Cover feature: Schoenstein & Co. Opus 183

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

Schoenstein & Co., Benicia, California

Grace and Saint Stephen’s Episcopal Church, Colorado Springs, Colorado

The 1928 Welte-Mignon Corporation organ at Grace and Saint Stephen’s Episcopal Church in Colorado Springs is a remarkable example of American symphonic organ building. It is filled with 8′ tone of every color and volume; it uses smart tonal design and voicing; its expressive capabilities are vast. These are all values we uphold nearly a century later, and so we were excited at the chance to complete this organ by adding an antiphonal division at the west end.

Welte’s original specification called for an antiphonal organ to draw the sound of the main organ to the back of the church. Over the years an additional musical problem emerged: bass did not carry well past the chancel. Rhythmic pulse did not come through to aid in hymn singing and processions. We wanted to design an antiphonal division that would enhance the already-expressive main organ while remaining small and practical. The space for the division was very tall and shallow, meaning there was no room for swell shades. Stops chosen had to be planned carefully for maximum color and dynamic variety. The tall space did, however, allow plenty of room for 16′ pipes.

Our antiphonal organ of electro-pneumatic action comprises three diapasons, one chimney flute, and a harmonic tuba. The three diapasons are of different tones and volumes. The 8′ Diapason is in line with our usual approach to antiphonal divisions: a softer, small-scale diapason to help congregational singing. This diapason draws the sound of a rich, sonorous registration from the main organ to the back of the church without drawing attention to itself.

For more versatility another diapason of a milder tone was added. The Echo Diapason allows the organist to bring the sound of mezzo-piano Swell registrations from the main organ to the back of the church. This stop blends perfectly with the Welte Horn Diapason. With the Echo Diapason off, the Swell sounds more distant, lighter—a fine effect. With the Echo Diapason on, that same Swell sound becomes more present and gently surrounds the listener. Extension to 16′ pitch solves the rhythmic pulse problem with a clear, fast-speaking bass.

The Principal Conique is a way to bring subtle brilliance to the rear of the church as the main organ’s registration grows in volume. With reeds drawn on the Welte organ, the three diapasons in the antiphonal give the main organ presence without sacrificing character or distracting the listener. The Chimney Flute, an English Lieblich Gedeckt, colors the other 8′ flues, expanding timbral possibility for each dynamic level. It also serves to draw the many flute voices of the front organ back, allowing for the magical “flutes all around” effect. The Harmonic Tuba fits right in with the rest of the organ, heralding the entrance of the procession or accompanying the choir in the Howells Collegium Regale service.

When listening to both organs working together, one probably thinks the antiphonal organ is enclosed—if it is noticed it at all! The new division can keep in lockstep with the main organ, from soft flutes to warm diapasons to rich reeds. Our mission to complete an organ installed nearly one hundred years ago in our shared symphonic ideal was a challenge, especially without the aid of swell shades. This project illustrated just how expressive unenclosed voices can be with the right design and voicing. Our thanks go to organist and choirmaster Simon Jacobs, acting organist and choirmaster Scott Christiansen, as well as consultants Joseph Galema and Ralph Valentine, for giving us the opportunity. This project was funded through a generous gift from Conni Eggers. We hope our antiphonal organ brings out the beauty of the Welte organ for generations to come, giving even more musical possibility to a grand old instrument.

—Bryan Dunnewald

Schoenstein & Co.

ANTIPHONAL (Floating)

16′ Echo Diapason (ext 8′) 12 pipes in display

8′ Diapason 61 pipes 12–21 in display

8′ Echo Diapason 61 pipes 1–8 in display

8′ Chimney Flute 61 pipes

4′ Principal Conique 61 pipes

4′ Echo Diapason (ext 8′) 12 pipes

4′ Chimney Flute (ext 8′) 12 pipes

8′ Harmonic Tuba (tenor A)† 42 pipes 

Existing couplers

†Hooded in display under west window

ANTIPHONAL PEDAL

16′ Echo Diapason

8′ Diapason

8′ Chimney Flute

4′ Principal Conique

This division is an addition to a magnificent Welte-Mignon Corporation symphonic organ of 1928 and is controlled from its console. An Antiphonal was planned for later addition in the original installation.

Builder’s website: schoenstein.com

Church website: gssepiscopal.org

Photo credit: Louis Patterson

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

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

Fratelli Ruffatti, Padova, Italy; Notre Dame Seminary, New Orleans, Louisiana

Flexibility is the key

The new instrument for Notre Dame Seminary of New Orleans is a two-manual organ. In spite of its relatively moderate size, however, it is designed to be more flexible in its use than many of its three-manual counterparts. This is made possible primarily by the careful choice of stops and console controls by sacred music director Max Tenney in collaboration with the builder.

