Posaune and Holztrompete, the only reeds on their original pressure, with tongue refinements took on more of an old-style Germanic character. The “new” Pedal Cremona is an effective 8′ solo stop, very useful for cantus firmi in the feet.

Substantial upgrades were made to the organ’s key action. The ravages of time and of the flooding/drying cycle had taken their toll. Also, there was a desire to bring the key action up to modern Fisk standards of performance, reliability, and serviceability. The original Klais wooden trackers, which had become brittle and warped, were replaced with impervious carbon fiber trackers. The manual rollerboards were rebuilt using current standard Fisk materials, including replacement of the worn felt-bushed bearings with precise, self-lubricating UHMW (Ultra-High Molecular Weight) polyethylene bearings. The coupler mechanisms were removed from inside the console, where they were nearly impossible to service and maintain. A newly designed CNC-machined aluminum coupler stack was built and placed inside the base of the organ. In this new location, the couplers are more direct, stable, and efficient, plus they are much easier to adjust and maintain. The keyboards were replaced—with motion ratios engineered to complement the new coupler mechanism—and a new Fisk pedalboard was built.

The Saint Peter’s organ stands as a shining example of how a deeply considered, disciplined, and sympathetic approach to restoration can yield a musical instrument of the highest artistic integrity. In this particular case, an opportunity resulting from truly unfortunate circumstances gave rise to a transformational effort on the part of the organbuilders at C. B. Fisk. We are grateful to Pastor Stahler and Dr. Karosi for approaching us to do this work. And finally, to the parishioners of Saint Peter’s and to the greater New York City audiences, we wish you “good listening.”

­—David Pike,

Executive Vice President, C. B. Fisk

A note of gratitude from Saint Peter’s Church

With the entire Saint Peter’s community, we are immensely thankful for all who responded in the wake of the January 4, 2021, flood, particularly C. B. Fisk, Inc. Extraordinary skill, dedication, and sensitivity helped us turn an unexpected tragedy into an opportunity most congregations spend years planning.

David Pike’s thoughtful collaboration with Bálint Karosi on the instrument’s tonal reimagination brought a level of creativity—two 8′ principals on a medium-sized instrument!—few builders would even consider. Nami Hamada’s voicing of new and old flue pipes is extraordinary. Michael Kraft and Carl Klein magically transformed Klais’s neo-Baroque reeds. The entire team worked tirelessly: from installing new piston arrangements and Bluetooth page-turning capability, to replacing electronic couplers with mechanical couplers, to addressing fissures on windchests, to constructing a new windline for the Great—all while preserving the architectural details of the instrument so deeply integral to Saint Peter’s iconic sanctuary.

We are also thankful to the performers, participants, sponsors, and donors committed to our ongoing inauguration. The events of November 4–5, 2023, included Guy Bovet’s Peep the Piper, an organ half-marathon featuring four celebrated young organists (Amelie Held, Mi Zhou, Daniel Jacky, and Jonghee Yoon), a masterful solo recital by Nathan Laube, Nicole Keller’s inspired playing of three organ concerti—including a new organ concerto by Bálint Karosi, In Memoriam György Ligeti—with Saint Peter’s Chamber Orchestra, and a presentation of Maurice Duruflé’s Requiem featuring Colin Fowler and Saint Peter’s Choir and Chamber Ensemble. February 13, 2024, features Felix Hell in what is very much a homecoming performance, and on June 4, 2024, Cantor Karosi plays a solo recital. These programs aim to showcase the tonal changes carried out by C. B. Fisk, both individually and as a whole, as well as the instrument’s versatility in a variety of contexts and pairings, including as one of the only remaining places in New York City where organ and orchestra can perform in a concert hall setting.

To learn more about the instrument and celebratory events, visit 
future.saintpeters.org/organ.

