Cover feature: Rosales and Parsons

Parsons Pipe Organ Builders, Canandaigua, New York; Saint Benedict Cathedral, Evansville, Indiana

Given the opportunity for a major instrument in a large Catholic cathedral with superb acoustics, most builders might be forgiven for playing to type. These acoustics and this liturgy implies something French in nature, no? We know the great legacy the French have given to music and Catholicism; surely one thing follows another. And yet our Opus 52 for Saint Benedict Cathedral in Evansville, Indiana, had a different genesis and, in the end, a result well apart from the above pattern. The process, and the result, has been not merely a pleasant surprise, but—this project has proved to us—the right instrument for this place and these people.

Our first encounter with Saint Benedict’s contemplated a modest reworking of their 1930s Wicks. That first visit allowed us to be impressed by the opportunity before us. The parish of Saint Benedict was established in 1912, placed in pastoral care of the monks of Saint Meinrad Archabbey (which organists know today for the fine Goulding & Wood organ there). Designed in Lombard Basilica form, the edifice is grand: 150 feet long, 65 feet wide, and 63 feet tall. When completed in 1928 the ceiling was fitted with sound-attenuating Celotex tiles. In 1934, when it became possible to afford an organ, the parish acquired a two-manual, 20-rank Wicks, Opus 2367. In the practice of many 20th-century Catholic churches, the organ was divided in cases to either side of the rear window, with choir seating in between. This arrangement was never satisfactory, as the choir was buried between the organ cases yet unable to hear it clearly or project properly. A renovation in 2019 improved the acoustics and enlarged the gallery to accommodate sizable musical forces and a significant pipe organ.

As discussions continued, the original rebuilding idea gave way to a new three-manual organ, with a nave section to accompany singers up front. Still, the stoplist remained economical in feel until the already-generous lead donors decided they could do even more. Embellishments included a second fanfare reed, a full-length 32′ Trombone to join the open 32′ Contrebasse, and strengthened manual flute and principal choruses throughout.

Certain choices formed around vintage material, reworked along our musical ideals while still disclosing their heritage. Although the 1934 Wicks was a modest instrument, its musical content was distinctive. Wicks’s tonal director at this time, Henry Vincent Willis (a grandson of Father Willis and first cousin to Henry Willis III), evolved a version of late English Romantic heroic voicing much in the vein of Richard Whitelegg at M. P. Möller in the same period. With reconditioning, re-voicing, and upperwork, these pipes form the strong unenclosed Great chorus at the organ’s core. Additionally, the parish acquired a 1937 Austin from First Unitarian Church, Oakland, California, designed by James B. Jamison. Jamison’s ideals were in line with Willis’s; the Swell chorus fuses Wicks and Austin material (again revoiced and rebalanced) to match the Great’s in similar style. Fully winded and copiously nicked, these pipes sing with bright but not overdone trebles. The Mixture, expanded to four ranks, is especially silvery without being so loud as to complicate choral accompaniment.

Sharing an enclosure, the enclosed Great/Choir takes the design in different directions. The Harmonic and Spitz flutes are the expected Great registers, with the benefit of expression and joined to the organ’s boldest strings. The Gamba fills out the Great foundations; with its celeste, the two cap the string ensemble as a Solo pair might. The Choir’s foundations—the reedy Violin Diapason and stringy Fugara, of tapered construction—find kinship with the Great and Swell. The Choir 2′ Principal and III Mixture are the organ’s leanest; the chorus here can be based just as effectively on the 8′ Bourdon in the neoclassical manner. In contrast to the liquid tones of the Swell’s, the Choir’s flutes are more pointed and focused, balanced so that any combination makes sense while remaining clear. The mild color reeds top this ensemble, particularly with the woody 16′ Clarinet Bass underneath.

Finally, we had the luxury of providing Pedal flues with the range of clarity and depth a large organ requires, from the soft, ultra-clear Gemshorn to a pervading Open Wood whose treble range offers solo potential. The narrow-scale wood 32′ Contrebasse is a flexible chameleon, purring quietly alone while growing stronger as more 16′ tone is added.

The nave section is designed on the unit principle, something we generally avoid but seemed warranted here, given limited space coupled to a purely accompanimental program at this end of the cathedral. The Diapason is the organ’s leanest; an independent Twelfth is critical to a plausible-sounding chorus “effect.” Other ranks provide support at various levels of color and dynamic. The shimmering Unda Maris leads to the organ’s other soft celestes and beyond, and is especially ravishing as it disappears to celestial near-inaudibility. Formed from both open wood and metal pipes, the Concert Flute is a room-filling voice and becomes particularly emotional with tremolo. The Flügelhorn, of Skinner pattern but with harmonic trebles, is a do-everything stop, lyrical in solo and compelling in chorus. The pointed Pontifical Trumpet lies in between the Great/Pedal Bombarde and the Tuba. Thanks to the Opus-Two system and some invisible coupling intelligence, one can readily dialogue the Tuba and Pontifical Trumpet against the tutti.

Given the strength of the flue choruses, the chorus reeds might be unexpected: solidly English, yet not even at the power of where chorus reeds tend to fall in actual English instruments. Here again, the pre-existence of Wicks and Austin trumpets led us away from the overt and towards a mild grandeur, a recipe that ended up being superior for vocal support. This idea lines up nicely with where our organs have headed for several years now: organs that lead without competing, focused principally on Sunday morning without forgetting the occasional Saturday recital.

And it’s important to remember where we were: a Roman Catholic cathedral not in Paris or Toulouse, but firmly in the heartland of southwest Indiana. The music here spans the gamut, and an organ must take its accompanimental role not casually but with true seriousness. Tempting as such a space might compel one to blaze away with Trompettes and Cornets, those sounds would be largely antithetical to this organ’s core role: standing by one voice or a hundred, in sanctuary or gallery, helping singers to match pitch, with a measured treble ascendancy that stays clear without overwhelming the voices any organ hopes to lead.

In that regard, these darker reeds revealed themselves as assets, and with a sheer grandeur of tone compelling in their own right. The Austin chorus, reconceived and rebuilt by Christopher Broome, follows an early-20th-century English pattern: a 16′ Fagotto rich in heavy cream; a snappier but still well-bred 8′; a 4′ in between the others. The resolutely American-type Oboe makes a logical partner to the trumpet family. How these four reeds are balanced makes possible any number of lesser full swells, together with orchestral potential in coupling the Fagotto to either of the chipper 4′ and 2′ harmonic flutes. Even the Fagotto and Mixture by themselves make a convincing ensemble. A similar ideology is at work in the enclosed Great, where the Full Mixture—a one-stop chorus that gains an 8′ at middle C—fuses with those Trumpets as an alternative full Swell on the other side of the gallery.

Approaching the tutti, however, it seemed desirable that certain reeds rise to meet the power of the fluework and the grandeur of the space. The Pedal Bombarde is primarily a bass melody stop loosely in the French manner; its availability on the Great allows for occasional climaxes beyond the other reeds. The Pontifical Trumpet augments the ensemble further, especially when introduced behind closed shutters. These stops lead up to the magnificent Choir Tuba. Built by Shires in England, voiced by Christopher Broome, and placed directly behind the shutters, it offers clang and brawn in equal measure. The 32′ Trombone, extended from the Great double, is intentionally not dominating. Enclosure augments its usefulness in accompaniment.