A notable and not-so-common feature is the division of the Grand-Orgue into two sections, unenclosed and enclosed. The first contains the principal chorus, based on a 16′ Principal, while the latter includes flutes, a Gemshorn with its Celeste, and a rather powerful reed. Versatility not only comes from graduating the volume of the enclosed stops, but goes well beyond. Let’s look at how this is accomplished.

Each section of the Grand-Orgue is equipped with its own set of sub and super couplers and a Unison Off. The unusual possibility of applying interdivisional couplers and Unison Off only to a few stops and of using them in conjunction with other non-coupled stops within the same manual offers new and exciting possibilities. As an example, the Great Trompette, which is only controlled by one stop knob at 8′ pitch, can be used at 16′, 8′, and 4′ (and under expression) with a non-coupled principal chorus.

The console controls include a Grand-Orgue Enclosed to Expressif Transfer, which can separate the two Grand-Orgue sections in a single motion, canceling the stops drawn on the first manual and transferring them to the second. The two Grand-Orgue sections, now located on separate keyboards, can be used in dialogue, one against the other. In addition, the transfer makes it possible to use the enclosed Grand-Orgue stops with the stops of the second manual, which are also under expression. Imagine the possibilities!

A further step toward the separation of the two Grand-Orgue sections is their separate set of couplers (at 8′ and 4′) to the Pedal. There are more controls to stimulate creativity, such as the Manual Melody coupler, the Grand-Orgue Trompette coupler, and the Pedal Divide.

The most important contribution to tonal flexibility, however, is the result of very careful choices of dimensions and manufacturing parameters of the pipes, which comes from decades of experience. Together with refined voicing techniques, a good blending of each stop in all traditional stop combinations is guaranteed. In addition, the performer can create registrations that are often considered unconventional but provide valid musical solutions to whatever challenges arise. With proper voicing and pipe dimensioning, a smaller instrument can display a tonal flexibility comparable to that of a much larger pipe organ.

Technically, the console has much to offer. In addition to quality tracker-touch keyboards (61 keys), a 32-note standard AGO pedalboard, and an ergonomic design, it is equipped with a very reliable and well-tested control panel, which is remarkable in many ways. It displays a user-friendly touchscreen—by a simple touch the organist can jump from one icon to the next to access different functions. The icons are many, but all are intuitive to put any organist at ease from the first experience.

The combination action, which includes both generals and divisionals, offers great flexibility. As is often the case with modern systems, organists can have their own dedicated “folders.” Password input is not needed to open them; a personalized magnetic “key” placed next to a sensor will allow access. The storing of combinations is made simple by giving them the name of the piece for which they were set (i.e., Widor Toccata). Further, a number of such pieces can be selected and grouped into concert folders, which can be given a name as well (i.e., Christmas Concert 2021).

—Francesco Ruffatti

Partner & Tonal Director

The organ case

Designing a new pipe organ is always an exciting process. Many things must be taken into account, both from the technical and the visual standpoints. Technically, it is always a challenge to make sure that every part is easily accessible, that every pipe is reachable for tuning, that the various divisions speak freely into the building, and that all technical elements fall into place properly. Visually, the design is the result of a combination of several aspects: the environment in which the organ is located, the client’s wishes, and the designer’s creativity.

The chapel at Notre Dame Seminary is not a large building, yet it is a place with high, vaulted ceilings and classical architectural design. The organ and the console find their place in the loft above the main door, where the choir will sing under the direction of music director and organist Max Tenney.

The casework was stipulated to be of classical design, with the largest pipes in the façade. Our approach to the design follows this criteria, but with a contemporary touch to it, in an effort to blend the classical style with features that belong to the 21st century. The case is divided into five bays, with the central bay capped by an arch, thus recalling the big central arch dividing the loft from the chapel. The side bays closest to the center have counter arches, which bring more emphasis to the central bay, while the bays to their sides are a natural conclusion to the organ case containing the smaller façade pipes.

The organ façade features a decorative element in front of the pipes, which enriches the design as a whole. This element develops from the top of the arched roofs next to the central bay and follows its curve, spanning through the three central bays. The decoration crosses in front of the central pipe and changes its curvature until it reaches the vertical columns, where it is replaced by gilded shadow gaps, and then continues on the low part of the side bays, matching the curvature of the pipe mouths of the outermost bays.

