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Ernest M. Skinner Opus 327

St. Luke's Episcopal Church, Evanston, Illinois

by Richard Webster
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St. Luke's Episcopal Church, Evanston, Illinois, has recently completed a year-long celebration of the restoration of its E.M. Skinner organ, Opus 327. The series of events began with a re-dedication recital by Marilyn Keiser on September 12, 1999, and continued: Gillian Weir, November 14; Karel Paukert, February 4, 2000; a Hymn Festival, March 5; and Richard Webster, April 9. The restoration was done by the A. Thompson-Allen Company of New Haven, Connecticut. The phased restoration of Opus 327 began with the Swell organ, completed in 1994, with the remainder of the instrument completed in time for Christmas 1998.

 

A brief history

St. Luke's Church building, regarded as the magnum opus of architect John Sutcliffe, was built in several stages between 1904 and 1914. Upon completion of the nave to its present height of 65 feet, it became obvious that the original organ would be inadequate for the finished space. Bishop George Craig Stewart, Rector of St. Luke's and later Bishop of the Episcopal Diocese of Chicago, led the parish in the effort to secure an organ worthy of their building and their fine organist. Herbert Hyde was hired as organist in June 1920. Dr. Hyde had studied with Charles-Marie Widor and Joseph Bonnet, had held posts at Church of the Ascension and St. Peter's in Chicago, and was organist for the Chicago Symphony Orchestra. Hyde had studied the great romantic organs such as those at St. Sulpice and St. Eustache in Paris, built by Cavaillé-Coll, and St. Paul's Cathedral in London, built by Henry "Father" Willis.

On June 4, 1921, St. Luke's Church signed a contract with the Ernest M. Skinner Company of Boston. Dr. Hyde prepared the specification in consultation with Joseph Bonnet. About 18 months were required for construction and assembly in the Skinner factory. The organ was then disassembled, labeled, and crated for shipment in 12 boxcars to Evanston's Main Street railroad siding, two blocks from the church. Crews then worked for six months to install the organ in its three-story-high chamber, and to regulate and tune all 3,800 pipes. Upon completion the organ housed more than 10,000 parts made of wood, metal, and leather, and weighed more than 20 tons.

The week of dedication recitals, in October 1922, was enthusiastically received. Programs ranged from Bach to orchestral transcriptions to the symphonic organ works of Guilmant, Bonnet, and Widor. The Skinner organ, Opus 327, was found to be capable of everything expected of a great romantic American organ.

For the next 35 years the organ performed admirably as a significant component of the parish's reputation for excellent music integrated into the worship of the church. In its dignified yet stirring way, it proclaimed Easters and heralded Christmases, accompanied countless eucharists and evensongs, weddings and funerals, and gave voice to a wide range of organ literature.

Over time, as is always the case, musical tastes changed. The widely accepted view of the 1950s, 60s and even 70s was that these romantic instruments, with their large scales and grand sounds, had become outmoded. One critic referred to them as "green slime machines." Most organs the size and quality of Opus 327 were drastically altered or completely replaced. Some have been lost forever.

The alterations and additions to the St. Luke's organ over the years have not been drastic and have not radically altered its original character. In the Great division, the original enclosed Mixture was removed and lost, replaced with a brighter, more forward stop. The Swell Mixture was recomposed to a new pattern, and the Swell and Choir divisions had their 2' stops swapped. Also in the Choir, three stops--the Melodia 8', Flute d'amour 4', and Dulcet II--were replaced with more Baroque style sounds. Fortunately, their pipework was removed to the attic just above the south transept, where it lay for the next 40 years. What was known as the Echo organ was originally the 1909 Casavant in the Lady Chapel. This instrument was replaced in 1958 by a 14-rank M.P. Möller. Both chapel instruments were playable from the main Skinner console. In 1986 the Möller was sold to Our Lady of Hope Catholic Church in Rosemont, Illinois, and a new 4-stop portative organ by Karl Wilhelm took its place.

The Cymbala, a set of four Swiss bells, was added in 1958, and the antiphonal Fanfare Trumpet, which extends horizontally from the west wall, was added by the Aeolian-Skinner Company in 1959.

The 1960s saw the increasing deterioration of the organ, to the point where it was at times unplayable. Following a 1968 visit to St. Luke's, the president of one prominent organ company wrote to the Rector proposing that the original Skinner be replaced with a new organ, citing "the present instrument (as) inadequate to meet the needs of your congregation." Fortunately, because of parish financial constraints, this was never a viable option.

During the 1970s, some cleaning and releathering of the organ and refurbishing of the console took place. Though this kept the instrument running, certain stops, such as the Tuba Mirabilis and the Harp/Celesta, remained silent for two or three decades.

In 1986 the parish undertook a major restoration of the building. In addition to cleaning the interior of the nave and sanctuary to remedy the damage caused by a leaking roof and a boiler fire in the 1940s, four-inch thick horsehair and burlap padding was removed from the wooden ceiling. The padding had been put in place in 1914 to stifle reverberation and help clarify the spoken word. The restored reverberation of nearly four seconds has dramatically improved choral and congregational singing, and has served to amplify the grandeur and subtlety of the organ.

By the late 1980s, the organ and its leather had deteriorated to the point where many stops were either completely dead or had so many dead notes that they were unusable. The combination action in the console became increasingly unreliable. The situation became critial. At the time, an historically accurate reproduction of the organ was estimated to cost at least $1.5 million. A new mechanical action instrument of the size required by the space may have run to $1 million or more. Realizing that Skinner's Opus 327, registered by the Organ Historical Society, was such an outstanding instrument, part of America's musical heritage and a worthy testament to Mr. Skinner's vision, the Vestry of St. Luke's concluded that a complete restoration of the instrument was the most responsible option. In 1990 a contract was signed with the A. Thompson-Allen Company, Curators of Organs at Yale University, and widely renowned for their work in the restoration of E.M. Skinner organs.

Over the next several years, the work was accomplished in two phases. The Swell was completed in 1994, the organ's other four divisions and console in 1997-98. In stages, the organ was completely dismantled, leaving only the largest of the 32' pipes in place. Pipework, chests, wiring, tubing, and the like were transported to the Connecticut shops where components were cleaned, broken mechanicals repaired, and worn out parts replaced. The 3,800 leather pouches were releathered.

Every pipe received individual attention. Metal ones were washed, lacquered ones stripped and refinished. New tuning sleeves were installed throughout, and dents removed as necessary. Voicing was redone according to Mr. Skinner's intentions. The pitch of the organ, which had dropped over time because of tuning difficulties, was brought back to A-440. The console, with its complicated and ingenious electro-pneumatic action, was completely dismantled and reconstructed, replacing all leather and other worn out parts. The walls of the organ chambers were replastered and painted, and the ceiling cleaned and revarnished, thereby creating hard, sound-reflective surfaces. The organ's many reservoirs were also releathered and reassembled.

The Spencer Turbine "Orgolo" centrifugal blower, standard for all Skinner organs, still functions reliably after 77 years. It has terrified generations of choristers who have happened to be passing through the blower room as the organ was coming to life. To this day, the lights in the entire building respectfully dim any time the organ is switched on. As a safely measure, a new protective housing was constructed around this mamouth blower in its basement room.

The three Choir division stops that had long languished in the attic now sound forth in their original locations in the organ, as do the Chimes, Harp, and Celesta. The Philomela 8' (Solo division), which had also been removed, has now been restored. As for the original Swell and Great Mixture stops, whose pipework no longer exists, Thompson-Allen has created faithful reproductions of Skinner mixtures from the 1920s. Their more gentle, "sunbeam"-like character complements and completes the rich, warm foundation tone of the organ. The Fanfare Trumpet stop, though not original to the organ, has been slightly revoiced to produce a fiery, commanding sound without being assaultive.