—Pastor Jared R. Stahler and

Cantor Bálint Karosi

 

Builder’s website: cbfisk.com

Church website: saintpeters.org

Cover photo: Marco Anelli

 

GREAT (manual I)

16′ Pommer 58 pipes

8′ Prestant 58 pipes

8′ Principal*** 58 pipes

8′ Grossgedackt*** 58 pipes

8′ Quintadehn*** 58 pipes

4′ Octave 58 pipes

4 Rohrflöte† 58 pipes

2-2⁄3′ Quinte 58 pipes

2′ Superoctave 58 pipes

1-3⁄5′ Terz 58 pipes

1-1⁄3′ Mixtur V 290 pipes

8′ Trompete** 58 pipes

Tremulant

SWELL (manual II)

8′ Gamba 58 pipes

8′ Schwebung (G# on) 50 pipes

8′ Rohrflöte* 58 pipes

4′ Principal 58 pipes

4′ Traversflöte*‡ 58 pipes

2′ Waldflöte 58 pipes

2-2⁄3′ Cornet II‡ 116 pipes

1′ Scharff IV 232 pipes

16′ Dulcian 58 pipes

8′ Cromorne 58 pipes

Tremulant

PEDAL

16′ Principal 32 pipes

16′ Subbass 32 pipes

8′ Octave 32 pipes

8′ Gedackt 32 pipes

4′ Superoctave 32 pipes

2-2⁄3′ Hintersatz IV 128 pipes

16′ Posaune 32 pipes

8′ Holztrompete** 32 pipes

8′ Cremona§ 32 pipes

MECHANICALS & ACCESSORIES

300 levels Solid State Organ Systems***

Mechanical balanced Swell Pedal

 

by thumb and toe

Sw/Gt, Gt/Ped, Sw/Ped

Generals 1–12

Divisionals 1–6

Sequencer Next***

Sequencer Prev***

Page turning reversible pistons with Bluetooth capability ***

 

by toe

Cymbelstern: 8 tuned brass bells in memory of Katherine and Harry Busch

Birdsong: reservoir and 7 pipes

 

2023

Console and keyboards

Carbon-fiber action

Kellner Temperament A=440

Wind (in mm) raised to 85/Gt, 75/Sw, 85/Ped

 

*** new

** new tongues

* bottom new

† previously on Swell

‡ previously on Great

§ from Fisk Opus 68

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

From the builder

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

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

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

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

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

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

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

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

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

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

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

—John Peragallo III

From the music director

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

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

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

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

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

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

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

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

—Hector Salcedo

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

Photo credit: Michael Harker

 

Builder’s website: www.peragallo.com

Church’s website: stmalachy.org

GRAND ORGUE  (manual I)

16′ Violone 61 wps

8′ Montre I 61 wps

8′ Montre II 61 pipes

8′ Violoncelle 61 wps

8′ Flûte Harmonique* 49 pipes

8′ Bourdon 61 pipes

8′ Cor de Nuit (Récit)

8′ Cor de Chamois Celeste II (Positif)

4′ Prestant 61 pipes

4′ Flûte Fuseau 61 pipes

2-2⁄3′ Quinte 61 wps

2′ Doublette 61 pipes

2′ Flûte à Bec (ext) 12 pipes

1-3⁄5′ Tierce  61 wps

III Fourniture 183 pipes

IV Cymbale 244 wps

16′ Contre Trompette 61 wps

8′ Trompette 61 wps

4′ Clairon 61 wps

8′ Trompette en Chamade (Solo)

16′ G.O.

  G.O.Unison

  4′ G.O.

Chimes

G. O. Midi 1

  G. O. Midi 2

POSITIF (expressive, manual II)

16′ Quintaton 61 wps

8′ Montre 61 wps

8′ Flûte à Cheminée 61 pipes

8′ Viola Pomposa 61 wps

8′ Viola Celéste 61 wps

8′ Cor de Chamois 61 pipes

8′ Cor de Chamois Celéste (TC) 49 pipes

4′ Principal 61 pipes

4′ Flûte Traversière 61 pipes

4′ Unda Maris II (composite)

2′ Octavin 61 pipes

1-1⁄3′ Larigot 61 pipes

1′ Sifflet 61 pipes

III Fourniture 183 wps

III Scharf 183 pipes

16′ Clarinette 61 wps

8′ Trompette Doux 61 wps

8′ Cromorne 61 pipes

Tremulant

8′ Tuba Mirabilis (Celestial)

16′ Positif

Positif Unison

4′ Positif

Positif Midi 1

Positif Midi 2

RECIT (expressive, manual III)

16′ Bourdon Doux 61 wps

8′ Montre 61 pipes

8′ Flûte Bouchée 61 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Celéste (TC) 49 pipes

8′ Flauto Celeste II 122 wps

4′ Prestant 61 pipes

4′ Flûte Ouverte 61 pipes

2-2⁄3′ Nasard 61 pipes

2′ Doublette (ext) 12 pipes

2′ Flûte à Bec 61 pipes

1-3⁄5′ Tierce 61 pipes

III–IV Plein Jeu 244 wps

16′ Basson 61 pipes

8′ Trompette 61 pipes

8′ Hautbois  61 wps

8′ Voix Humaine 61 wps

4′ Clarion (ext) 12 pipes

Tremulant

8′ Trompette en Chamade (Solo)

16′ Récit

Récit Unison

4′ Récit

Récit Midi 1

Récit Midi 2

SOLO (manual IV)

16′ Montre (G.O.)