The case is finished with a white lacquer and is enriched by 24-carat gold leaf accents, to complement the interior scheme of the planned redecoration of the chapel, soon to be implemented.

—Michela Ruffatti

Architect & Design Director

The organ in liturgy

Rooted in the Documents of the Universal Church, the Teaching of the Supreme Pontiffs, the Directives of the Dicastery for Divine Worship and the Discipline of the Sacraments in the Vatican, as well as the United States Conference of Catholic Bishops’ Secretariat on Divine Worship, together with the Norms for Spiritual Formation provided in the most recent edition (2022) of the Program for Priestly Formation, the Office of Sacred Music at Notre Dame Seminary seeks to provide the men in priestly formation with both a solid and comprehensive analysis, as well as a practical and methodological understanding of Liturgical Music, its role in service to the Sacred Liturgy, and the means by which the clear and consistent teaching of the Church on the subject might best be implemented throughout the dioceses and parishes in which these future priests will find themselves in the service of God’s Holy People.

These words have guided the Sacred Music Program at Notre Dame Seminary in the New Orleans Archdiocese since my arrival nearly a decade ago. Almost immediately the then-rector, the Very Reverend James A. Wehner, S.T.D., had begun a conversation with me about the organ in the seminary’s Chapel of the Immaculate Conception of the Blessed Virgin Mary. The Möller organ had served admirably for nearly a century. It had even survived several attempts to alter its original tonal design, including the expansion of the instrument through the means of extensive unification, in addition to a revoicing. Also, during the decades following the Second Vatican Council, the instrument had been severely neglected, receiving almost no service in those years.

It was decided early on in those conversations that the organ needed to be replaced. The mandate was clear: to design an instrument worthy of Our Lady’s seminary, the largest theologiate in the American Church, that would competently and beautifully accompany the Church’s liturgies, including both the Holy Mass and the Divine Office. As the seminary grounds are located in the urban uptown neighborhood of the city of New Orleans, the chapel is in frequent demand by the archdiocese for various ceremonies, rites, and services that can be accommodated in the small nave seating only 175 persons. These realities guided my mind in planning a new instrument. Additionally, I wanted to provide an organ that would serve to inspire future priests not only in their daily prayer, but in the eventual reality that, God willing, they will one day serve as pastors in parishes across the Gulf south, and that they themselves might go on to commission similar instruments of such high quality for these parish communities in which they will serve.

The concept for the seminary organ—two manuals and pedal with two enclosed divisions and an unenclosed complete principal chorus—came about through the months and years of conversations with Francesco Ruffatti, tonal director of the firm. This idea would seem to deliver the most flexibility for our instrument. It was also through these discussions and because of my desire to honor the French patrimony of the city, archdiocese, and seminary, that our concept for a French-inspired instrument was developed. Francesco and Michela had previously spent much time surveying and studying several famous instruments by the builder Cavaillé-Coll in preparation for what has become one of the firm’s landmark organs—in Buckfast Abbey, Devon, U.K., which contains a French Gallery division. Our instrument here in New Orleans is largely influenced by that study.

As we have now completed the installation of the instrument and are in the process of voicing and tuning, we have begun using the instrument at liturgies. To say that the organ surpasses my every expectation would be a gross understatement: it literally sings in the room. It is possible to lead the entire seminary community with only the 8′ Montre. The rich harmonics seem to lift the voices high in the nave. The Gregorian chant Propers sung by the Seminary Schola Cantorum are beautifully accompanied by the Gemshorn. The sounds are truly gorgeous in every sense of the word.

This project would not have been possible without the incredible support of the Very Reverend Father James A. Wehner, S.T.D., Sixteenth Rector and Sixth President of Notre Dame Seminary. As well, profound thanks are due to the entire team at Fratelli Ruffatti, including Piero, Francesco, and Michela Ruffatti, Fabrizio Scolaro, Evgeny Arnautov, Nancy Daley, and Tim Newby.