 

GREAT (unenclosed, 71/2≤ wind)

                  16'          Diapason (73)

                  8'             First Diapason (73)

                  8'             Second Diapason (73)

                  8'             Third Diapason (73)

                  8'             Erzähler (73)

                  4'             Octave (61)

                  IV            Chorus Mixture1 (244)

                                    enclosed in separate box

                  8'             Claribel Flute (73)

                  4'             Harmonic Flute (61)

                  22/3'      Twelfth (61)

                  2'             Fifteenth (61)

                  III            Mixture (A-9)2 (183)

                  16'          Trombone (73)

                  8'             Trumpet (73)

                  4'             Clarion (61)

                                    Chimes (Solo)

SWELL (enclosed, 71/2≤ wind)

                  16'          Bourdon (73)

                  8'             Diapason (73)

                  8'             Salicional (73)

                  8'             Voix Celeste (73)

                  8'             Gedeckt (73)

                  8'             Spitz Flute (73)

                  8'             Flute Celeste (TC, 61)

                  8'             Aeoline (73)

                  4'             Octave (61)

                  4'             Traverse Flute (73)

                  2'             Flautino (61)

                  III           Mixture (C-14)4 (183)

                  16'          Contra Posaune (73)

                  8'             Cornopean (73)

                  8'             Oboe (73)

                  8'             Vox Humana (73)

                  4'             Clarion (61)

                                    Tremolo

                                    Harp (Choir)

                                    Celesta (Choir)

CHOIR (enclosed, 6≤ wind)

                  8'             Diapason (73)

                  8'             Dulcet II3 (146)

                  8'             Melodia3 (73)

                  8'             Kleine Erzähler (celeste TC, 134)

                  4'             Flute d'amour3 (61)

                  22/3'      Twelfth (61)

                  2'             Piccolo (61)

                  13/5'      Tierce (61)

                  8'             Clarinet (73)

                  8'             Orchestral Oboe (73)

                                    Tremolo

                                    Harp (61 bars)

                  8'             Fanfare Trumpet5 (71/2≤                                                                wind)(61)

SOLO (enclosed, 10≤ wind)

                  8'             Diapason (73)

                  8'             Philomela3 (73)

                  8'             Gross Gamba (73)

                  8'             Gamba Celeste (73)

                  8'             French Horn (73)

                  8'             English Horn (73)

                  4'             Tuba Clarion (61)

                                    Tremolo

                                    Chimes (25 tubes)

                  8'             Tuba Mirabilis (20≤ wind)(73)

PEDAL (6≤ wind)

                  32'          Diapason (ext 1st, 12)

                  16'          First Diapason (wood, 32)

                  16'          Second Diapason (metal, 32)

                  16'          Violone (wood & metal, 32)

                  16'          Bourdon (wood, 32)

                  16'          Echo Bourdon (Sw)

                  8'             Octave (ext 1st, 12)

                  8'             Cello (ext, 12)

                  8'             Gedeckt (ext Bdn, 12)

                  4'             Super Octave (ext 1st, 12)

                  4'             Flute (ext Bdn, 12)

                  32'          Bombarde (ext, 12)

                  16'          Trombone (15≤ wind, 32)

                  8'             Tromba (ext, 12)

                  4'             Clarion (ext, 12)

 

1. Added in the 1950s as the gift of Dr. William H. and Edith Barnes; pipes and chests by Tellers.

2. Replication of lost A-9 mixture; pipes by Austin, voicing by D. Kingman and N. Thompson-Allen.

3. Original Skinner stops that had been removed or altered but are now restored and reinstated.

4. Skinner-style C-14 mixture replacing lost A-9 mixture; pipes by Austin, voicing by D. Kingman and A. Thompson-Allen.

5. On west wall; blower, chests and pipes added by Aeolian-Skinner in 1959.

 

Related Content

New Organs

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Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California

Opus 46

 

SkyRose Chapel, in the Rose Hills Memorial Park, Whittier,
California, is located on a hill overlooking Los Angeles and the San Gabriel
and Sycamore Valleys. SkyRose Chapel is situated within beautifully landscaped
gardens that also do duty as a cemetery--SkyRose Chapel is the largest funeral
chapel in the world. Renowned architects Fay Jones and Maurice Jennings designed
SkyRose Chapel to be built of oak, Oregon redwood, bouquet canyon stone,
Douglas fir, and glass in a contemporary A-frame style that is at home in the
hills which the afternoon sun turns a vibrant rose color. SkyRose Chapel has
become popular as an attractive venue for weddings as well as for funerals.

The installation of a pipe organ in SkyRose Chapel had
always been the dream of Dennis Poulsen, Chairman of the Board of Rose Hills
Memorial Park. This dream was researched and brought to fruition by Mr. Poulsen
and Bruce Lazenby, Vice President of Engineering of Rose Hills Memorial Park.

The Rose Hills Foundation selected Quimby Pipe Organs, Inc.,
to build the pipe organ for the strikingly lovely SkyRose Chapel. The Quimby
pipe organ, Opus 46, has 65 ranks together with harp and chimes spread over
four manuals and pedal. The distinctly American design is eclectic in
conception and enables the instrument to perform a wide range of service and
organ literature. Messrs. Poulsen and Lazenby requested Michael Quimby, Tonal
Director, to design a tonal specification that would handle the diverse musical
demands required for funeral services, weddings, and recitals.

The instrument contains an unusually high proportion of
celeste ranks, and also a very high proportion of color reeds. The reeds in the
Solo division include several historic Skinner and Aeolian-Skinner ranks--the
Tuba Mirabilis (1924), French Horn (1946), English Horn (1946) and Corno di
Bassetto (1946). These ranks are included in the pipe organ on their original
windchest and reservoir. Also noteworthy are the 1924 Deagan "Class
A" Chimes and the restored 1929 Skinner Harp, both on their original
restored electro-pneumatic actions.

The electric blowers winding the organ amount to a total of
eleven and one-half horsepower, supplying wind at pressures ranging from
4" for the Choir division to 15" for the Tuba Mirabilis. There are
fourteen reservoirs and four schwimmers. The main chests, built by Quimby Pipe
Organs, Inc., are slider windchests built to the original Blackinton design
fitted with electro-pneumatic pallets. The Swell, Choir and Solo divisions have
68-note chests, providing additional topnotes for use with the octave couplers.
Electro-pneumatic unit chests are used for the offsets and extended ranks.

Quimby Pipe Organs' Opus 46 is located in an elevated
gallery near the rear of SkyRose Chapel. The visual presentation of the pipe
organ is of oak casework containing thirty-eight zinc façade pipes with
gold-colored mouths drawn from the Pedal 32' Principal and Great 16' Violone
ranks that are placed on platforms of escalating heights above the floor of the
gallery as well as nine oak pipes positioned along the side of the case. The
longest façade pipe, approximately 26' in length, is low G of the 32' Principal. The wood pipes along the side of the case are part of the Pedal 16' Bourdon rank. The Pedal 32' Posaune is full length, and is located behind the exposed wood pipes.

Quimby Pipe Organs' woodworkers constructed the case and
console in their workshop. Quimby Pipe Organs' designer and woodworkers
designed the oak organ case and console in consultation with Fay Jones and
Maurice Jennings in order to ensure an appearance in harmony with the
architecture of the Chapel. Harris Precision Products, Inc., of Whittier,
California, manufactured the console components and shipped them across the
country to Warrensburg where Quimby's woodworkers installed them in the
console. The console was then shipped back with the organ to Whittier! The
instrument is controlled by a multiplex relay with MIDI, including full
playback capability, and a combination action with 99 memory levels.
style="mso-spacerun: yes"> 
There are eight pistons to each
division and eighteen general pistons, together with three ensemble pistons,
three programmable Crescendo settings, and numerous reversibles.

Members of Quimby Pipe Organs, Inc., who made significant
contributions to the construction of the SkyRose instrument included Doug
Christie, Chris Emerson, Charles Ford, Johanna Harrington, Eric Johnson, Kevin
Kissinger, Brad McGuffey, Michael Miller, Gary Olden, Michael Quimby, Wayne
Shirk, Stan Sparrowhawk, Elizabeth Viscusi, and Randy Watkins.

Dr. Frederick Hohman presented the pipe organ to the public
in the dedicatory recital of the SkyRose organ on Saturday, September 20th,
1997.

--Quimby Pipe Organs, Inc.