8′ Montre 61 wps

8′ Flûte Majeure 61 wps

8′ Bourdon (G.O.)

4′ Octav 61 wps

4′ Flûte Octaviante (G.O.)

2-2⁄3′ Quinte (G.O.)

2′ Octavin (G.O.)

1-3⁄5′ Tierce (G.O.)

V Fourniture Harmonique 305 wps

III Tierce Cymbale 183 wps

16′ Bombarde Harmonique 61 wps

8′ Trompette Harmonique 61 wps

4′ Clairon Harmonique 61 wps

8′ Cor Anglais 61 wps

8′ Cromorne (Positif)

8′ Clarinette (Positif)

16′ Trompette en Chamade (G.O.)

8′ Trompette en Chamade* 49 pipes

Tremulant

Solo Unison

Chimes

CELESITAL (floating)

8′ Principal 61 wps

8′ Flûte à Pavillon 61 wps

8′ Viole Sordone 61 wps

8′ Viole Celéste 61 wps

4′ Octav 61 wps

4′ Flûte Amabile 61 wps

2-2⁄3′ Nasat 61 wps

2′ Octavin 61 wps

1-3⁄5′ Tierce 61 wps

V Fourniture 305 wps

8′ Tuba Mirabilis 61 wps

8′ Corno di Bassetto 61 wps

Tremulant

16′ Celestial

Celestial Unison

4′ Celestial

PÉDALE

32′ Contre Basse 32 wps

32′ Contre Bourdon 32 wps

16′ Flûte Ouverte 32 wps

16′ Montre 32 pipes

16′ Violone (G.O.)

16′ Bourdon 32 wps

16′ Bourdon Doux (Récit)

8′ Octav Basse 32 pipes

8′ Bourdon (ext 16′) 12 wps

8′ Flûte Doux (Récit)

8′ Cor de Chamois (Positif)

4′ Doublette 32 pipes

4′ Flûte Ouverte (G.O.)

IV Fourniture 128 pipes

32′ Contre Bombarde 32 wps

16′ Bombarde 32 wps

16′ Contre Trompette (G.O.)

16′ Basson (Récit)

8′ Trompette (G.O.)

4′ Cromorne (Positif)

8′ Trompette en Chamade (Solo)

Tower Carillon

wps = Walker pipe sampled

* 1–12 wps

 

Couplers

Grand Orgue à Pédale 8, 4

Recit à Pédale 8, 4

Positif à Pédale 8, 4

Solo à Pédale 8, 4

Celestial à Pédale, 8

Récit à Grand Orgue 16, 8, 4

Positif à Grand Orgue 16, 8, 4

Solo à Grand Orgue 8

Celestial sur Grand Orgue 8

Récit à Positif 16, 8, 4

Solo à Positif 8

Celestial sur Positif 8

Grand Orgue à Positif 8

Celestial sur Récit 8

Solo à Récit 8

Celestial sur Solo 8

Manual Transfer G.O./Positif

 

Pedal Movements

Celestial / Solo

Positif

Récit

Crescendo

 

Combination System

General 1–12 thumb and toe

Récit 1–6 thumb

G.O. 1–6 thumb

Positif 1–6 thumb

Solo 1–6 thumb

Celestial 1–4 thumb

Pédale 1–5 toe

Cancel

Grand Orgue à Pédale thumb and toe

Récit à Pédale  thumb and toe

Positif à Pédale thumb and toe

Récit à Grand Orgue thumb

Positif à Grand Orgue thumb

Solo a Grand Orgue thumb

Recit a Positif

Etoile Sonore toe

Tûtti thumb and toe

Next and Previous thumb and toe

Contre Basse 32 toe

Contre Bourdon 32 toe

Contre Bombarde 32 toe

Ipad Page Back thumb and toe

Ipad Page Forward thumb and toe

All Récit à Récit thumb

Bass Coupler thumb

G.O. Melody Coupler thumb

 