—Max Tenney

Associate Professor, Organist and

Director of Sacred Music

Notre Dame Seminary

The Roman Catholic Archdiocese of New Orleans

Builder’s website: ruffatti.com

Seminary website: nds.edu

Cover photo by Steven Blackmon

Detail photos by Fratelli Ruffatti

 

GRAND-ORGUE Unenclosed Manual I

16′ Montre 61 pipes

8′ Montre 61 pipes

4′ Prestant 61 pipes

2-2⁄3′ Twelfth 61 pipes

2′ Doublette 61 pipes

1-3⁄5′ Seventeenth 61 pipes

2′ Fourniture III–V 264 pipes

Zimbelstern 12 bells

Sub Octave

Unison Off

Super Octave

GRAND-ORGUE Enclosed

16′ Bourdon (prep)*

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

8′ Gemshorn 61 pipes

8′ Gemshorn Celeste (TC) 49 pipes

4′ Flûte Octaviante 61 pipes

Tremblant for enclosed stops

8′ Cor de Wehner (Trompette de Fête) 61 pipes

Chimes (prep)*

Sub Octave

Unison Off

Super Octave

EXPRESSIF (Enclosed), Manual II

16′ Bourdon Doux (prep)*

8′ Stopped Diapason 61 pipes

8′ Viole de Gambe 61 pipes

8′ Viole Celeste (TC) 49 pipes

4′ Prestant 61 pipes

4′ Flûte de la Vierge 61 pipes

2-2⁄3′ Nasard 61 pipes

2′ Octavin 61 pipes

1-3⁄5′ Tierce 61 pipes

2′ Plein Jeu IV 244 pipes

16′ Basson-Hautbois 61 pipes

8′ Trompette Harmonique 61 pipes

8′ Hautbois (ext 16′) 12 pipes

Tremblant

8′ Cor de Wehner (Grand-Orgue)

Chimes (prep)*

Sub Octave

Unison Off

Super Octave

PÉDALE (Unenclosed)

32′ Contre Basse (prep)*

32′ Contre Bourdon (prep)*

32′ Resultant (from Soubasse 16′)

32′ Harmonics V (from Montre 16′ and Subbass 16′)

16′ Montre (Grand-Orgue)

16′ Soubasse 32 pipes

16′ Bourdon (Grand-Orgue)

16′ Bourdon Doux (Expressif)

8′ Basse 32 pipes

8′ Bourdon (ext 16′ Soubasse) 12 pipes

8′ Stopped Diapason (Expressif)

4′ Flûte (ext 16′ Soubasse) 12 pipes

32′ Contre Bombarde (prep)*

32′ Contre Basson (prep)*

16′ Bombarde 32 pipes

16′ Basson (Expressif)

8′ Trompette (ext 16′ Bomb.) 12 pipes

4′ Hautbois (Expressif)

8′ Cor de Wehner (Grand-Orgue)

Chimes (Expressif)

* console preparation for digital stop

50 speaking stops (including preparations and wired stops)

34 pipe ranks

1,970 pipes and 12 real bells

INTERDIVISIONAL COUPLERS

Expressif to Grand-Orgue 16, 8, 4

Grand-Orgue Enclosed to Expressif Transfer

Grand-Orgue Unenclosed to Pédale 8, 4

Grand-Orgue Enclosed to Pédale 8, 4

Expressif to Pédale 8, 4

Manual Melody Coupler

Grand-Orgue Cor de Wehner Coupler

COMBINATION ACTION

Generals 1–10

Grand-Orgue 1–6, Cancel

Expressif 1–6, Cancel

Pédale 1–6, Cancel

Set

General Cancel

Next (+) (multiple locations)

Previous (–)

All Generals Become Next (piston)

Divisional Cancels on stop jambs for each division

MIDI

MIDI Grand-Orgue

MIDI Expressif

MIDI Pédale

Pedal Divide 1

Pedal Divide 2

(Pedal divide configurations and dividing point are programmable from the touchscreen)

CANCELS (not settable)

Reeds Off

Mixtures Off

 

Zimbelstern

Tutti (Full Organ)

Expression for Expressif

Expression for Grand-Orgue Enclosed

All Swells to Expressif

Crescendo

CONSOLE CONTROL SYSTEM

The control panel is a 5.7-inch-wide color touchscreen.

Functions and features:

• Screen settings, language selection, date and time display, thermometer display

• Metronome

• Transposer, by 12 semitones either way

• Crescendo and Expressions bargraphs

• Crescendo sequences: standard and settable

• Crescendo Off

• Diagnostics

• “Open” memory containing up to 9,999 memory levels for the General pistons

• Additional 100 personalized folders, each containing up to 9,999 memory levels for the General pistons

• Access to the folders by password or by personal proximity sensor

• Up to 5 “insert” combinations can be included or cancelled between each General piston to correct errors or omissions while setting combination sequences

• Renumbering function for modified piston sequences

• All system data can be saved on USB drive.

• Display for combination piston and level in use

• Combination action sequences can be stored with the name of the piece, and pieces can be collectively grouped and saved into labelled “Concert” folders.

RECORD AND PLAYBACK

Export/import recordings with USB drive.