As the organ design evolved, the cathedral’s musical team was keen to point out the problems of the old arrangement. Our instrument is in one large case against the rear wall, exposed to frame the central stained glass window by F. X. Zettler Studios of Munich. In this arrangement, the choir can hear both organ and themselves more clearly than ever. The unenclosed Great sits in the open center, on windchests so arranged as to be concealed by the case posts. One level down are Pedal trebles; behind both levels, the 32′ Contrebasse is stacked horizontally against the rear wall. The Swell stands in a large enclosure on the right, with the enclosed Great/Choir in a similar chamber on the left. The chassis is largely traditional, with slider chests for the main departments fed by a copious wind supply with wedge bellows. Single-note actions are employed for extended registers and those of higher pressure. The nave section is in a newly formed chamber behind a non-speaking façade. Built by J. Zamberlan & Co. and finished in our shop, the identical consoles were kept as simple as possible, with seven divisions over three, not four manuals. Various transfer couplers add flexibility for the nave and enclosed Great. Storage is abundant, with a pullout drawer beneath the manuals and music cabinets built into either side.

In designing our instruments, a chief goal is to make every pipe and mechanism easily reached for tuning and maintenance. Our designer Peter Geise works closely with Travis Tones and Ric Parsons to work out, refine, alter, and finalize every pathway inside any organ. (The saddest sound from any organ comes from tuners needlessly bonking their heads.) On the tonal side, the integration of old and new remains an art unto itself, merging existing and fresh material toward a tonal and musical result of complete unity. This is the particular skill of our tonal director Duane Prill, an Eastman-trained and practicing church organist, and voicer of some 35 years. Every flue pipe here has passed through his skilled hands, reviewed at length again in site finishing with Jonathan Ambrosino.

Projects of this magnitude take years to come to fruition, requiring individuals with the character, backbone, and sense of humor to overcome inevitable twists and turns. Throughout this project’s decade-long duration, we have had the pleasure of working with numerous individuals at the cathedral. Their goal was nothing less than an extraordinary instrument, not only for this active cathedral but also as a model for liturgy and music across the diocese.

Specifically, we thank director of music Mr. Jeremy Korba. From day one, Jeremy worked endlessly to optimize the outcome by uplifting the skills and talents of those around him. His signature phrase—“It’s all good”—sums up our experience. We also thank the Very Reverend Godfrey Mullen, OSB, former rector (currently rector at Cathedral of Saint Peter, Belleville, Illinois), and Father Alex Zenthoefer, current rector and vicar general of the Diocese of Evansville. Their support has been unwavering, with a wisdom and generosity of spirit even in the face of challenges associated with the cathedral renovation and subsequent pandemic.

The quiet and substantial generosity of Deacon David Allan Cook and his wife Virginia made this organ possible. They walked into the newly renovated cathedral and asked the simple question, “What else do you need?” Not only the organ but also an endowment for its future maintenance were funded solely by Mrs. Cook, as a gift to the cathedral and the community at large. It was especially sad when Deacon Cook passed away only while the organ was being installed. Our prayers go with Deacon Cook and to the entire Cook family.

For our firm, blessed with supportive clients over now decades, Saint Benedict’s has stood out for its sheer support, hospitality, and friendliness. They traveled the path with us from minor to major project and were gracious with the shift in schedule that change presented. When the three 53-foot tractor trailers showed up, scores of volunteers were ready to unload. When we needed to shift materials around the building, these same good people magically reappeared. Every midday we were fed plentifully, whether for a crew of two or fourteen. It’s easy to do one’s best work for such good people. To all the people of Saint Benedict’s, and to the glory of God, we dedicate our Opus 52.

Parsons Opus 52 will be dedicated by Nathan Laube on Saturday, February 8, 2025, at 7 p.m.

—Parsons Organ Builders

Cover photo: Mark Murry (Evansville Aerial)

GALLERY

Key action: electric-slider, with electric unit action. Stop action: electric

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

16′ Sub Principal (on façade) 61 pipes

16′ Gemshorn* (Choir)

8′ Open Diapason 61 pipes

8′ Principal (ext 16′) 12 pipes

8′ Harmonic Flute* 61 pipes

8′ Gamba* 61 pipes

8′ Gamba Celeste* 61 pipes

4′ Octave 61 pipes

4′ Principal (ext 16′) 12 pipes 4′ Spitz Flute* 61 pipes

2-2/3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

1-3/5′ Seventeenth 54 pipes

Mixture IV 244 pipes

Full Mixture IV* 244 pipes

16′ Trombone* 61 pipes

8′ Trumpet* 61 pipes

4′ Clarion* (ext 16′) 24 pipes

8′ Tuba* (Choir)

8′ Bombarde (ext Ped Bomb) 17 pipes

Chimes (digital)

SWELL (Manual III,  expressive)

16′ Lieblich Gedeckt 61 pipes

8′ Open Diapason 61 pipes

8′ Open Flute 61 pipes

8′ Chimney Flute (ext 16′) 12 pipes

8′ Salicional 61 pipes

8′ Voix Celeste 61 pipes

8′ Flauto Dolce 61 pipes

8′ Flute Celeste 61 pipes

4′ Octave 61 pipes

4′ Traverse Flute 61 pipes

2′ Piccolo 61 pipes

Mixture III–IV 221 pipes

16′ Contra Fagotto 61 pipes

8′ Trompette 61 pipes

8′ Oboe 61 pipes

4′ Clarion 61 pipes

8′ Vox Humana 61 pipes

CHOIR (Manual I, expressive)

16′ Gemshorn 61 pipes

8′ Violin Diapason 61 pipes

8′ Bourdon 61 pipes

8′ Gemshorn (ext 16′) 12 pipes

8′ Gemshorn Celeste 61 pipes

4′ Fugara 61 pipes

4′ Gemshorn (ext 16′) 12 pipes

4′ Chimney Flute 61 pipes

2-2/3′ Nasard 61 pipes

2′ Principal 61 pipes

2′ Block Flute 61 pipes

1-3/5′ Tierce 54 pipes

1-1/3′ Larigot 61 pipes

1′ Sifflöte 61 pipes

Mixture III 183 Pipes

16′ Bass Clarinet (ext 8′) 12 pipes

8′ Tromba (Great)

8′ Clarinet 61 pipes

8′ English Horn 61 pipes

8′ Tuba 61 pipes

8′ Concert Flute (Nave)

8′ Pontifical Trumpet (Nave)

Cymbelstern (bells)

Harp (digital)

Celesta (digital)

Orchestral Bells (digital)

PEDAL (unenclosed)

32′ Contrebasse 32 pipes

32′ Bourdon (digital)

16′ Open Wood 32 pipes

16′ Principal (Great)

16′ Contrebasse (ext 32′) 12 pipes

16′ Bourdon 32 pipes

16′ Gemshorn (Choir)

16′ Lieblich Gedeckt (Swell)

8′ Octave (façade) 32 pipes

8′ Flûte (ext Open Wood) 12 pipes

8′ Bourdon (ext 16′) 12 pipes

8′ Gemshorn (Choir)

8′ Lieblich Gedeckt (Swell)

4′ Choral Bass (ext 8′) 12 pipes

4′ Flûte (ext. Open Wood) 12 pipes

32′ Contra Trombone 12 pipes (ext Great 16′)

16′ Bombarde 32 pipes

16′ Trombone (Great)

16′ Fagotto (Swell)

16′ Clarinet (Choir)

8′ Bombarde (ext 16′) 12 pipes

8′ Tromba (Great)

8′ Fagotto (Swell)

4′ Clarion (ext 16′) 12 pipes

8′ Tuba (Choir)

Chimes (digital)

NAVE

Key action: electric unit action.