40 ranks / 50 Walker pipe sampled

Rosales Organ Builders, Los Angeles, California, Opus 42; Parsons Pipe Organ Builders, Canandaigua, New York, Opus 51; St. James by-the-Sea Episcopal Church, La Jolla, California

 

In any artistic endeavor, the goals of the artist guide every step of the process to achieve his desired result. When multiple artists collaborate, the result can be a wonderful synergy of goals, something that a single artist would not have created on his own. The new organ at Saint James by-the-Sea in La Jolla, California, is a wonderful synergy of multiple artists working together to create something quite special and unique.

Church building and history

The current sanctuary of Saint James by-the-Sea seats about 450 and was finished in 1930. It is built in the Spanish Colonial style with walls of poured concrete and a wooden ceiling 33 feet above the floor at the peak. This provides a pleasant acoustic, especially for small ensembles and choirs, although the ceiling height and material limit reverberation. The building was finished during the Great Depression, when money was tight limiting the size of the organ installed by Henry Pilcher’s Sons. At three manuals and 33 stops, it is unlikely that the Pilcher filled the two large organ chambers on either side of the chancel. The four-manual Austin that replaced it in 1975 filled only three-quarters of the chamber space. Austin Organs, Inc., Opus 2585 was a major pendulum swing away from the Pilcher in terms of style, and it shared many characteristics with other organs of that era. Although the stoplist was not as top heavy as some other instruments of the day (each division had at least one 8′ open flue stop), the scaling provided weak bass tones, and the voicing style emphasized the upper harmonics. The room acoustics were a major contributor to the weak bass, small-scaled bass pipes did nothing to counteract this. The Great and Positiv divisions were placed in four flower box displays, two on either side of the chancel. These displays were located in front of four chamber openings that limited how much sound could escape the chambers behind. A sizable Antiphonal division hung on the back wall below a round window.

Project history

Our participation in the project in La Jolla began in early 2018 when director of music Alex Benestelli contacted Manuel Rosales about rebuilding the existing organ at Saint James. Thomas Sheehan, who currently serves as organist and associate director of music at Washington National Cathedral, had been hired by Saint James as organ consultant. Parsons was invited to collaborate with Rosales in presenting a proposal. Through many discussions, it was decided that rather than rebuild the failing Austin mechanisms, we would provide a new mechanical chassis along with new casework and many new pipes. Some pipes from the Austin would be retained as they would provide useful voices in our new tonal scheme.

A letter of intent was signed in October 2018, and following presentation of a façade rendering, the contract was signed in September 2019. Because of electrical issues with the Austin, it was decided to remove the organ sooner rather than later, and this was done in January 2020. With the organ removed, the church could prepare the chambers to receive the new instrument. The four new cases that hang on the chancel walls are taller and heavier than the previous flower box cases, requiring new steel structure to be engineered and installed. The Antiphonal could occupy the existing steel structure, although this would need to be stiffened to meet current codes even though the division was being reduced to a solo reed and a unit Principal.

We collaborated with MDEP of La Jolla, who engineered steel frames that would hold the organ and allow maximum access for service. MDEP received the 2023 Award for Historic Preservation from the Structural Engineers Association of San Diego for their work on the Saint James organ project. The existing chancel concrete openings were enlarged to improve tonal egress and service access to the mechanisms located in the cases. The ceilings of the organ chambers were also thickened with added material to promote tonal projection.

Organ case

The four chancel cases and Antiphonal case are constructed of quarter-sawn white oak and stained to complement the church furnishings. Multiple elements from the church architecture are echoed and tied together in the cases. These include the seashell and sword that are symbols of Saint James. These elements along with the wooden grillework and columns were all fabricated on our CNC router. Façade pipes from the 16′ and 8′ Diapasons on the Great and Pedal and the 8′ Principal in the Antiphonal are of 80% tin and are polished with a fine abrasive to mute the reflectiveness of the pipes. Pipe mouths and some case elements are covered with gold leaf to help warm the color palette of the organ.