GREAT (unenclosed)

                  16'
style='mso-tab-count:1'>         
Violone
(1-14 façade)

                  8'
style='mso-tab-count:1'>            
Diapason
(1-7 from Ped Principal)

                  8'
style='mso-tab-count:1'>            
Principal

                  8'
style='mso-tab-count:1'>            
Violoncello
(ext)

                  8'
style='mso-tab-count:1'>            
Harmonic
Flute (1-12 from 8' Bdn)

                  8'
style='mso-tab-count:1'>            
Bourdon

                  4'
style='mso-tab-count:1'>            
Octave

                  4'
style='mso-tab-count:1'>            
Koppel
Flute

                  22⁄3'
style='mso-tab-count:1'>     
Quint

                  2'
style='mso-tab-count:1'>            
Super
Octave

                  11⁄3'
style='mso-tab-count:1'>     
Mixture IV

                  16'
style='mso-tab-count:1'>         
Bombarde
(ext)

                  8'
style='mso-tab-count:1'>            
Tuba
Mirabilis (Solo)

                  8'
style='mso-tab-count:1'>            
Trompette
Harmonique

                  8'
style='mso-tab-count:1'>            
Trumpet

                  8'
style='mso-tab-count:1'>            
Cromorne
(Choir)

                  4'
style='mso-tab-count:1'>            
Clarion
Harmonique

                                    Tremolo

                                    Chimes
(Solo)

                  8'
style='mso-tab-count:1'>            
Harp
(Solo)

                                    Tower
Chimes (prepared for)

                                    MIDI
on Great

SWELL (enclosed)

                  16'
style='mso-tab-count:1'>         
Gedeckt

                  8'
style='mso-tab-count:1'>            
Gedeckt
(ext)

                  8'
style='mso-tab-count:1'>            
Viola

                  8'
style='mso-tab-count:1'>            
Viola
Celeste

                  8'
style='mso-tab-count:1'>            
Salicional

                  8'
style='mso-tab-count:1'>            
Voix
Celeste (GG)

                  4'
style='mso-tab-count:1'>            
Principal

                  4'
style='mso-tab-count:1'>            
Nachthorn

                  4'
style='mso-tab-count:1'>            
Viola
(ext)

                  4'
style='mso-tab-count:1'>            
Viola
Celeste (ext)

                  22⁄3'
style='mso-tab-count:1'>     
Rohr Nasat

                  2'
style='mso-tab-count:1'>            
Octave

                  2'
style='mso-tab-count:1'>            
Flageolet

                  13⁄5'
style='mso-tab-count:1'>     
Tierce

                  2'
style='mso-tab-count:1'>            
Plein
Jeu IV (2' rank from Octave)

                  16'
style='mso-tab-count:1'>         
Hautbois

                  8'
style='mso-tab-count:1'>            
Trompette

                  8'
style='mso-tab-count:1'>            
Hautbois
(ext)

                  8'
style='mso-tab-count:1'>            
Vox
Humana

                  8'
style='mso-tab-count:1'>            
Vox
Mystique (Vox Humana, box closed)

                  4'
style='mso-tab-count:1'>            
Clarion
(ext)

                                    Tremolo

                                    Chimes
(Solo)

                                    MIDI
on Swell

CHOIR (enclosed)

                  16'
style='mso-tab-count:1'>         
Silver
Flute (1-12 digital)

                  8'
style='mso-tab-count:1'>            
Flauto
Mirabilis (Solo)

                  8'
style='mso-tab-count:1'>            
Gamba
(Solo)

                  8'
style='mso-tab-count:1'>            
Gamba
Celeste (Solo)

                  8'
style='mso-tab-count:1'>            
Rohr
Flute

                  8'
style='mso-tab-count:1'>            
Gemshorn

                  8'
style='mso-tab-count:1'>            
Melodia
(1-12 from Rohr Flute)

                  8'
style='mso-tab-count:1'>            
Silver
Flute (ext)

                  8'
style='mso-tab-count:1'>            
Silver
Flute Celeste (TC)

                  4'
style='mso-tab-count:1'>            
Principal

                  4'
style='mso-tab-count:1'>            
Orchestral
Flute (Solo)

                  4'
style='mso-tab-count:1'>            
Spitz
Flute

                  4'
style='mso-tab-count:1'>            
Silver
Flute (ext)

                  22⁄3'
style='mso-tab-count:1'>     
Nazard

                  2'
style='mso-tab-count:1'>            
Octave

                  2'
style='mso-tab-count:1'>            
Block
Flute

                  13⁄5'
style='mso-tab-count:1'>     
Tierce

                  1'
style='mso-tab-count:1'>            
Mixture
III

                  16'
style='mso-tab-count:1'>         
Cromorne

                  8'
style='mso-tab-count:1'>            
Trompette
Harmonique (Great)

                  8'
style='mso-tab-count:1'>            
Cromorne
(ext)

                  4'
style='mso-tab-count:1'>            
Clarion
Harmonique (Great)

                  8'
style='mso-tab-count:1'>            
Tuba
Mirabilis (Solo)

                                    Tremolo

                                    Chimes
(Solo)

                  8'
style='mso-tab-count:1'>            
Harp
(Solo)

                  4'
style='mso-tab-count:1'>            
Celesta
(Solo)

                                    MIDI
on Choir

SOLO (enclosed)

                  16'
style='mso-tab-count:1'>         
Contra
Gamba (1-12 digital)

                  8'
style='mso-tab-count:1'>            
Flauto
Mirabilis

                  8'
style='mso-tab-count:1'>            
Gamba
(ext)

                  8'
style='mso-tab-count:1'>            
Gamba
Celeste

                  4'
style='mso-tab-count:1'>            
Orchestral
Flute

                  4'
style='mso-tab-count:1'>            
Gambette
(ext)

                  8'
style='mso-tab-count:1'>            
English
Horn

                  8'
style='mso-tab-count:1'>            
French
Horn

                  8'
style='mso-tab-count:1'>            
Corno
di Bassetto

                  8'
style='mso-tab-count:1'>            
Tuba
Mirabilis

                  4'
style='mso-tab-count:1'>            
Clarion
Tuba (ext)

                                    Tremolo

                  8'
style='mso-tab-count:1'>            
Harp

                  4'
style='mso-tab-count:1'>            
Celesta
(ext)

                                    Tower
Chimes (prepared for)

                                    Chimes
(20 tubes)

                                    MIDI
on Solo

PEDAL (unenclosed)

                  32'
style='mso-tab-count:1'>         
Sub
Principal (1-7 digital, 8-31 façade)

                  32'
style='mso-tab-count:1'>         
Contra
Bourdon (1-12 digital)

                  16'
style='mso-tab-count:1'>         
Principal
(ext)

                  16'
style='mso-tab-count:1'>         
Violone
(Great)

                  16'
style='mso-tab-count:1'>         
Bourdon
(ext)

                  16'
style='mso-tab-count:1'>         
Gamba
(Solo)

                  16'
style='mso-tab-count:1'>         
Gedeckt
(Swell)

                  16'
style='mso-tab-count:1'>         
Silver
Flute (Choir)

                  8'
style='mso-tab-count:1'>            
Octave
(ext)

                  8'
style='mso-tab-count:1'>            
Violoncello
(Great)

                  8'
style='mso-tab-count:1'>            
Viola
Celeste II (Swell)

                  8'
style='mso-tab-count:1'>            
Bourdon
(ext)

                  8'
style='mso-tab-count:1'>            
Gedeckt
(Swell)

                  4'
style='mso-tab-count:1'>            
Choral
Bass

                  4'
style='mso-tab-count:1'>            
Bourdon
(ext)

                  22⁄3'
style='mso-tab-count:1'>     
Mixture IV

                  32'
style='mso-tab-count:1'>         
Contra
Posaune (full length, ext Great Trumpet)

                  32'
style='mso-tab-count:1'>         
Contra
Basson (1-12 digital, ext Swell Hautbois)

                  16'
style='mso-tab-count:1'>         
Posaune
(ext Great Trumpet)

                  16'
style='mso-tab-count:1'>         
Bombarde
(Great)

                  16'
style='mso-tab-count:1'>         
Hautbois
(Swell)

                  16'
style='mso-tab-count:1'>         
Cromorne
(Choir)

                  8'
style='mso-tab-count:1'>            
Tuba
Mirabilis (Solo)

                  8'
style='mso-tab-count:1'>            
Trumpet
(Great)

                  8'
style='mso-tab-count:1'>            
Trompette
Harmonique (Great)

                  8'
style='mso-tab-count:1'>            
Hautbois
(Swell)

                  4'
style='mso-tab-count:1'>            
Clarion
(ext Great Trumpet)

                  4'
style='mso-tab-count:1'>            
Hautbois
(Swell)

                  4'
style='mso-tab-count:1'>            
Cromorne
(Choir)

                                    Chimes
(Solo)

                                    MIDI
on Pedal

Lively-Fulcher Organbuilders, Alexandria, Virginia

St. Olaf Catholic Church,
Minneapolis, Minnesota

 

In 1997, Fr. John Forliti, Pastor of St. Olaf Church,
appointed Dr. Merritt Nequette and a parish committee to lead an organ project
at the church. The committee enlisted the services of Jonathan Biggers as organ
consultant. After a thorough study, Lively-Fulcher Organbuilders of Alexandria,
Virginia was chosen to build the new instrument which was installed and
completed in July, 2001.

The organ was inaugurated in a series of concerts in 2002
beginning with a service of blessing by Archbishop Harry J. Flynn, Archbishop
of St. Paul and Minneapolis, and organ recital performed by Dr. Lynn Trapp,
director of worship and music, organist, at St. Olaf Church, on February 9,
2002.  A hymn text by Delores
Dufner, OSB was commissioned for the occasion.