Stop action: electric

Voice Analysis (all voices enclosed)

8 voices, 8 ranks, 560 pipes

16′ Bourdon 97 pipes

16′ Dulciana 85 pipes

8′ Diapason 73 pipes

8′ Concert Flute 61 pipes

8′ Unda Maris (TC) 61 pipes

22⁄3′ Nazard 61 pipes

8′ Flügelhorn 61 pipes

8′ Pontifical Trumpet 61 pipes

NAVE GREAT(Manual II)

8′ Diapason

8′ Concert Flute

8′ Chimney Flute

4′ Octave

4′ Chimney Flute

2′ Fifteenth

Mixture II

8′ Flügelhorn

8′ Pontifical Trumpet

NAVE SWELL (Manual III)

16′ Dulciana

8′ Chimney Flute

8′ Dulciana

8′ Unda Maris (TC)

4′ Octave

4′ Chimney Flute

4′ Dulciana

2-2/3′ Nazard

2′ Piccolo

8′ Flügelhorn

8′ Pontifical Trumpet

NAVE PEDAL

16′ Bourdon

16′ Dulciana

8′ Diapason

8′ Chimney Flute

4′ Octave

8′ Pontifical Trumpet

Accessories

General Tremulant

Nave Tremulant

Flexible Wind

Pedal Divide

All Swells to Swell

Crescendo On Nave Expression

Pedal Stops on Manual Combinations

Couplers

Intra-Manual

Gt to Gt 16

Gt Unison Off

Gt to Gt 4

Sw to Sw 16

Sw Unison Off

Sw to Sw 4

Ch to Ch 16

Ch Unison Off

Ch to Ch 4

Sw Nave Unison Off

Inter-Manual – Rocker tabs on nameboard

Sw to Gt 16

Sw to Gt 8

Sw to Gt 4

Ch to Gt 16

Ch to Gt 8

Ch to Gt 4

Nave Sw to Gt

Sw to Ch 16

Sw to Ch 8

Sw to Ch 4

Gt to Ch 8

Enc. Gt on Ch

Nave Sw on Ch

Ped to Ch

Ch to Sw 8

Sw to Ped 8

Sw to Ped 4

Gt to Ped 8

Ch to Ped 8

Ch to Ped 4

Nave Gt to Ped 8

Nave Sw to Ped 8

Ped Unison Off

Manual I-II Transfer

Manual compass: C–c 61 notes

Pedal compass: C–g 32 notes

Builder’s website: parsonsorgans.com

Cathedral website: www.saintbenedictcathedral.org

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

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

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

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

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

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

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

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

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

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

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

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

Builder’s website: quimbypipeorgans.com/

Church’s website: athensfirstumc.org/

Cover photo: Chris Emerson

Other photos: Chris Emerson and Daniel Sliger

Quimby Pipe Organs, Inc.

208 Marshall Street, P. O. Box 434

Warrensburg, MO 64093

GREAT–Manual II, unenclosed

16′ Double Open Diapason 61 pipes

8′ Open Diapason 61 pipes   

8′ Hohl Flute 61 pipes

8′ Violoncello 61 pipes

4′ Octave 61 pipes

4′ Stopped Flute 61 pipes

2-2⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

1-3⁄5′ Seventeenth 61 pipes

1-1⁄3′ Mixture IV 244 pipes

16′ Double Trumpet (Swell)

8′ Trumpet 61 pipes

8′ Tuba (Solo)

8′ Tromba (Pedal)

8′ Hooded Trumpet (Antiphonal)

Chimes 25 tubes

Great to Great 16-UO-4

SWELL–Manual III, enclosed

16′ Contra Gamba 73 pipes

8′ Open Diapason 61 pipes

8′ Stopped Diapason 61 pipes

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

8′ Voix Celeste (CC) 61 pipes

4′ Octave 61 pipes

4′ Harmonic Flute 61 pipes

2′ Super Octave (from Mixture IV–V)

2′ Mixture IV–V 252 pipes

16′ Double Trumpet 61 pipes

8′ Trumpet 61 pipes

8′ Oboe 61 pipes

4′ Clarion 61 pipes

Tremolo

Swell to Swell 16-UO-4

CHOIR–Manual I, enclosed

16′ Gedeckt 73 pipes

8′ Geigen Diapason 61 pipes

8′ Chimney Flute (ext 16′ Gedeckt)

8′ Erzähler 61 pipes

8′ Erzähler Celeste (TC) 49 pipes

4′ Principal 61 pipes

4′ Night Horn 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Flageolet 61 pipes

1-3⁄5′ Tierce 61 pipes

1′ Mixture III–IV 191 pipes

16′ Contra Fagotto 73 pipes

8′ Fagotto (ext 16′ Contra Fagotto)

Tremolo

8′ Corno di Bassetto (Solo)

8′ Tuba (Solo)

8′ Hooded Trumpet (Antiphonal)

Choir to Choir 16-UO-4

SOLO–Manual IV, enclosed

8′ Harmonic Flute 61 pipes

8′ Gamba 61 pipes

8′ Gamba Celeste 61 pipes

8′ Corno di Bassetto 61 pipes

8′ English Horn (GG) 56 pipes

8′ French Horn 61 pipes

Tremolo

16′ Double Trumpet (Swell)

16′ Contra Fagotto (Choir)

8′ Fagotto (Choir)

8′ Tuba 61 pipes

8′ Tromba (Pedal)

8′ Hooded Trumpet (Antiphonal)

Solo to Solo 16-UO-4

Chimes (Great)

ANTIPHONAL–Manual IV, enclosed

8′ Open Diapason 61 pipes

8′ Lieblich Gedeckt 61 pipes

8′ Flauto Dolce 61 pipes

8′ Flute Celeste (TC) 49 pipes

4′ Octave 61 pipes

2′ Fifteenth 61 pipes

Tremolo

8′ Hooded Trumpet 61 pipes

8′ Tuba (Solo)

Antiphonal to Antiphonal 16-UO-4

PEDAL–10 ranks, unenclosed

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

32′ Contra Bourdon 56 pipes

16′ Open Wood Diapason 44 pipes

16′ Open Metal Diapason (Great)

16′ Bourdon (ext 32′ Contra Bourdon)

16′ Violone 44 pipes

16′ Gedeckt (Choir)

16′ Contra Gamba (Swell)

8′ Open Bass (ext 16′ Open Wood)

8′ Octave 44 pipes

8′ Bourdon (ext 32′ Contra Bourdon)

8′ Violone (ext 16′ Violone)

8′ Erzähler (Choir)

8′ Gedeckt (Choir)

4′ Super Octave (ext 8′ Octave)

4′ Solo Flute 32 pipes

2-2⁄3′ Grave Mixture II 64 pipes

1-1⁄3′ Sharp Mixture II 64 pipes

32′ Contra Trombone 85 pipes

32′ Harmonics VII (derived)

16′ Trombone (ext 32′ Contra Trombone)

16′ Double Trumpet (Swell)

16′ Contra Fagotto (Choir)

8′ Trombone (ext 32′ Contra Trombone)

8′ Trumpet (Swell)

8′ Fagotto (Choir)

8′ Oboe (Swell)

8′ Clarion (ext 32′ Contra Trombone)

8′ Fagotto (Choir)

8′ Tuba (Solo)

ANTIPHONAL PEDAL–1 rank, enclosed

16′ Bourdon 44 pipes

8′ Octave (Antiphonal 8′ Open Diap)

8′ Bourdon (ext 16′ Bourdon)