Tonal design

The goal of the tonal design of the new instrument is to accompany choral anthems and congregational singing. This encouraged a design including many color stops, a large majority of which are under expression. In the end a total of 59 ranks are under expression in three enclosures. Thirty-three stops are of 8′ pitch, and sixteen of the ranks are reed pipes. Only one reed, the nautically themed Tromba Marina, is located outside of an expression box above the west door in the Antiphonal. Voicing of all flue pipework was completed by Duane Prill, and reeds were voiced by Chris Broome and David Schopp. In turn these pipes were tonal finished in the church by Manuel Rosales with assistance from the Parsons staff.

The chamber on the south side of the chancel contains the three principal manual divisions: Great, Swell, and Choir. The Great is divided into two sections: the first Principal chorus based on 16′ pitch is unenclosed in one of the four new chancel cases. The remainder of the Great is enclosed with the Choir including the independent Tromba chorus on ten inches of wind. The Choir contains many color stops including a full complement of mutation stops. The large Swell division is located behind the Unenclosed Great and contains all of the expected stops for accompanying choral literature.

The north side of the chancel contains the Pedal and Solo divisions. In part, this was due to the fact that the floor was eighteen inches lower on this side, so there was more ceiling height available for the taller bass pipes. In spite of this, the longest wooden pipes of the 16′ Open Diapason and the Haskelled 32′ Contrebasse had to be laid down along the back wall of the chamber. All of the wood pipes of these two stops as well as the bass octaves of the Swell and Great flutes were built in our shop. The 32′ Contra Bombarde is located in the Solo expression chamber and is a commanding voice on 17.5 inches of wind. However, the expression shades allow it to be closed down and used with a much wider variety of manual stops.

Mechanical design

Because this was a collaboration, the mechanical design required careful management of the process in terms of pipe materials, scales, winding, chest designs, and even racking methods. The majority of the pipework stands on slider and tone channel windchests. The pallets are provided with pneumatic assists (balanciers) to improve action speed and repetition. The remainder of the stops play from all-electric or electro-pneumatic chests. In order to create the wide variety of colors in the tonal design, a wide range of wind pressures were necessary, ranging from 2.75 inches for the Antiphonal Principal to 17.5 inches for the Tuba and 32′ Contra Bombarde. Wind is provided by five blowers in three locations totalling 13.5 HP. The blowers feed sixteen reservoirs of different constructions including bag bellows and single-rise regulators with both cone and curtain valves to serve specific purposes throughout the organ. Numerous concussion bellows smooth out unwanted ripples in the wind and are disengaged when the tremulants are active.

Whenever we design a new instrument, we always strive to make the design as serviceable as possible. Our philosophy is simple: if an organ is easy to service, it is more likely that it will be maintained and indeed serve the church for hundreds of years. This drives every layout decision and suggests where we might add additional ladders or make a part more easily removable if there is something behind it that might need service. We have encountered many organs where this was not given consideration, and major sections of the organ need to be removed in order to make small adjustments or repairs. This was an extraordinary challenge at Saint James because the organ we were installing was larger and contained more 16′, 8′ (and even 32′) stops than existed in the previous instruments. The scales of the pipes we were installing were also larger, which consumed a significant amount of space. Through careful layout, it is possible to navigate through the organ and adjust the mechanism as needed. Many hinged walkboards and ladders provide service access to mechanisms. Extra ladders and perchboards are provided to reach pipes that are tall or hanging from the ceiling or just simply harder to access.

Console

The new movable four-manual console is built of quarter-sawn white oak and stained to match the new cases. The interior wood is cherry with accents in African padauk. It was designed to be as low-profile as possible with a drop-sill keydesk. Manual naturals are covered in bleached bone with sharps of African blackwood as are the custom drawknobs. The side panels on both ends of the console are doors that open to reveal storage cabinets for the organist and organ technician. Two music racks are provided: a decorative wood rack with book-matched madrone burl, and a clear scratch-resistant polycarbonate rack for improved visibility. The control system by Opus-Two handles the myriad of complex functions available to control the instrument, including Sostenuto, melody coupling, through-coupling, transposer, and record/playback. The system includes 1,000 assignable folders, each with 250 levels of memory.