The series of inaugural concerts featured a recital and
masterclass by Swiss organist, Guy Bovet; a program of organ and contemporary
music with Twin Cities artists; Pipedreams Live hosted by Michael Barone of
Minnesota Public Radio and performers of the Liturgical Organists Consortium;
field days for elementary students to learn about the king of instruments; and
an organ and orchestra concert with Jonathan Biggers, organist, and the Kenwood
Chamber Orchestra, orchestra in residence at St. Olaf Church, conducted by Ken
Freed. This concert included the premiere of a commissioned work for organ and
orchestra composed by Richard Proulx.

The instrument has 61 stops and 67 ranks (49 independent
registers) playable over five divisions, Grand Orgue, Récit Expressif,
Positif Expressif, Bombarde and Pédale. The manual and pedal key actions
make use of electric slider windchests and the stop action is electric, complete
with state of the art combination action, 256 levels of memory and a sequencer.
The wind supply is regulated by a traditional bellows system linked to the wind
chests by wooden wind lines. The console is built in a low profile, curved jamb
configuration to enhance the organist's ability to follow the liturgy and
conduct the choir. The console has natural keys covered in bone and sharp keys
of solid ebony. The internal layout of the divisions within the organ case
places the Positif Expressif centrally in the lower middle of the case and the
Grand Orgue above that with the Récit Expressif behind the Grand Orgue.
The Bombarde reeds are located in the Positif box and the Pédale
division is divided on either side of the manuals and behind the 16-foot pedal towers
in the case. Wood pipes were made in the organbuilders' workshop and metal
pipes were made to their specifications in Germany.

The casework, constructed of African mahogany, takes its
inspiration from the contemporary architecture of the room and has simple
Scandinavian design elements yet a firm traditional layout. The façade
pipes are made of 72% tin and include pipes from the Grand Orgue Montre 16',
Montre 8' and Pédale Montre 8'. The organ is completely housed within
its own freestanding casework and because of the deep gallery around three
sides of the room is positioned at the front center of the church. A
Cymbelstern stop is provided on the instrument and the church's tower bells can
be played from the Récit keyboard.

The design of the pipe shades for the instrument is tied to
the rich traditions associated with St. Olaf. They are made of basswood with
patterns of dragons, eagles and serpents which are found in the Book of Kells.
These designs are slightly earlier than King Olaf's time, but they are strong
Scandinavian symbols from the period. The cross piercing the crown is based on
an 8th-century piece made for St. Rupert. The crown motif was specifically
chosen to represent St. Olaf and the crosses and crowns are covered with
24-carat gold leaf.

The tonal inspiration for the instrument is firmly based in
19th-century France but is designed and voiced with a broad literature base in
mind. The Tutti is robust to support large choirs, orchestra, and the singing
of a capacity crowd of worshipers. The organ has a wide variety of soft colors
as well. The broad foundation tone of the 8-foot stops and thick-walled
expressiveness of the Récit and Positif boxes ensure the accompanimental
versatility necessary for the performance of choral and solo literature. The
warm yet clear broadly scaled principal chorus work, blended with the mutations
and reed colors associated with Clicquot and Cavaillé-Coll, make for a
versatile medium for the main body of the organ literature. The voicing and
blending of individual stops coupled with the color requirements of French,
German and English literature allow the convincing performance of a wide range
of literature. This instrument is not meant as a copy of any one style nor is
it intended to be a collection of styles trying to do everything, but rather is
intended to be a modern instrument of the 21st century speaking with its own
voice.

--Lynn Trapp

 

GRAND ORGUE

                  16'
style='mso-tab-count:1'>         
Montre

                  8'
style='mso-tab-count:1'>            
Montre

                  8'
style='mso-tab-count:1'>            
Flûte
à cheminée

                  8'
style='mso-tab-count:1'>            
Flûte
harmonique

                  8'
style='mso-tab-count:1'>            
Violoncelle

                  4'
style='mso-tab-count:1'>            
Prestant

                  4'
style='mso-tab-count:1'>            
Flûte
ouverte

                  22⁄3'
style='mso-tab-count:1'>     
Quinte

                  2'
style='mso-tab-count:1'>            
Doublette

                  2'
style='mso-tab-count:1'>            
Fourniture
V

                  8'
style='mso-tab-count:1'>            
Trompette

                  4'
style='mso-tab-count:1'>            
Clairon

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur G.O.

                                    Positif
sur G.O.

                                    Bombarde
sur G.O.

POSITIF EXPRESSIF

                  8'
style='mso-tab-count:1'>            
Montre

                  8'
style='mso-tab-count:1'>            
Bourdon

                  8'
style='mso-tab-count:1'>            
Flûte
douce

                  8'
style='mso-tab-count:1'>            
Flûte
celeste

                  4'
style='mso-tab-count:1'>            
Prestant

                  4'
style='mso-tab-count:1'>            
Flûte
conique

                  22⁄3'
style='mso-tab-count:1'>     
Nazard

                  2'
style='mso-tab-count:1'>            
Doublette

                  2'
style='mso-tab-count:1'>            
Quarte
de nazard

                  13⁄5'
style='mso-tab-count:1'>     
Tierce

                  11⁄3'
style='mso-tab-count:1'>     
Larigot

                  1'
style='mso-tab-count:1'>            
Fourniture
IV

                  8'
style='mso-tab-count:1'>            
Trompette

                  8'
style='mso-tab-count:1'>            
Cromorne

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur Positif

                                    Bombarde
sur Positif

                                    Positif
unison off

RÉCIT EXPRESSIF

                  16'
style='mso-tab-count:1'>         
Bourdon

                  8'
style='mso-tab-count:1'>            
Diapason

                  8'
style='mso-tab-count:1'>            
Viole
de gambe

                  8'
style='mso-tab-count:1'>            
Voix
céleste

                  8'
style='mso-tab-count:1'>            
Cor
de nuit

                  4'
style='mso-tab-count:1'>            
Prestant

                  4'
style='mso-tab-count:1'>            
Flûte
octaviante

                  2'
style='mso-tab-count:1'>            
Octavin

                  2'
style='mso-tab-count:1'>            
Plein
Jeu IV

                  22⁄3'
style='mso-tab-count:1'>     
Cornet II

                  16'
style='mso-tab-count:1'>         
Basson

                  8'
style='mso-tab-count:1'>            
Trompette
harmonique

                  8'
style='mso-tab-count:1'>            
Hautbois

                  8'
style='mso-tab-count:1'>            
Voix
humaine

                  4'
style='mso-tab-count:1'>            
Clairon
harmonique

                                    Tremulant

                                    Octaves
graves

BOMBARDE (floating)

                  16'
style='mso-tab-count:1'>         
Tuba
magna (ext)

                  8'
style='mso-tab-count:1'>            
Tuba
mirabilis

                  4'
style='mso-tab-count:1'>            
Cor
harmonique (ext)

                  8'
style='mso-tab-count:1'>            
Cornet
V (tg)

PÉDALE

                  32'
style='mso-tab-count:1'>         
Contre
soubasse (electronic)

                  16'
style='mso-tab-count:1'>         
Grosse
flûte

                  16'
style='mso-tab-count:1'>         
Montre
(G.O.)

                  16'
style='mso-tab-count:1'>         
Soubasse

                  16'
style='mso-tab-count:1'>         
Bourdon
(Récit)

                  8'
style='mso-tab-count:1'>            
Montre

                  8'
style='mso-tab-count:1'>            
Flûte
(ext)

                  8'
style='mso-tab-count:1'>            
Bourdon
(ext)

                  4'
style='mso-tab-count:1'>            
Prestant
(ext)

                  4'
style='mso-tab-count:1'>            
Flûte
ouverte (ext)

                  22⁄3'
style='mso-tab-count:1'>     
Fourniture IV

                  32'
style='mso-tab-count:1'>         
Contre
bombarde (ext)

                  16'
style='mso-tab-count:1'>         
Bombarde

                  16'
style='mso-tab-count:1'>         
Basson
(Récit)

                  8'
style='mso-tab-count:1'>            
Trompette

                  4'
style='mso-tab-count:1'>            
Clairon
(ext)

                                    Tirasse
Bombarde

                                    Tirasse
G.O.

                                    Tirasse
Positif

                                    Tirasse
Récit

 

G.O./Positif manual transfer

Chimes sur G.O.

Tower Bells sur Récit

Cymbelstern

Pedal & Manual pistons coupled

Sequencer

 

Weston Harris and Thomas J. McDonough, Organ Crafters of
Los Angeles
, have completed a
three-manual, 38-rank organ at St. Augustine By-the-Sea Episcopal Church, Santa
Monica, California.  The organ
incorporates elements from the church's previous organ built in 1967 by Abbott
and Sieker Organ Builders as well as the historic Möller/Estey organ at
Bridges Hall of Music, Pomona College (recently replaced by Fisk Opus 117).
Other pipework was donated from the private collection of Mr. Joseph Horning, a
prominent Los Angeles organist and organ consultant who died in 2000.