Couplers

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

Solo to Pedal 8

Solo to Pedal 4

Antiphonal on Pedal 8

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

Solo to Great 16

Solo to Great 8

Solo to Great 4

Antiphonal on Great 8

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

Solo to Choir 16

Solo to Choir 8

Solo to Choir 4

Great to Choir 8

Pedal to Choir 8

Antiphonal on Choir 8

Solo to Swell 16

Solo to Swell 8

Solo to Swell 4

All Swells to Swell

Combination Action

Great Organ divisional pistons 1–8

Swell Organ divisional pistons 1–8

Choir Organ divisional pistons 1–8

Solo Organ divisional pistons 1–8

Antiphonal Organ divisional pistons 1–8

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

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

Next Piston Sequencer: 3 pistons and 1 toe stud

Previous Piston Sequencer: 3 pistons and 1 toe stud

Set Piston

General Cancel Piston

Crescendo & Expression

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

Swell expression pedal

Choir expression pedal

Solo expression pedal

Antiphonal expression pedal

Reversibles

Great to Pedal - thumb and toe paddle

Swell to Pedal - thumb and toe paddle

Choir to Pedal - thumb and toe paddle

Solo to Pedal - thumb and toe paddle

Swell to Great - thumb and toe paddle

Choir to Great - thumb

Swell to Choir - thumb

32′ Contra Bourdon - thumb and toe paddle

32′ Contra Trombone - thumb and toe paddle

Sforzando - thumb and toe paddle

Manual Transfer - thumb and indicator light

Summary

Great Organ 14 ranks

Swell Organ 15

Choir Organ 14

Solo Organ 7

Antiphonal Organ 7

Pedal Organ 10

Antiphonal Pedal Organ 1

Total number of ranks 68

Total stops 97

Total pipes 3,867

Patrick J. Murphy & Associates Organbuilders, Stowe, Pennsylvania; Saint John’s Episcopal Church, Johnson City, Tennessee

From the builder

As is often stated by the Organ Clearing House, with the closing of many churches, pipe organs become available for purchase and relocation. Such is the situation that befell M. P. Möller Opus 7435R.

But first, a little background. M. P. Möller Opus 7435 was built for the First Presbyterian Church in Reading, Pennsylvania, in 1946. Installed in divided chambers located high within the chancel, the organ contained three manuals and approximately 22 stops. In 1965 the instrument was rebuilt and enlarged by Möller to 25 stops. The rebuilding was typical for the time, along with refreshment of the windchest actions, a Scharf and extensive Bombarde unit (32′, 16′, 8′, 4′) were added.

By 2004 the instrument was once again showing signs of mechanical wear and tear as well as a need for tonal rebalancing. Patrick J. Murphy & Associates, located in Stowe, Pennsylvania (just ten miles away), was engaged to perform a comprehensive overhaul (to become our Opus 47) that included new electric slider windchests, new winding, additional foundational flues and reeds, as well as comprehensive revoicing. The majority of the Great was relocated outside of the cramped chambers to allow greater tonal development within the acoustically challenged space. Digital 32′ stops and percussions from Walker Technical Company were added as well as one of our very first signature low-profile drawknob consoles.

Unfortunately, no sooner had the instrument been dedicated than the First Presbyterian Church had a schism that resulted in several key leadership persons departing, including the organist and organ financial donor. The position of organist remained mostly vacant, filled primarily by a string of supply musicians, except for the last person to hold the post. Finally, after facing mounting debt and declining membership, the downtown building was sold in 2018, and the congregation relocated to a dramatically smaller facility outside of the city, leaving the building and most of its contents behind, including the organ. A new owner for the organ was sought.

In January of 2021 Patrick J. Murphy & Associates purchased, removed, and stored the organ at its own expense until a suitable new owner could be located. As is often the case, locating a similar situation that supplied chambers limited the number of opportunities to find a home.

Fortunately, in the spring of 2021, Nick Andrews, director of music at Saint John’s Episcopal Church in Johnson City, Tennessee, who had learned of our work through word of mouth, inquired with us about either a new or rebuilt instrument. While my first visit to Johnson City was to discuss a new free-standing instrument that “might” utilize material from the existing 1960s Möller already installed second hand, the distinguished architecture of the room provided me with a vision of incorporating our Opus 47 into a new, free-standing instrument. Early on we engaged the superlative talents of Frank Friemel to produce an inspired design and rendering, after which he informed us that this was to be his swan song. Our staff performed all the remaining design and construction work except for the all-new case, which was entrusted to R. A. Colby Inc., located just 1.8 miles (and one turn) away from the church. Construction began in the fall of 2022, and installation started in the spring of 2023.

The new installation, now Opus 47R, incorporates our 2004 updates of new slider windchests, console, and pipework additions along with most of the pipes retained from Möller Opus 7435R, with all pipework regulated for the new space. The thoroughly revised interior layout sits atop all new and quite substantial framing and is supplied by a new winding system. This new structure is capped by our all-new two-inch-thick expression enclosures and shades. The façade pipes are a combination of formerly interior Moller 16′ Diapason pipes and façade pipes added in 2004, all professionally modified and painted by Organ Supply Industries to an exceptional result.

The pipe voicing, unfortunately partially entombed in its former location in Reading, came into full blossom within this acoustically friendly space. My first service hearing the instrument under Nick’s superlative playing gave me the closure of feeling like this could have been where this instrument was meant to be all along.

We wish to thank director of music Nick Andrews for his easy, straightforward manner and support, and also all the leadership members and congregation of Saint John’s for their support and for the opportunity to provide Opus 47R with a good home. We also wish to thank Frank Friemel, the staff at R. A. Colby, and Organ Supply Industries for their excellent work. And finally, I wish to thank everyone on my staff who worked tirelessly and diligently on this installation.

—Patrick J. Murphy

From the director of music

Saint John’s Episcopal Church is located in scenic Northeast Tennessee in the heart of downtown Johnson City. Known locally as “The Rock Church,” the original building was constructed of native river rock from the Nolichucky River in 1905. For many decades leading up to the late 1990s, the seating capacity of the 1905 nave restricted the rapidly growing parish, resulting in the use of overflow seating in the narthex of the church for multiple services on Sunday morning. In 2000, the congregation broke ground for a new nave with a seating capacity of up to 400 people. The new nave was completed and consecrated in November of 2001. Like the original 1905 structure, river rock was also incorporated into the new building. Designed by Memphis, Tennessee architect Jim Williamson, the nave is featured in the book Architecture for the Gods (Book II) by Michael Crosbie.

A 1960 Möller of 28 ranks was relocated to Saint John’s from an Episcopal church in a suburb of St. Louis, Missouri, in the fall of 2001 and was completed in early 2002. For the next twenty years, the aging Möller suffered ongoing mechanical and tonal issues. In January 2020, two years after I was hired as director of music, the organ mechanically failed from ciphers and wind leaks and was unusable for services. After submitting a written report to the church vestry, an organ committee was formed to investigate our next steps for the instrument. After initially meeting with several builders, the covid pandemic halted the progress of the organ committee until January 2021. In early 2021, I contacted Patrick Murphy to see if he would be willing to assess our instrument and make a proposal. While visiting onsite, I inquired about his Opus 47 (formerly of First Presbyterian Church, Reading, Pennsylvania, which had been listed on the Organ Clearing House website for some time) as a candidate for relocation. After examining the measurements of the room, it was deemed that Opus 47 would indeed fit within the footprint of the former instrument.

After a trip in May of 2021 to listen to and play several fantastic instruments of Patrick’s in Baltimore, Maryland, I made a recommendation to the organ committee to pursue the proposal for relocating Opus 47 to Saint John’s. In December of 2021, the vestry of the church voted to accept the proposal from Murphy and signed the contract. The installation for Opus 47-R began in June of 2023 and was completed a few months later in early September. The new casework has transformed the room, and it truly looks like it was always meant to be there! The instrument is full of rich 8′ tone on each division and houses a plethora of 16′ tone in the pedal division—as every instrument should! I am grateful to the entire team at Patrick J. Murphy & Associates who helped rebirth this amazing instrument! Opus 47-R has a very bright future for many decades to come!