The initial installation began in June 2022. Components from the five cases, the Antiphonal and the north side organ chamber containing Pedal and Solo stops completely covered the nave and parish hall. Two more phases of installation followed, with tonal finishing beginning in February 2023. Staggering the installation process allowed the three tractor-trailer loads of organ to be safely and efficiently unloaded and organized in the church’s small sanctuary. Much of the organ was complete and playing in time for Easter, and the organ was officially accepted on July 23, the Feast of Saint James. The organ will be dedicated October 1, 2023, with a concert by Ken Cowan, which will kick off a year of festivities to celebrate the new organ. It now begins its life in service to the church of Saint James by-the-Sea, truly a unique instrument and the fruit of the labors of many artists.

—Peter Geise, Technical Director

Parsons Pipe Organ Builders

 

Parsons Pipe Organ Builders website: parsonsorgans.com

Rosales Organ Builders website: rosales.com

Saint James by-the-Sea Church website: sjbts.org

Photo credit: Ron Belanger

 

GREAT (Manual II, unenclosed; * enclosed with Choir)  

16′ Double Diapason 56 pipes (low F, façade)

16′ Violone (Austin) * 61 pipes

8′ First Diapason (façade) 61 pipes

8′ Second Diapason * 61 pipes

8′ Flûte harmonique * 61 pipes

8′ Bourdon * 61 pipes

8′ Violoncello (ext 16′) * 12 pipes 4′ First Octave 61 pipes

4′ Second Octave * 61 pipes

4′ Spire Flute * 61 pipes

2-2⁄3′ Octave Quint 61 pipes

2′ Super Octave 61 pipes

1-3⁄5′ Tierce 54 pipes

Fourniture IV–V 281 pipes

16′ Contra Tromba * 61 pipes (high pressure)

8′ Tromba (high pressure) * 61 pipes

4′ Tromba Clarion* 61 pipes (high pressure)

Tremulant

8′ Tuba Mirabilis (Solo)

Chimes (Walker)

SWELL (Manual III, enclosed)

16′ Lieblich Gedeckt (Austin) 61 pipes 8′ Geigen Principal 61 pipes

8′ Rohrflöte 61 pipes

8′ Viole de gambe 61 pipes

8′ Voix céleste 61 pipes

8′ Flûte douce 61 pipes (Aeolian-Skinner)

8′ Flûte céleste (TC) 49 pipes (Aeolian-Skinner)

4′ Principal 61 pipes

4′ Flûte traversière 61 pipes

2′ Octavin 61 pipes

Plein Jeu IV–V 281 pipes

16′ Contra Bassoon 61 pipes

8′ Trumpet 61 pipes

8′ Bassoon (ext 16′) 12 pipes

8′ Oboe 61 pipes

8′ Vox Humana (Gottfried) 61 pipes

4′ Clarion 61 pipes

Tremulant

CHOIR (Manual I, enclosed)

16′ Erzähler (ext 8′) 12 pipes

8′ Open Diapason 61 pipes

8′ Gedeckt (Austin) 61 pipes

8′ Erzähler (Austin) 61 pipes

8′ Erzähler Celeste 49 pipes (TC, Austin)

4′ Principal 61 pipes

4′ Koppelflöte (M. P. Möller) 61 pipes

2-2⁄3′ Nazard (Austin) 61 pipes

2′ Octave 61 pipes

2′ Blockflöte (Austin) 61 pipes

1-3⁄5′ Tierce (Austin) 54 pipes

1-1⁄3′ Larigot (Austin) 61 pipes

Mixture III 183 pipes

16′ Bass Clarinet (ext 8′) 12 pipes

8′ Trompette 61 pipes

8′ Corno d’Amore 61 pipes (E. M. Skinner & Son)

8′ Clarinet 61 pipes

Tremulant

8′ Tuba Mirabilis (Solo)

8′ Tromba Marina (Antiphonal)

Great Reeds on Choir

SOLO (Manual IV, enclosed)

8′ Doppelflöte (Wicks) 61 pipes

8′ Concert Flute (vintage) 61 pipes

8′ Gamba 61 pipes

8′ Gamba Celeste 61 pipes

4′ Hohlpfeife (Austin) 61 pipes

Cornet V (TF, mounted) 195 pipes

8′ French Horn (Casavant) 61 pipes

8′ English Horn 61 pipes

Tremulant

8′ Tuba Mirabilis 73 pipes

8′ Tromba Marina (Antiphonal)

Great Reeds on Solo

8′ Harp (Walker)

8′ Orchestral bells (Walker)

4′ Celesta (Walker)

Tower Chimes (existing Deagan)

PEDAL (Unenclosed; * enclosed with Solo)