The church is located at the popular Third Street Promenade
at Santa Monica Beach Pier. The organ enjoys a high gallery placement in an
extraordinary acoustical setting. Given this exceptional location, the new
organ's tonal style is based largely on the 1948 Aeolian-Skinner organ of the
Salt Lake City Tabernacle, where Mr. Harris studied organ performance and
apprenticed in organbuilding. The voices are gentle, and choruses finely
layered.

The previous organ (see photo) was installed in 1967 as a
temporary instrument for the new church following the arson burning of the
church's historic 1867 building. The new organ case forms the Positiv Organ
featuring pipes from the Bridges Hall of Music (front tower pipes) and wood
Holzgedeckt pipes. The flute pipes were obtained from a burnt-out church in
nearby Venice, California. They were barely rescued--being quickly pulled from
their windchest just as the wrecking ball was knocking through the chamber
walls. The fire scarring on the pipes provides an extraordinary antique patina
for the new organ case design.

--Weston Harris

 

GREAT (enclosed)

                  8'
style='mso-tab-count:1'>            
Diapason

                  8'
style='mso-tab-count:1'>            
Bourdon

                  8'
style='mso-tab-count:1'>            
Augustine
Flute

                  8'
style='mso-tab-count:1'>            
Flute
Celeste

                  4'
style='mso-tab-count:1'>            
Octave

                  4'
style='mso-tab-count:1'>            
Forest
Flute

                  22⁄3'
style='mso-tab-count:1'>     
Twelfth

                  2'
style='mso-tab-count:1'>            
Fifteenth

                                    Mixture
IV

                                    Cymbale
III

                  8'
style='mso-tab-count:1'>            
Cromorne

                  8'
style='mso-tab-count:1'>            
Trumpet

                  4'
style='mso-tab-count:1'>            
Clarion*

                                    Tremulant

                                    Gt/Gt
16-4

SWELL (enclosed)

                  8'
style='mso-tab-count:1'>            
Geigen
Principal

                  8'
style='mso-tab-count:1'>            
Rohr
Flute

                  8'
style='mso-tab-count:1'>            
Viola

                  8'
style='mso-tab-count:1'>            
Viola
Celeste (TG)

                  4'
style='mso-tab-count:1'>            
Principal

                  4'
style='mso-tab-count:1'>            
Flute
d'Amour

                  2'
style='mso-tab-count:1'>            
Octavin

                  11⁄3'
style='mso-tab-count:1'>     
Mixture III

                  16'
style='mso-tab-count:1'>         
Bassoon
(1-12 extension)*

                  8'
style='mso-tab-count:1'>            
Trompette

                  8'
style='mso-tab-count:1'>            
Oboe

                  4'
style='mso-tab-count:1'>            
Clarion

                                    Tremulant

                                    Sw/Sw
16-UO-4

POSITIV (unenclosed)

                  8'
style='mso-tab-count:1'>            
Principal

                  8'
style='mso-tab-count:1'>            
Holzgedeckt

                  4'
style='mso-tab-count:1'>            
Principal*

                  4'
style='mso-tab-count:1'>            
Gedeckt*

                  2'
style='mso-tab-count:1'>            
Principal*

                  8'
style='mso-tab-count:1'>            
Oboe
(Sw)

                  8'
style='mso-tab-count:1'>            
Mounted
Cornet IV (TG)

                                    Pos/Pos

                                    Pos/Gt

                                    Tower
Bells (8 Whitehall bells)

STATE TRUMPET (unenclosed)

                  16'
style='mso-tab-count:1'>         
State
Trumpet*

                  8'
style='mso-tab-count:1'>            
State
Trumpet

                  4'
style='mso-tab-count:1'>            
State
Trumpet*

                                    Trumpet
to Gt

                                    Trumpet
to Sw

                                    Trumpet
to Pos

PEDAL (enclosed in Great)

                  32'
style='mso-tab-count:1'>         
Contra
Bourdon*

                  32'
style='mso-tab-count:1'>         
Dolce
Gedeckt*

                  16'
style='mso-tab-count:1'>         
Principal

                  16'
style='mso-tab-count:1'>         
Bourdon

                  16'
style='mso-tab-count:1'>         
Lieblich
Gedeckt (1-12 ext)*

                  8'
style='mso-tab-count:1'>            
Diapason

                  8'
style='mso-tab-count:1'>            
Bourdon*

                  8'
style='mso-tab-count:1'>            
Flauto
Dolce (Sw)

                  4'
style='mso-tab-count:1'>            
Choral
Bass*

                  4'
style='mso-tab-count:1'>            
Flute*

                  32'
style='mso-tab-count:1'>         
Contra
Posaune*

                  16'
style='mso-tab-count:1'>         
Posaune
(1-12 extension Gt Trumpet)

                  16'
style='mso-tab-count:1'>         
Bassoon
(Sw)

                  8'
style='mso-tab-count:1'>            
Posaune
(Gt)

                  8'
style='mso-tab-count:1'>            
State
Trumpet*

                  4'
style='mso-tab-count:1'>            
Clairon
(Gt)

 

Full interdivisional couplers

*indicates unification

New Organs

Default

First Baptist Church, Ocala, Florida

 

The Wicks Organ Co., Highland, Illinois, Opus 6382

 

In 1992, First Baptist Church of Ocala, Florida began a process of rebirth after a fire claimed all they had: furnishings, libraries, a concert grand piano, a Skinner pipe organ, choir robes, hymnals and Bibles. The congregation built a new 2,800-seat facility, which is one of the largest churches in Ocala. The final step of their rebuilding process was bringing a pipe organ into the new building.

David Kocsis, Wicks Area Sales Director writes:

Among the unique features of this project, the organ was to be a gift from a non-member--but one whose daughter and son-in-law were members. Secondly, the church provided a single sheet outlining their requirements for this instrument. The organ was to be a "supplemental" instrument, used mostly to enhance the 25-piece orchestra and 180-voice choir. It would also, upon occasion, be used as a recital instrument. They wanted an instrument of the "American Classic" school with the following characteristics incorporated: four-manual drawknob console; multiple Principal choruses; plentiful and opulent strings; a variety of flute choruses and solo stops; reeds to complement the overall instrument and offer solo opportunities; a Pedal division that offers strong, solid underpinning with at least two 32’ stops; a Trompette-en-Chamade of polished copper with flared bells; exposed pipework across entire chamber area (52 ft.) to eliminate existing latticework and grillwork; preparation on console for Chimes and Zimbelstern; MIDI capability.

Our proposal was for an instrument of 74 pipe ranks over five divisions with an additional four 32-foot computer-generated stops in the Pedal division, using the Walker Paradox system. The plan also called for (at the direction of the church) preparations for an 11-rank Solo division, and a 9-rank Antiphonal division.

We decided early on that Daniel Angerstein would tonally finish the instrument. Although First Baptist, Ocala was not a bad room, the irregular shape and carpeting did not make it acoustically live, either. Our factory-trained technician in Florida, Mr. Robert Campbell, would handle the  installation.

The specification for the instrument was a joint venture design involving Area Director David Kocsis, his associate Herb Ridgely, and voicer Dan Angerstein. After the contract was signed in late November, 1998, the three members of the design team met at the church to study the acoustics, room layout, chamber space, etc., so that detailed design work could begin. On the drive back to Atlanta, the pipe scales for the organ were discussed and finalized. The entire organ would be on 5" wind pressure with the notable exception of the Trompette-en-Chamade, which was to be on 10" wind pressure, and the Choir division English Tuba on 12". In order to "ring" the room, the Great 8' Principal would be built to a 40 scale, and the Great 8' Montre a 42 scale. One of the features of the design is the placement of the lowest pipes of the Pedal 16' Open Wood in the organ facade, stained to match the rest of the woodwork in the sanctuary. This placement allows the most profound of 16-foot foundation tone immediate access to the room. Of particular interest in the Walker system designed for this organ is that the computer-generated harp in the Choir can also be used with the Tremulant, providing a vibraharp sound.

There are several ancillary console controls that enhance ease of playing such a massive console, and also add facility to the instrument. These include: Pedal, Solo and Swell Melody couplers to the Great, all Swells to Swell, all Mixtures Off, all 32's Off, All Reeds Off, and All Celestes Off. To allow maximum visibility and eye contact between the organist and the minister of music, all inter-manual couplers were placed in the stop jambs, rather than on a coupler rail. This resulted in a console somewhat wider than normal (slightly over 8 feet). There are eight divisional pistons and 15 General pistons with 32 levels of memory. A 13-position transposer is included. The main body of the casework is painted semi-gloss off white, again matching the main color in the sanctuary. The whole idea was to give the impression that the building and the organ had been conceived as an integral whole.