—Nick Andrews

Director of Music

Builder’s website: www.pjmorgans.com

Church’s website: stjohnstn.org/

Photo credits: Patrick J. Murphy

GREAT (manual II)

16′ Lieblich Gedackt (Swell)

16′ Gemshorn (ext) 12 pipes

8′ Principal 61 pipes

8′ Harmonic Flute (1966) 61 pipes

8′ Gemshorn 61 pipes

8′ Bourdon* 61 pipes

4′ Octave 61 pipes

4′ Flute 61 pipes

2-2⁄3′ Twelfth (1966) 61 pipes

2′ Super Octave 61 pipes

1-1⁄3′ Mixture IV (encl w/Choir)* 244 pipes

8′ Trumpet (encl w/Choir)* 61 pipes

8′ Tromba (prepared for)

8′ Trumpet (Swell)

Great 16

Swell to Great 16-8-4

Choir to Great 16-8-4

Chimes (digital – 37 notes)

Great MIDI

Great/Choir Transfer

SWELL (manual III, enclosed)

16′ Lieblich Gedackt (ext) 12 pipes

8′ Diapason* 61 pipes

8′ Gedackt 61 pipes

8′ Viole 61 pipes

8′ Viole Celeste (TC) 49 pipes

4′ Principal 61 pipes

4′ Harmonic Flute 61 pipes

2′ Flautino 61 pipes

2′ Plein Jeu III–IV* 232 pipes

16′ Contra Trumpet (ext)* 12 pipes

8′ Trumpet* 61 pipes

8′ Oboe* 61 pipes

8′ Vox Humana (2023) 61 pipes

Tremulant

Swell-16-UO-4

Swell MIDI

CHOIR (manual I,  enclosed)

8′ Geigen (1966) 61 pipes

8′ Viola 61 pipes

8′ Concert Flute 61 pipes

8′ Dulciana 61 pipes

8′ Unda Maris (TC) 49 pipes

4′ Fugara 61 pipes

4′ Nachthorn 61 pipes

2-2⁄3′ Nazard* 61 pipes

2′ Blockflute* 61 pipes

1-3⁄5′ Tierce* 61 pipes

1′ Scharff III (1966) 183 pipes

8′ Clarinet 61 pipes

Tremulant

8′ Trumpet (Great)

8′ Tromba (prepared for)

Choir to Choir 16-UO-4

Swell to Choir 16-8-4

Harp (digital)

Celesta (digital)

Choir MIDI

PEDAL

32′ Double Open Diapason (digital)

32′ Contra Bourdon (digital)

16′ Open Diapason (digital)

16′ Principal (1946/2023) 56 pipes

16′ Gemshorn (Great)

16′ Violone (digital)

16′ Bourdon 44 pipes

16′ Lieblich Gedackt (Swell)

8′ Octave (ext)

8′ Bourdon (ext)

8′ Gedackt (Swell)

4′ Choralbass (ext)

III Mixture*  96 pipes

32′ Contra Trombone (digital, w/Choir)

16′ Trombone (ext, 2023) 12 pipes

16′ Contra Trumpet (Swell)

8′ Trumpet (Great)

4′ Clarion (Great)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

46 ranks (47 when completed), 2,709 pipes

* = 2004

Holtkamp Organ Company, Cleveland, Ohio; Central Christian Church, Lexington, Kentucky

Lexington sits at the heart of the Bluegrass country of Kentucky. It has many claims to fame. It is the “Horse Capital of the World,” hands down, with hundreds of horse farms throughout the region. It is adjacent to Bourbon County, Kentucky, and home to fourteen bourbon distilleries. It is also home to what is arguably the “Mother Church” of the Christian Church (Disciples of Christ), namely Central Christian Church.

Central Christian Church is a founding congregation of the Christian Church (Disciples of Christ). Its roots go back to the Cane Ridge Revival of 1804. This event took place at the Cane Ridge Meeting House, near Paris, Kentucky, which was constructed in 1791 and is still in existence. Cane Ridge revivals were legendary, at times drawing as many as 20,000 Christians from Kentucky, Western Virginia, and southern Ohio for a week of socializing, lectures, and worship. The meeting house, constructed of ash logs and measuring fifty feet by thirty feet, is believed to be the largest single-room log structure in North America. It was at one of these revivals that the Reverend Barton Stone and other men of the cloth made the decision to leave the Presbyterian Church and establish the Christian Church, a church based on the Bible alone, and not on the specific Protestant creeds or Calvinistic doctrines that were so prevalent at the time. Following this, Reverend Stone preached in the central Bluegrass region, eventually settling in Lexington in 1815 where he continued his ministry. In 1831, in conjunction with adherents of Alexander Campbell (Disciples of Christ out of West Virginia) and Lexington’s Mill Street Baptist Church, they purchased a former cotton factory, which became Hill Street Christian Church. Hill Street Christian Church grew and prospered, and in 1842 built Main Street Christian Church. Main Street Christian Church grew and prospered, and in 1894 completed the construction of Central Christian Church on the corner of Lexington’s East Short Street and Walnut Street, which remains its home to this day.

The history of organs at Central Christian Church began with a Hook & Hastings tracker instrument in 1894. This was replaced in 1915 by a tubular-pneumatic-action organ by M. P. Möller. After a worship space fire in 1933, the Möller was rebuilt by Henry Pilcher’s Sons of Louisville, Kentucky. This was followed by an organ by the Holtkamp Organ Company in 1960.

Pipe organ projects are often long affairs. Such was the case at Central Christian Church. Our first meetings with the organ committee were in 2009. This was followed by a period of discernment as the committee chose the builder of their new organ. During this time, they visited the 1970 Holtkamp organ at Knox Presbyterian Church in the Hyde Park neighborhood of Cincinnati. The organ at Knox Presbyterian originally had much in common with the 1960 Holtkamp at Central Christian Church. It was very colorful and had wonderful ensemble qualities, but lacked the fullness and warmth that is a signature of our work today. In 2005 the Knox Presbyterian organ was rebuilt and expanded by Holtkamp to give it this desired fullness and warmth. The visit to Knox Presbyterian demonstrated in real time the general concepts in the proposal put forward by Holtkamp for the 1960 Central Christian Church pipe organ. Based on this visit, Holtkamp was chosen as the builder of the new organ at Central Christian Church. Time passed. Money was raised. Covid happened. And in 2021 a contract was signed.

Our work on the Central Christian project began with taking field measurements of all stops in the organ, including diameter, mouth width, cut-up, and voicing details for flue pipes, and diameter, length, and type of shallot for reed pipes. The results of this research were used to inform us as to which existing stops were most appropriate for the contract specification that we were working from. This ultimately resulted in our using twenty-two stops from the existing organ in the new organ project.  Of these twenty-two stops, all were revoiced and ten were rescaled.

At a later date, we visited Central Christian to focus on the acoustical characteristics of the worship space. The space is large, but not overly so. The volume is roughly 300,000 cubic feet, with a seating capacity of 650. The walls and ceiling are hard plaster but with many windows. The floor and pews are wood but with carpet tapers in the aisles and pew cushions. During this visit we took measurements of the room acoustics. Our findings showed the room acoustics to be very good in the middle and high frequencies, but lacking in low frequency response, particularly in the main floor worship space seating, where low frequency support is so important in leading the congregation in song. (Interestingly, the low-end response in the balcony is much better than the low-end response on the main floor seating.) With this information in hand, we drew up the scales of all stops in the organ, with the aim of creating a sound palette that is diverse in color, with excellent ensemble characteristics and a full and embracing cascade of sound.

In many organ projects, placement of divisions can be very straightforward. For example, if the organ is free standing in the front or rear of the room, the divisions can be stacked, one on top of the other, with the pedal split to the left and right. At Central Christian, this is not the case. Since the rebuilding of the worship space at Central Christian following a devastating fire in 1933, the organ chamber was placed on the right side of the nave, above the baptismal pool and behind an ornate, acoustically open plaster screen. While this is an excellent location to project the sound of the organ to the congregation, it is not so for the choir. Because of the organ chamber location, anthems for the choir were almost always accompanied on the piano. To remedy this in the new organ project, we borrowed some space from the choir vesting room, a room that was adjacent to the left side of the main organ chamber. This gave us ample space for the Swell division, which now speaks directly into the chancel area and to the choir. This change in the location of the Swell division allows the choir to perform anthems with organ accompaniments for the first time in decades.