32′ Contrebasse 32 pipes

32′ Bourdon (Walker)

16′ Open Diapason (façade) 32 pipes

16′ Contrebasse (ext 32′) 12 pipes

16′ Bourdon (Austin) 32 pipes

16′ Violone (Great)

16′ Lieblich Gedeckt (Swell)

16′ Erzähler (Choir)

10-2⁄3′ Quint (Smart Quint)

8′ Flute (ext 32′) 12 pipes

8′ Octave (façade) 32 pipes

8′ Open Diapason (ext 16′) 12 pipes

8′ Bourdon (ext 16′) 12 pipes

8′ Violoncello (Great)

8′ Lieblich Gedeckt (Swell)

4′ Choral Bass 32 pipes

4′ Bourdon (ext 16′) 12 pipes

32′ Contra Bombarde * 32 pipes (full length)

16′ Bombarde * (ext 32′) 12 pipes

16′ Tromba (Great)

16′ Bassoon (Swell)

8′ Trumpet* (ext 32′) 12 pipes

8′ Tromba (Great)

8′ Bassoon (Swell)

4′ Clarion * (ext 32′) 12 pipes

4′ Tromba Clarion (Great)

8′ Tuba Mirabilis (Solo)

8′ Tromba Marina (Antiphonal)

4′ Tuba Mirabilis (Solo)

Chimes (Walker)

ANTIPHONAL (Floating, unenclosed)

8′ Principal (façade) 61 pipes

4′ Octave (façade, ext 8′) 23 pipes

8′ Tromba Marina (hooded) 61 pipes

ACCESSORIES

Cymbelstern (7 bells)

Pajaritos (small Spanish birds)

All Swells to Swell

GR/CH Manual Transfer

COUPLERS

Great to Pedal 8

Swell to Pedal 8-4

Choir to Pedal 8-4

Solo to Pedal 8-4

Antiphonal to Pedal

Great Unison Off

Swell to Great 16-8-4

Choir to Great 16-8-4

Solo to Great 16-8-4

Antiphonal to Great

Choir 16-UO-4

Swell to Choir 16-8-4

Solo to Choir 16-8-4

Great to Choir 8

Great Enclosed Flues on Choir

Pedal on Choir

Swell 16-UO-4

Choir to Swell

Solo to Swell 16-8-4

Solo 16-UO-4

Antiphonal on Solo

Great Enclosed Flues on Solo

CONSOLE

Custom-built four-manual drawknob console designed and finished to complement existing church furnishings. Includes the following features:

• built-in casters for mobility within the chancel

• adjustable organist bench by rotary 
handle

• inlaid music rack and polycarbonate music rack that are interchangeable

• manual keyboards furnished with bleached bone key coverings and blackwood sharps

• pedalboard furnished with maple naturals and ebony sharps

• stops and intra-manual couplers controlled by drawknobs

• inter-manual couplers controlled by rocker tablets located above top manual

• three balanced expression pedals and programmable Crescendo pedal

• LED lighting for music, pedal, and nameboard with dimmer control

• convenience receptacles–120vac, USB (device charger), and MIDI

• standard indicator lamps (Wind, Sforzando, etc.)

• multi-level combination action with minimum 2,000 levels of memory

PISTONS

30 General (some duplicated, thumb and toe)

8 Great

8 Swell

8 Choir

8 Solo

5 Pedal

General Cancel

Memory Set

Great to Pedal reversible

Swell to Pedal reversible

Choir to Pedal reversible

Solo to Pedal reversible

Reversible (settable)

32′ Bourdon reversible

Cymbelstern reversible, with LED indicator

Pajaritos

Sforzando reversible, with LED indicator

Great Sostenuto, with LED indicator

Swell Sostenuto, with LED indicator

Choir Sostenuto, with LED indicator

Solo Sostenuto, with LED indicator

Pedal Sostenuto, with LED indicator

Sostenuto

Memory Up and Down

All Pistons Next reversible, with LED indicator

Sequencer (Next and Previous)

Go To (memory level)

Library

DISPLAYS

Main

Last General Pressed

Memory Level: Lock and Clear

Crescendo

Drawer Display

Crescendo Std.

Transposer display

Record/Playback display

PIPE SUMMARY

Great 1,196

Swell 1,196

Choir 1,042

Solo 695

Antiphonal 145

Pedal 288

Total 4,562