The first of two truckloads of pipe organ arrived in Ocala on March 22, 2000, and the second truck arrived on April 12. Installation was completed on June 3 and voicing of the instrument in the room began on June 5. The logistical problems associated with installing a large pipe organ are many. The crew faced a 52-foot facade that begins 12' above the top choir riser and extends upward to accommodate full length 16-foot metal Principals and full length 16-foot Open Wood pipes. Bob Campbell's crew had scaffolding from floor to ceiling that would cover one of the four sections, and it took a considerable amount of careful planning to insure that all work was completed on one bay before tearing down the scaffolding and moving it to the next location.

From the beginning of the installation, the entire organ facade was covered every Sunday during church services so that the completed installation could be unveiled at one time. This occasion occurred on Sunday, June 4, 2000. The Sanctuary was dimly lit, and at the appropriate time, the entire organ facade was lit by a battery of specially placed lighting. This was only the prelude--the organ was heard for the first time by the congregation on July 2.

We at Wicks thank the committee and staff of first Baptist Church of Ocala for placing their trust in us to build an instrument according to their wishes. In particular, we would like to thank Dr. Ed Johnson, Sr. Pastor; Mr. Terry Williams, Minister of Music; and Mr. Larry Kerner, Chair of the Organ Committee. The entire congregation placed its confidence in us from the outset, and was extremely helpful from the beginning of the detailed design process through the installation. Several members of the church also volunteered their time and talents to help with the installation, especially with fitting and trimming of the facade to accommodate slight building irregularities. This really was a "team" effort, and everyone should be very proud of the results.

The dedication of the new IV/74 instrument at the First Baptist Church of Ocala, FL will be held on Sunday, September 24, 2000, featuring John Weaver, organ chair at The Curtis Institute of Music in Philadelphia and The Julliard School of Music in New York City.

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GREAT

1. 16' Montre

2. 16'    Bourdon

3. 8' Principal

4. 8' Montre (from #1)

5. 8' Flute Couverte

6. 8' Flute Harmonique

7. 4' Octave

8. 8' Gemshorn

9. 4' Nachthorn

10. 22/3' Twelfth

11. 2' Fifteenth

12. 2' Hohlflute (from #6)

13. 13/5' Seventeenth

14. IV-V Fourniture

15. IV Cymbale

16. 16' Kontra Trompete (from #17)

17. 8' Trompete

18. 8' Trompete en Chamade (10≤ w.p.)

19. Tremulant (Flutes)

20. Chimes [D]

21. Zimbelstern

22. Pedal Bass Coupler to Great

23. Swell Melody Coupler to Great

24. Solo Melody Coupler to Great

25. MIDI on Great

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SWELL (Enclosed)

26. 16' Bourdon Doux

27. 8' Geigen Principal

28. 8' Rohrflute (from #26)

29. 8' Viola Pomposa

30. 8' Viola Celeste

31. 8' Flauto Dolce

32. 8' Dolce Celeste TC

33. 4' Prestant

34. 4' Flauto Traverso

35. 22/3' Nazard

36. 2' Quarte de Nazard

37. 13/5' Tierce

38. IV-V Plein Jeu

39. III-IV Cymbale

40. 16' Contre Trompette

41. 8' Trompette

42. 8' Oboe

43. 8' Vox Humana

44. 4' Clairon (from #40)

45. 8' English Tuba (Ch)

46. 8' Trompette en Chamade (Gt)

47. Tremulant

48. MIDI On Swell

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CHOIR (Enclosed)

49. 16' Gemshorn [D]

50. 8' English Diapason

51. 8' Flute Ouverte

52. 8' Gemshorn

53. 8' Gemshorn Celeste TC

54. 4' Principal

55. 4' Koppelflute

56. 2' Principal

57. 11/3' Larigot

58. 1' Principal (from #56)

59. II Sesquialtera

60. IV-V Scharf

61. 16' Dulzian (from #62)

62. 8' Cromorne

63. 4' Rohr Schalmei

64. 16' English Tuba TC (from #65)

65. 8' English Tuba (12≤ w.p.)

66. 8' Trompette en Chamade (Gt)

67. 8' Harp [D]

68. 4' Harp Celesta [D]

69. Tremulant

70. MIDI On Choir

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SOLO (Enclosed)

15 Prepared Stops

71. 16' Trompette en Chamade TC (Gt)

72. 8' Trompette en Chamade (Gt)

73. 4' Trompette en Chamade (Gt)

74. 16' English Tuba TC (Ch)

75. 8' English Tuba (Ch)

76. 4' English Tuba (Ch)

77. MIDI On Solo

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ANTIPHONAL (Floating)

12 Prepared Stops

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ANTIPHONAL PEDAL

1 Prepared Stop

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PEDAL

78. 32' Contra Principal [D]

79. 32' Contra Bourdon [D]

80. 16' Open Wood

81. 16' Bourdon

82. 16' Principal

83. 16' Montre (Gt)

84. 16' Bourdon Doux (Sw)

85. 16' Gemshorn (Ch)

86. 8' Octave

87. 8' Major Bass (from #80)

88. 8' Bourdon (from #81)

89. 8' Viola (Sw)

90. 8' Open Flute (Ch)

91. 62/5' Gross Terz (Gt)

92. 51/3' Gross Quinte (Gt)

93. 4' Choral Bass

94. 4' Cantus Flute

95. 2' Flute (from #94)

96. IV Grave Mixture

97. IV Acuta

98. 32' Contra Bombarde [D]

99. 32' Contra Fagotto [D]

100. 32' Cornet des Bombardes IV

101. 16' Bombarde

102. 16' Contre Trompette (Sw)

103. 16' Kontra Trompete (Gt)

104. 16' Dulzian (Ch)

105. 8' Trompette

106. 8' Trompete (Gt)

107. 8' Oboe (Sw)

108. 4' Bombarde Clarion (from #101)

109. 4' Oboe (Sw)

110. 4' Schalmei (Ch)

111. 8' Trompette en Chamade (Gt)

112. 8' English Tuba (Ch)

113. Chimes (Gt)

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[D] = Digital Ranks

{C}

 {C}

Couplers

Sw/Gt 16 8 4

Ch/Gt 16 8 4

So/Gt 16 8 4

Ant on Gt

So/Sw 16 8 4

Ant on Sw

Sw/Ch 16 8 4

So/Ch 16 8 4

Ant on Ch

Ant on So

Gt 16 UO

Sw 16 UO 4

Ch 16 UO 4

So 16 UO 4

Ant UO 4

Gt/Ped 8 4

Sw/Ped 8 4

Ch/Ped 8 4

So/Ped 8 4

Ant/Ped 8

{C}

 {C}

Charles M. Ruggles, Conifer, Colorado, has built a new organ for The Randolph Church, Randolph, New Hampshire. The organ is designed on classic models typical of instruments found in New England and European churches; two manuals and pedal, mechanical action. Its structural and tonal characteristics make it suitable for the needs of The Randolph Church--for service playing, accompanying congregational singing, and playing a wide segment of standard organ literature. The case features cherry wood frame, redwood panels, and walnut trim. The Rohrflöte 8 and Octave 2 are common between the two manuals; the Bourdon 16 is an extension of the Bourdon 8. Manual compass 56 notes, pedal compass 30 notes; standard AGO pedalboard. Couplers, operated by foot levers, include Great to Pedal, Swell to Pedal, and Swell to Great.

{C}

 {C}

GREAT

                  8'             Principal

                  8'             Rohrflöte

                  4'             Octave

                  2'             Octave

                                    Mixture

                                    Sesquialtera II (from middle c)

SWELL

                  8'             Rohrflöte

                  8'             Gamba (tenor C)

                  4'             Flute

                  2'             Octave

                  8'             Dulcian

PEDAL

                  16'          Bourdon

                  8'             Bourdon

{C}

 {C}

B. Rule & Company, New Market, Tennessee, has rebuilt and installed a Hook & Hastings organ for Covenant Baptist Church, Houston, Texas. Built by Hook & Hastings in 1893 for First Baptist Church of Georgetown, Kentucky, the organ was removed from this church in 1963. It was owned for many years by David Bottom, of Lexington, Kentucky, who set it up in several different locations before carefully putting it in storage several years ago. B. Rule recommended the organ to Covenant Baptist Church, who bought it from David Bottom. Compass: 58/27.

B. Rule & Co. rebuilt the organ, including a complete rebuild of the chests and bellows and re-covering the manual keys with bone. The hand-pumping mechanism was also restored. Two changes were made: the Dulciana was replaced with a 2' Fifteenth, and the Oboe was extended to full compass from its previous tenor C status.