During the planning of the Central Christian organ, we had a discussion specific to the console—whether it should be stop-tab or drawknob. The unanimous choice of all musicians on staff and the organ committee was the signature Holtkamp stop-tab console. This is because stop-tab consoles are more ergonomic in design than drawknob consoles. Playing in general is easier on stop-tab consoles because the keys, stop-tabs, and music all lie in the same plane directly in front of the organist. The architectural detailing of the console is drawn from our work in the 1940s. The width of the console is somewhat greater than our stop-tab consoles of the past so that it could comfortably accommodate the number of stop-tabs.

There are many factors that go into a successful organ project. Most important is strong congregational leadership and strong pastoral leadership. Both of these characteristics were in place at Central Christian Church from the beginning of the project to the end.

The result is a new pipe organ that is also a strong leader for the church and general community, which will provide spiritual restoration, renewal, and rejoicing to the many families and individuals who worship at Central Christian Church, now and for generations to come.

—F. Christian Holtkamp

Photo credit: Matt Peel

www.HoltkampOrgan.com

www.centralchristianlex.org/

The organ dedication series began in September 2023 and continues on Sundays at 4 p.m.: March 10, Schuyler Robinson; April 14, David Enlow; May 19, Clif Cason; June 16, Erich Balling and Lisa Hall.

GREAT (Manual II)

16′ Violone 61 pipes

8′ Open Diapason 61 pipes

8′ Violone (ext 16′) 12 pipes

8′ Rohrbourdon 61 pipes

4′ Octave 61 pipes

4′ Spitzflute 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Superoctave 61 pipes

1-3⁄5′ Tierce 61 pipes

2′ Mixture III–IV 232 pipes

8′ Trumpet 61 pipes

Great 16

Great Unison Off

MIDI on Great

16′ Harmonic Tuba (TC)

8′ Harmonic Tuba (W.P. 10′′) 61 pipes

4′ Harmonic Tuba (ext 8′) 12 pipes

SWELL (Manual III, enclosed)

16′ Flauto Dolce 61 pipes

8′ Geigen Diapason 61 pipes

8′ Gamba 61 pipes

8′ Voix Celeste (F6) 56 pipes

8′ Hohlflute 61 pipes

8′ Flauto Dolce (ext 16′) 12 pipes

4′ Octave Geigen 61 pipes

4′ Harmonic Flute 61 pipes

2′ Flautino 61 pipes

2-2⁄3′ Plein Jeu IV 244 pipes

16′ Oboe (ext 8′) 12 pipes

8′ Trompette 61 pipes

8′ Oboe 61 pipes

Tremulant

Swell 16

Swell Unison Off

Swell 4

MIDI on Swell

16′ Bourdon Pedal

16′ Harmonic Tuba (TC) Great

16′ Posaune Pedal

16′ Oboe Swell

  8′ Bourdon Pedal

  8′ Harmonic Tuba Great

  8′ Posaune Pedal

CHOIR (Manual I, enclosed)

8′ Concert Flute 61 pipes

8′ Stopped Flute 61 pipes

8′ Dulciana 61 pipes

8′ Unda Maris (TC) 49 pipes

4′ Waldflute 61 pipes

2′ Octave 61 pipes

1-1⁄3′ Larigot 61 pipes

8′ Bassoon 61 pipes

8′ Clarinet 61 pipes

Tremulant

Choir 16

Choir Unison Off

Choir 4

MIDI on Choir

16′ Harmonic Tuba (TC) Great

8′ Harmonic Tuba Great

4′ Harmonic Tuba Great

PEDAL

32′ Bourdon (1–12 electronic)

16′ Open Diapason 32 pipes

16′ Violone Great

16′ Bourdon 32 pipes

16′ Flauto Dolce Swell

8′ Octave 32 pipes

8′ Violone Great

8′ Bourdon (ext) 12 pipes

8′ Flauto Dolce Swell

4′ Choralbass (ext) 12 pipes

4′ Bourdon (ext) 12 pipes

2′ Principal (ext) 12 pipes

32′ Contra Posaune (1–12 electronic)

16′ Posaune 32 pipes

16′ Oboe Swell

8′ Trumpet (ext) 12 pipes

8′ Oboe Swell

4′ Clarion (ext) 12 pipes

MIDI on Pedal

8′ Harmonic Tuba Great

4′ Harmonic Tuba Great

INTER-DIVISIONAL COUPLERS

Great to Pedal 8′, w/reversible piston & toe stud

Swell to Pedal 8′, w/reversible piston & toe stud

Swell to Pedal 4′

Choir to Pedal 8′, w/reversible piston & toe stud

Choir to Pedal 4′

Swell to Great 16′

Swell to Great 8′, w/reversible piston & toe stud

Swell to Great 4′

Choir to Great 16′

Choir to Great 8′

Choir to Great 4′

Swell to Choir 16′

Swell to Choir 8′

Swell to Choir 4′

Choir to Swell 8′

COMBINATIONS

Generals 1-2-3-4-5-6-7-8-9-10

piston and toe stud

Pedal 1-2-3-4-5-6 toe stud

Great 1-2-3-4-5-6 piston

Swell 1-2-3-4-5-6 piston

Choir 1-2-3-4-5-6 piston

Set piston

General Cancel piston

Full Organ Reversible piston and toe stud

Next piston (3) and toe stud (1)

Previous piston (3) and toe stud (1)

Manual Transfer piston

Zimbelstern Reversible piston

CONSOLE DETAILS

New Signature Holtkamp stop-tab console on moveable dolly for portability

Existing keyboards restored

Manual natural keys – ivory

Manual sharp keys – ebony

Existing pedalboard renovated

Pedal natural keys – maple

Pedal sharp keys – ebony

Stop tabs – ivory plastic

Organ bench with adjusting crank mechanism

Music rack light

Pedalboard light

Swell Expression Pedal

Choir Expression Pedal

Crescendo Pedal

Full Organ indicator light

Crescendo indicator light

MECHANICAL/ELECTRICAL DETAILS

Electrical control system by SSOS with 100 levels of memory, internal Record/Playback, and MIDI capability

New 3 H.P. blower

New .5 H.P. booster blower

Zimbelstern

Swell expression motors: two 8-stage Peterson expression motors

Choir expression motor: one 16-stage Peterson expression motor

Three solid state rectifiers

Start/Stop switch located on console

Wind pressures:

Great 3.5′′

Swell 4′′

Choir 3.25′′

Pedal 4.5′′

35 stops, 42 ranks, 2,445 pipes

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

Létourneau Pipe Organs, Saint-Hyacinthe, Québec, Canada; Brigham Young University, Provo, Utah

From the builder

New pipe organs are certainly cause for celebration, and a new pipe organ in a concert hall setting is especially worthy. Its visual presence reminds concert goers of the organ’s existence outside the church walls and acknowledges the instrument’s pride of place when it comes to acoustic music. The concert hall also presents unique opportunities for organists to add magic to almost any kind of musical presentation. With their new 81-rank Létourneau instrument, Brigham Young University is poised to reap the benefits that only a pipe organ can provide.