The small new sanctuary has a concrete floor and live acoustics, creating an environment which encourages congregational singing. The acoustical consultant was Charles Boner. The organist of the church is Carl McAliley, who played a joint dedication recital with Bruce Power on March 4.

{C}

 {C}

GREAT

                  8'             Open Diapason

                  8'             Melodia

                  4'             Octave

                  2'             Fifteenth

SWELL

                  8'             Stopped Diapason

                  8'             Viola (1-12 from St. Diap)

                  4'             Harmonic Flute

                  8'             Oboe

PEDAL

                  16'          Bourdon

Accessories

                                    Sw/Gt

                                    Gt/Ped

                                    Sw/Ped

                                    Sw/Gt Octaves

                                    Tremolo

                                    Blower Signal

 

Three Kimball Pipe Organs in Missouri

by R. E. Coleberd
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Introduction

The Kimball Company of Chicago was one of the foremost pipe organ builders in America in the first three decades of the twentieth century.  Instruments of all sizes in churches, colleges, theaters, homes and municipal auditoriums across the country made the Kimball organ well-known to churchgoers and the music world of that era. The name lives on in epic instruments in St. John's Episcopal Church, Denver, and the Minneapolis Civic Auditorium, others lesser-known, and in the recollections of older generations. Ironically, very little has been written about the company and its instruments, apart from David Junchen's perceptive summary of the firm and its theater organ work.1 A systematic study of the tonal philosophy and practices of the firm, as well as design features and construction details of their instruments, is long overdue. No comprehensive history of the pipe organ and its builders in America in the twentieth century can be complete without a major study of Kimball.

George T. Michel, a forgotten figure in the pantheon of notable American tonal directors and voicers, was the heart and soul of the Kimball pipe organ. His superb voicing talents, which embraced the full spectrum from reeds to strings to a Diapason chorus, were complemented by the skills and experience of other factory personnel including superintendent Oscar J. Hagstrom, voicer Joseph J. Carruthers, pipemaker Frank A. Meyer, and the astute front-office businessmen Wallace Kimball, Walter Hardy, and the much-traveled Robert P. Elliot. Yet as Van Allen Bradley remarks, correctly, in his company history Music for the Millions: "It was Michel more than any other man who gave the Kimball pipe organ of the 20th Century its great reputation."2

Junchen was unsparing in his praise of Michel: "His reeds were constructed with a jeweler's precision. They had distinctive tone colors, stood rock solidly in tune and were perhaps more uniform note per note than any ever built. Michel's strings set the standard by which all others were judged. Their richness, timbre and incredible promptness of speech, even in the 32' octave, have never been surpassed."3

This article takes a close look at three instruments in two small liberal arts colleges in western Missouri--Park College in Parkville and Missouri Valley College in Marshall--as examples of Kimball's work in the 1930s, near the close of its glorious era in organbuilding. The 1930s were the crucial decade before WWII when changing tastes and preferences swept the pipe organ market. The King of Instruments began to break away from the romantic and orchestral paradigm of the 1920s and earlier and moved toward "old world" antecedents and the classic ensemble. How did Kimball, progressive throughout its history, articulate and implement these changes? The stoplists under discussion shed light on Kimball's approach to organbuilding in that watershed era. The recital programs dedicating these instruments are representative of organ recital fare during that period and in contrast to recent times.

The 1930s demand closer scrutiny. The pioneering work of Walter Holtkamp and G. Donald Harrison is well documented. What about other builders and their instruments? The majority were family-owned firms where change came slowly and was often viewed as a threat. Thus much of the industry fell behind in the emerging trends. These builders were reluctant to depart from stoplists that had worked so successfully a decade earlier. They moved gingerly into mixtures and mutations, while holding onto favorite stops of the previous era--solo reeds, for example. Likewise, there was a pronounced lag in voicing philosophy and technique. The distinctive character and blending quality of independent mutation ranks, which are tuned to pure‚--not tempered--intervals, was scarcely appreciated by voicers accustomed to wide-scale diapasons and other unison stops. What mutations existed were frequently extensions of foundation stops. Mixtures of the 1920s were largely confined to the narrow scale string-sounding Dolce Cornets. 

The following analysis is made possible by the vivid recollections of one elder statesman of the organbuilding fraternity, the brief remarks of another who has passed on, and the insights of several contemporary observers well-acquainted with Kimball instruments and the 1930s era.

Charles McManis, living and working in semi-retirement in Woodbury, Connecticut, helped install the 1938 Kimball at Park College, an inspiring early step in his long and distinguished career as an independent builder in Kansas City, Kansas. Charles has close family ties to Park College. His grandfather was one of the original seventeen students enrolled when classes began on May 12, 1875, in an old stone hotel downtown. His parents were both graduates of the school.4

Another prominent builder in the postwar era who observed Kimball and their work was Franklin Mitchell (1917-1998), tonal director of the Reuter Company from 1951 to 1993. As a sophomore at Missouri Valley College in 1935, sitting in the back of the chapel, Mitchell observed George Michel finish the new three-manual organ. This experience and the ensuing summer employment at the Kimball factory in Chicago, at the invitation of Michel, inspired Mitchell to become an organbuilder and significantly influenced his work. As Jack Sievert, formerly Mitchell's colleague at Reuter and now with the Schantz Company points out, certain aspects of Mitchell's early work at Reuter bore the unmistakable stamp of George Michel and Kimball.5 Mitchell's failing health and death on March 31, 1998 precluded additional detailed comments which would have added importantly to this analysis.

Park College

Located in northwest Missouri, in the town of Parkville on the Missouri River nine miles upstream from Kansas City, Park College was founded in 1875, the realization of a long-cherished dream of George S. Park whose name it bears. A Vermont native and veteran of the Texas War of Independence, Park was a successful land speculator and devoted churchman, whose name graced the village he founded in 1844. For two decades, Park pleaded with the Presbyterian Church to establish a college in what was then considered the frontier. His dream was made possible by Dr. John McAfee, a professor at Highland College in Kansas who came as the school's first president, providing the experience and leadership required to establish it. McAfee's vision for Park College was a work-study curriculum affording poor students the opportunity to obtain a college education and was symbolized in the new school's motto "Fides et Labor" (faith and labor).6

The Graham Tyler Memorial Chapel is one of the first buildings one sees when approaching the campus and forms an appropriate introduction to a historically church-related institution of higher learning. Standing majestically in front of a terraced green hillside, this modified Gothic edifice, with a cruciform floor plan, features an English hammer-beam ceiling in the nave and, above the altar in the chancel, an exquisitely detailed wood carving of the Last Supper by Alois Lang (see photos).7 Seating 700, the building was designed by Kansas City architects Greenbaum, Hardy & Schumacher, who were awarded a bronze medal by the Kansas City chapter of the American Institute of Architects for the design of the best institutional building in the area in 1931.8

The new chapel was made possible by an $80,000 bequest of Mary G. Tyler (total cost $135,000) in memory of her father, Graham Tyler, a Philadelphia merchant. It followed the "Old Stone Church" erected in 1852, and its successor McCormick Chapel, given by Mrs. Cyrus Hall McCormick of Chicago in memory of her husband, the farm machinery magnate and inventor of the McCormick reaper. These chapels housed only reed organs. Miss Tyler recommended the building be patterned after the Russell Sage Memorial Chapel in East Northfield, Massachusetts on the campus of the Northfield Mount Hermon School.9

In his quest for a suitable pipe organ for the new chapel, the president of Park, Dr. F. W. Hawley, wrote to his friend from student days at McCormick Seminary, Dr. Paul W. McClintock, then director of research in the Department of Building Fund Campaigns at the Presbyterian church headquarters in Philadelphia. Dr. Hawley requested advice and recommendations and McClintock was happy to oblige. Their correspondence offers a rare glimpse of the role of a consultant in an organ project, a role whose numbers are legion in the history of the organ business in America, and sheds light on the brutal, white-hot competition for work in the dark days of the Great Depression.10

McClintock began by strongly recommending that Hawley engage William H. Barnes as consultant for the project, which Hawley did. "You will find Barnes wonderfully helpful. He has a thorough knowledge of the organ, perhaps a better knowledge than any other living American and I know from my contacts with him that his advice is absolutely unbiased and can be thoroughly depended upon."11 In the meantime, Hawley wrote McClintock that he was "quite strongly inclined toward the Reuter Organ" because of the short distance (50 miles) from Parkville to Lawrence, Kansas. He mentioned that the founders of Reuter had trained at Casavant.12 McClintock quickly dismissed Hawley's concern over proximity to a nearby factory as a criterion for choosing a builder. He pointed out that builders had agents coast-to-coast and even in Laurel, Mississippi (where he had lived), a serviceman was never more than six hours away.13