Discussions began in 2019 between BYU and Létourneau Pipe Organs about a new pipe organ for their forthcoming concert hall. The design was largely complete at that time, and the hall today is the core of BYU’s new music building. Compared with the classic shoebox-shaped concert hall, this venue’s vineyard-style architecture places the stage closer to the center of the hall such that no seat is more than fifteen rows from the stage. Behind and above the stage is the organ chamber, within which now resides Létourneau’s Opus 100. Its 45-foot-wide wooden façade was made from rift-sawn oak and walnut with vertical maple accents. Nestled into the casework are 93 speaking tin pipes taken from the bass octaves of the Great 16′ Double Open Diapason, the Great 8′ First Open Diapason, the Pedal 16′ First Open Diapason, and the Pedal 8′ Principal stops.

The university’s organists, Don Cook and Neil Harmon, expressed a desire for an instrument in English Town Hall style. To explain, it became customary from the mid-nineteenth century into the early-twentieth century for cities and towns in the United Kingdom to install significant pipe organs in their civic auditoriums, as well as to engage civic organists to perform on them. These instruments—along with the technological advancements they ushered in—facilitated the development of complex orchestral transcriptions by organists W. T. Best, G. D. Cunningham, and Edwin H. Lemare, among others.

Many of these instruments still exist in places like Birmingham, Leeds, Liverpool, Rochdale, Reading, Sheffield, and Ulster, not to mention London’s Royal Albert Hall. While each reflects its builder’s distinct tonal approach, they are broadly similar in style and can comfortably present the organ’s core repertoire on their own terms. They are just as adept at presenting colorful orchestral transcriptions or at standing in for an orchestra to accompany massed choirs. With due care when registering, these instruments are at ease with a Bach fugue, a Mendelssohn sonata, a Franck chorale, a Vierne symphony, a transcription of a Wagner overture, or fulfilling the organ part in Holst’s The Planets.

Our tonal plan for Opus 100 follows an established recipe: The organ features two distinct open diapasons on the Great, as well as open diapasons in the Swell and Choir divisions. The Great principal chorus is based on a 16′ Double Open Diapason with multiple mixtures to suit the desired effect; the Great is completed by a battery of trumpets on eight inches of wind. The Swell duplicates the Great in many ways but on a smaller scale, while the instrument’s more delicate effects are found in the Choir. The Solo division offers a powerful wooden flute stop, a briny pair of narrow-scale violes d’orchestre, and two orchestrally inspired reed stops. Brawny might be a good adjective for the Pedal division, with its two 32′ flue stops, a 16′-8′ Open Wood rank, and a compelling reed chorus from 32′ through 4′.

With the certainty that the organ would be heard alongside one of BYU’s many symphony orchestras, wind ensembles, or choral ensembles, additional fortifications are present in the form of two high-pressure tuba ranks. The first, the 16′-8′-4′ Tuba unit stop in Solo division, is voiced at just under fifteen inches of pressure and, with its smooth golden tone, can serve as the ultimate chorus reed for the manuals and pedal to bulk up the instrument’s sonic presence. The other, the 8′ Tuba mirabilis in the Choir, speaks on nineteen inches of wind and contrasts with more “point” in its timbre.

One of the parameters established from the outset was that the instrument would feature a console attached to the façade with mechanical key actions, as well as another console at stage level playing the instrument through entirely electric actions. Because of the substantial wind pressures required to fill the auditorium and concerns about the weight of the key actions, the attached console has been provided with Kowalyshyn Servo Pneumatic Levers to ensure the key actions remain responsive and proportional. Ensuring flexibility, both consoles offer a full complement of sub octave, unison, and octave couplers and a comprehensive system of pistons for up to 99 users with 64 memory levels each.

The designation of this instrument as Létourneau’s Opus 100 merits explanation as it continues a company practice wherein significant opus numbers are reserved for grand instruments that represent something of a tour de force. The first such instrument was the company’s Opus 50 completed at the Francis Winspear Centre of Music in Edmonton, Alberta, Canada, in 2002. There are similarities between Opus 50 and Opus 100: Both are large instruments that amply fill their respective concert hall with sound. In both cases, the pipe organ can be played from two consoles, with one attached to the instrument’s casework and the other moveable at stage level.

A pipe organ was always an integral part of BYU’s vision for its new concert hall, and we trust that this new and significant instrument will fulfill the university’s aspirations. It is humbling to think of the music that will come forth from Opus 100 from countless students, from BYU’s faculty, and from guest artists. Outside of solo presentations, there are also the many choirs that will be accompanied, or the orchestras and other ensembles that will be enriched, by the pipe organ’s unmistakable presence.

The entire Létourneau team is honored to have been selected to build this instrument and for our work to be associated with Brigham Young University into the future. It has been our pleasure to have worked with many fine people from BYU over the last five years, including Dean Ed Adams, Ray Bernier, Don Cook, Travis Dance, Jeremy Grimshaw, and Neil Harmon. We are grateful for their trust, for their patience, and for their unwavering support in our pursuit of artistic excellence.

—Andrew Forrest

From the musicians

Over many decades, the Brigham Young University organ program has enjoyed excellent practice facilities for organ majors and an organ lab for non-major organ study. However, access to a good concert organ has been difficult.

Moving to a new music building in 2023 created an opportunity to equip a 1,000-seat concert hall with a new pipe organ. The directors of our ensembles wanted an excellent instrument, and of course the organ faculty was poised to help bring a first-class organ to BYU.

A university organ committee was involved in the early stages of the new building’s design. We proposed an organ with two consoles—a tracker console in the façade and a movable console on the stage. An organ leaning in an English Romantic direction was proposed, to complement the French Romantic, Germanic, and American Classic organs in Salt Lake City.

Visits to several organs crafted by Létourneau in 2011 and 2019 led to a contract for a new four-manual, 81-rank instrument based on an English town hall scheme. The façade, designed by Létourneau with input from a BYU design committee, was to reflect the jagged-mountaintop theme echoed throughout the building. The terraced stage console allows easy view of the ensemble directors. The vineyard-style hall produces about two seconds of reverberation.

Organ alumni attended a conference underwritten by Marjorie Volkel following the organ dedicatory recital by Durham Cathedral organist Daniel Cook on October 25, 2024. One can imagine the joy they feel over their alma mater finally acquiring a concert organ that measures up to our active educational programs.

Current students are ecstatic over the new arrival and can access it regularly for practice, lessons, and performances. Although the new organ is located in a multi-use hall, administrators provide as much access as possible.

The inaugural season of performances includes solo recitals by faculty, alumni, and Salt Lake Tabernacle organists. Several choral and orchestral performances are scheduled, including the premiere of a new major work for women’s chorus and organ by Daniel Gawthrop. A community hymn sing is also scheduled.

The BYU community is set to enjoy the warmth, beauty, and power of this world-class organ for generations. We appreciate the university, the College of Fine Arts and Communications, the School of Music, and Létourneau Organs with Andrew Forrest for working together so nicely in the creation of this beautiful concert organ.

—Neil Harmon and Don Cook

Brigham Young University organ faculty

Builder’s website: www.letourneauorgans.com/

University website: http://cfac.byu.edu/organ

Inaugural season of events: organ.byu.edu/concert-hall-series/

Cover photo: Nate Edwards / BYU Photo

GREAT – Manual II – 130mm pressure

16′ Double Open Diapason, 61 pipes, 70% tin

8′ First Open Diapason, 61 pipes, 70% tin

8′ Second Open Diapason, 61 pipes, 56% tin

8′ Harmonic Flute, 61 pipes, wood and 56% tin, harmonic @ g32

8′ Viola di gamba, 61 pipes, zinc and 56% tin

8′ Stopped Diapason, 61 pipes, wood and 40% tin

4′ Principal, 61 pipes, 56% tin

4′ Open Flute, 68 pipes, 40% tin

2 2⁄3′ Twelfth, 61 pipes, 56% tin

2′ Fifteenth, 61 pipes, 56% tin

1 3⁄5′ Seventeenth, 61 pipes, 56% tin

2 2⁄3′ Grand Mixture II–III, 159 pipes, 12-15, 56% tin

1 1⁄3′ Mixture IV, 244 pipes, 19-22-26-29, 56% tin

1⁄2′ Sharp Mixture 183 pipes, 29-33-36, 56% tin

16′ Contra Posaune 61 pipes 56% tin, harmonic @ f#43, 205mm pressure

8′ Trumpet 68 pipes 56% tin, harmonic @ f#31, 205mm pressure

4′ Clarion 68 pipes 56% tin, harmonic @ f#19, 205mm pressure

Great 16, Great Unison Off, Great 4

8′ Tuba mirabilis (Choir)

Cymbelstern

Nachtigall

SWELL (enclosed) – Manual III – 140mm pressure

16′ Contra Gamba, 61 pipes, zinc and 56% tin

8′ Open Diapason, 61 pipes, 56% tin

8′ Concert Flute, 61 pipes, wood and 56% tin

8′ Gamba, 61 pipes, zinc and 56% tin

8′ Voix Celeste, 54 pipes from g8, zinc and 56% tin

8′ Bourdon, 61 pipes, wood and 40% tin

4′ Principal, 61 pipes, 56% tin

4′ Flauto Traverso, 61 pipes, 40% tin

2′ Fifteenth, 61 pipes, 56% tin

2′ Piccolo Harmonique, 61 pipes, 40% tin

11⁄3′ Mixture III–IV, 232 pipes, 19-22-26, 56% tin

16′ Double Trumpet, 61 pipes, 56% tin, harmonic @ c49

8′ Trumpet, 66 pipes, 56% tin, harmonic @ c37

8′ Oboe, 61 pipes, 56% tin, capped resonators

8′ Vox Humana, 61 pipes, 56% tin, capped resonators

4′ Clairon, 78 pipes, 56% tin, harmonic @ c25

Tremulant

Swell 16, Swell Unison Off, Swell 4

CHOIR (enclosed) – Manual I – 115mm pressure

16′ Lieblich Gedact, 61 pipes, wood and 40% tin

8′ Geigen Diapason, 61 pipes, 56% tin

8′ Rohr Flute, 61 pipes, wood and 40% tin

8′ Dulciana, 61 pipes, zinc and 56% tin

8′ Vox Angelica, 54 pipes from g8, zinc and 56% tin

4′ Fugara, 61 pipes, 56% tin

4′ Koppel Flute, 61 pipes, 40% tin

2 2⁄3′ Nazard, 61 pipes, 40% tin

2′ Gemshorn, 61 pipes, 56% tin

1 3⁄5′ Tierce, 61 pipes, 40% tin

1 1⁄3′ Larigot, 61 pipes, 40% tin

1′ Mixture III, 183 pipes, 22-26-29, 56% tin

16′ Contra Fagotto, 61 pipes, 56% tin

8′ Trumpet, 66 pipes, 56% tin

8′ Cremona, 61 pipes, new, zinc and 56% tin

Tremulant

Choir 16, Choir Unison Off, Choir 4

8′ Tuba mirabilis, 61 pipes, 56% tin, harmonic @ f#19, 495mm pressure

Great Reeds on Choir

SOLO (enclosed) – Manual IV – 280mm pressure

8′ Flauto mirabilis, 61 pipes, wood

8′ Viole d’orchestre, 61 pipes, zinc and 70% tin

8′ Viole Celeste, 54 pipes from g8, zinc and 70% tin

8′ Clarinet, 61 pipes, 56% tin

8′ English Horn, 61 pipes, zinc and 56% tin

Tremulant

16′ Contra Tuba, 12 pipes ext of 8′ Tuba, 56% tin, 400mm pressure

8′ Tuba, 61 pipes, 56% tin, 400mm pressure

4′ Tuba Clarion, 24 pipes ext of 8′ Tuba, 56% tin, 400mm pressure

Choir 16, Choir Unison Off, Choir 4

8′ Tuba mirabilis (Choir)

Chimes 37 notes Walker digital voice

Harp 61 notes Walker digital voice

Glockenspiel 61 notes Walker digital voice

Great Reeds on Solo

PEDAL – 150mm pressure

32′ Double Open Diapason, 12 pipes ext of 16′ Open Diapason, wood, Haskell construction

32′ Contra Bourdon, 12 pipes ext of 16′ Bourdon, wood

16′ Open Wood, 32 pipes, wood

16′ First Open Diapason, 32 pipes, 70% tin

16′ Second Open Diapason (Great)

16′ Bourdon, 32 pipes, wood

16′ Gamba (Swell)

16′ Lieblich Gedact (Choir)

10 2⁄3′ Grand Quint, 32 pipes, 56% tin

8′ Open Wood, 12 pipes ext of 16′ Open Wood, wood

8′ Principal, 32 pipes, 70% tin

8′ Spitz Flute, 32 pipes, 56% tin

4′ Choral Bass, 32 pipes, 56% tin

2 2⁄3′ Mixture IV, 128 pipes, 19-22-26-29, 56% tin

32′ Contra Posaune, 12 pipes ext of Gt 16′ Contra Posaune, zinc and 56% tin, 225mm pressure

16′ Tuba (Solo)

16′ Trombone, 32 pipes, 56% tin, 205mm pressure

16′ Fagotto (Choir)

8′ Tuba (Solo)

8′ Trumpet, 32 pipes, 56% tin, 205mm pressure

4′ Tuba Clarion (Solo)

4′ Clarion, 32 pipes, 56% tin, 205mm pressure

8′ Tuba mirabilis (Choir)

Great Reeds on Choir

Pedal Divide

82 stops; 81 ranks; 4,608 pipes

Couplers

Great to Pedal 8, 4

Swell to Pedal 8, 4

Choir to Pedal 8, 4

Solo to Pedal 8, 4

Swell to Great 16, 8, 4

Choir to Great 16, 8, 4

Solo to Great 16, 8, 4

Swell to Choir 16, 8, 4

Solo to Choir 16, 8, 4

Solo to Swell

Great to Solo

Swell to Solo

Choir to Solo

Consoles

• One four-manual and pedal console in the en fenêtre position with mechanical key actions and Kowalyshyn Servo Pneumatic Lever machines.

• One four-manual and pedal moveable console at stage level with electric actions.

• Common combination action between consoles for up to 100 users and 64 levels of memory per user. 8 Great pistons, 8 Swell pistons, 8 Choir pistons, 6 Solo pistons, 8 Pedal pistons and 16 General pistons, as well as multiple Next and Previous pistons.

Mixture Compositions

Great Grand Mixture II–III

c1 to b12 12 15

c13 to b24 8 12

c25 to b36 1 5 8

c37 to f#43 -5 1 5

g44 to c61 -8 -5 1

Great Mixture IV

c1 to b12 19 22 26 29

c13 to f#19 15 19 22 26

g20 to f#31 12 15 19 22

g32 to f#43 8 12 15 19

g44 to c61 1 8 12 15

Great Sharp Mixture III

c1 to g#9 29 33 36

a10 to f18 26 29 33

f#19 to d27 22 26 29

e28 to b36 19 22 26

c37 to g#45 15 19 22

a46 to e53 12 15 19

f54 to c61 8 12 15

Swell Mixture III

c1 to b12 19 22 26

c13 to b24 15 19 22 26

c25 to e41 12 15 19 22

f42 to d51 8 12 15 19

d#52 to c61 1 8 12 15

Choir Mixture III

c1 to a10 22 26 29

a#11 to g20 19 22 26

g#21 to f30 15 19 22

f#31 to d#40 12 15 19

e41 to c61 8 12 15

Pedal Mixture IV

c1 to g32 19 22 26 29