Hawley asked whether McClintock was familiar with the Robert Morton Company of Van Nuys, California, a firm he had never heard of but one of the many firms sending in proposals once word got out that Park was buying an organ. The local representative was offering a $13,000 instrument, built for a theater in Oklahoma City but refused upon delivery, for $3,500. "I do not want to buy a cheap organ but if we can buy a good organ that will meet our needs at a very low cost we want to take advantage of all the saving we can," Hawley wrote. The representative also proposed a $15,000 new organ for $10,000 as an "introductory offer."14

McClintock continued by offering his opinion on builders whom he divided into two classes. In the first class he named: Austin, Casavant, Estey, Hook & Hastings, Kimball and Skinner. Their work can be "thoroughly depended upon," he said, adding that Skinner excels in reeds and Hook & Hastings in diapasons. In the second class he included: Hall, Kilgen, Midmer-Losh, Moller and Pilcher, builders whose work is "very good" but does not embrace the "same careful attention as to construction, mechanism, voicing and tonal balance." He faulted Reuter for lacking tonal balance and excessive octave coupling which he called duplexing. He wrote off Bennett whose instruments he had found unsatisfactory.15

President Hawley circulated the specification drawn up by Barnes, together with a cover letter, to twelve builders. Bids were received from Estey, Kilgen, Midmer-Losh, Moller, Pilcher, Reuter and Welte-Tripp.16 The Reuter sales manager, William C. Verney, was eager to obtain the contract and solicited support from friends whom he thought would be influential with Hawley. One was a prominent Kansas City lawyer, Thad B. Landon, who wrote Hawley: "I just want you to know that I had come in very close touch with these people . . . on some matters in the past few years and feel they are very good people with whom to work."17 Another was A. O. Thompson, well-known Kansas City lumber yard operator and trustee of the college, who while vacationing in Los Angeles sent a telegram to Hawley in care of Barnes: "Would appreciate your favoring Reuter organ provided price and quality are equal to other makers."18 In January, 1931, Hawley traveled to Chicago, to meet with Barnes and listen to several instruments. Based upon his own preference for the Kimball sound as well as Barnes' recommendation, he signed a contract with Kimball for a $15,000 organ. The terms were $5,000 upon delivery (and acceptance) and three annual installments of $3,333 each plus six percent interest.19 Kimball was represented in the negotiations by Herbert Hyde, well-known Chicago organist, composer and music impresario who joined Kimball in the Fall of 1930 after four years as western representative for Skinner.20

The Kimball pipe organ was given in memory of Mrs. Annette Young Herr of Mifflinsburg, Pennsylvania by her children. A twenty-three rank, three-manual instrument with four-rank echo division prepared for (see stoplist), it was designed by William Harrison Barnes, remembered today for his multi-edition and widely-circulated book, The Contemporary American Organ. Barnes presided at the console during commencement week, June 6-8, 1931. He played for the baccalaureate service and the chapel dedication program on Saturday, the organ dedication recital on Sunday evening, and commencement Monday morning. 21

The Barnes dedicatory recital (see program) featured traditional organ fare and the work of contemporary composers Joseph Bonnet, Marco Enrico Bossi, Joseph Clokey, Giuseppe Ferrata and Bernard Rogers.22 Appearing frequently in recital programs during this period, these composers are seldom heard in performances today. The Mendelssohn selection was from Elijah. Clokey's "Dripping Spring" was a character piece, so-called because the title describes the work. The Schubert number was a transcription.

A full-page biographical sketch of Barnes was featured in the Commencement Program. It began with his BA degree from Harvard and his organ study with Wallace Goodrich, dean of the New England Conservatory of Music, and with Clarence Dickinson in New York. His several church organist positions in the greater Chicago area were enumerated as were his offices in professional associations. He was also an associate editor of The American Organist. In recognition of his services to the college and his prominence in the organ world, Barnes was awarded an honorary doctorate (Mus.D) by Park College at this commencement.23

The 1931 Kimball organ specification (see stoplist) bore a strong resemblance to the previous era, and was in marked contrast to the two later Kimballs in this article. The Great manual contained a unit Diapason at 16', 8' and 4', a scheme which results in scaling discontinuity and octave overlap. Arguably, this sort of unification never works in building a true Diapason chorus. The Grave Mixture, a tepid stop comprising a Twelfth and Fifteenth with no breaks, was no Mixture at all. The wide-scale Clarabella was borrowed from the Pedal.

The Swell division was built around a unit Bourdon of 97 pipes. Also conspicuous in this tonal palette was a tapered flute and Celeste, played as one stop, and a Waldhorn, a robust reed voice which played at both 16' and 8' pitches. The Choir manual contained four independent ranks with the balance borrowed from the Great. The Celeste was matched with the Dulciana, not the Gamba, standard practice for that period. The nine-stop Pedal division embraced only two unified independent ranks with others, chiefly 16' voices, borrowed from the manual divisions. Again, this was typical of this period. The prepared for Echo organ stoplist was nearly identical to those of other builders in this era.

The organist and choirmaster at Park from 1921 to 1953 was Dr. Charles L. Griffith, 1887-1969 (see photo). A graduate of William Penn College in Iowa, where he taught music for 17 years before coming to Park, Griffith earned an M.A. degree from Grinnell College, also in Iowa, and a Ph.D. in music from the University of Iowa. He was awarded honorary degrees by Park and William Penn. After 21 years at Park, Griffith retired and returned to William Penn, as chairman of the Fine Arts Department. Griffith Hall, the Fine Arts Building at William Penn, is named in his honor.24

On the evening of December 25, 1937, scarcely six years after its completion, the beautiful Graham Tyler Chapel caught fire and burned to the ground. The blaze, believed to have started in the basement, spread rapidly and soon the roof fell in.25 The Kimball organ was destroyed as were objects d'art in the chancel. Construction of an identical replacement edifice began immediately. The Lang carving replaced a painting of The Lord's Supper above the altar in the chancel. A new and larger Kimball organ, with casework and display pipes to be duplicates of the first instrument, was ordered. Kimball was represented in the negotiations by N.W. Hillstrom who was quick to praise the new stoplist proposed by Barnes. "It is a very fine specification and would indeed make a glorious organ for the Chapel," he wrote, calling attention to the changes in each division including a "cohesive and vibrantly rich Diapason chorus" on the Great. He was particularly effusive about the 32' Sub Bourdon on the Pedal. "It is a charming stop against the softest of manual combinations and one that in my opinion should be included in every organ of note."26

The rebuilt chapel and the new three-manual, thirty-six rank Kimball organ (the five-rank Antiphonal division was prepared for) were dedicated during Fine Arts Week, October 23-30, 1938 in a program series. The inaugural recital Monday evening was again played by William H. Barnes, now Dr. Barnes, who also presented a lecture entitled "The Organ" Tuesday morning. His 1938 recital was more standard fare (see program), concentrating largely on works closely identified with the organ but also including Hugh McAmis' "Dreams," a work frequently played during that era.27

The recitalist Tuesday evening (see program) was the legendary Edna Scotten Billings, for decades the grande dame of Kansas City organists. Mrs. Billings chose a demanding program, including the very difficult "Variations de Concert" by Joseph Bonnet. Wednesday evening's program featured several instrumentalists, along with college organist Charles Griffith and his wife Blanche Noble Griffith, soprano. The series closed Thursday evening with an organ recital (see program) by Joseph A. Burns, a well-known local keyboard artist. He selected three compositions by Enrico Bossi, and "Le Vol du Bourdon" which is known today as "The Flight of the Bumble Bee."28

The 1938 Kimball (see stoplist) differs radically from the 1931 specification, reflecting the maturing classical outlook of Barnes and Michel. The Great division features a unit Gemshorn, which works very well in pitch, color and blending quality, and an authentic principal chorus, carefully voiced and capped with a Mixture IV made of tin. The Hohl Flote, a dark, broad scale voice which fills out the ensemble, is a wooden rank with arched upper lips and is full length in the 8' octave. It contrasts sharply with the Rohrflote on the Swell. The Great Trumpet, reflecting the orchestral paradigm, is Tromba sounding, confined and fundamental, designed to dominate the chorus on full organ. The Great Mixture begins on the 12th, the lower pitch typical for the period when organists were accustomed to using the super-coupler on full organ. Mixture composition and scaling of principal ranks was based upon this assumption. Each pipe of the mixture is winded on a separate valve.

The foundation for the Swell is the unit Rohrflute with a compass of 16' to 2', by now a trademark of George Michel. The Swell Trumpet, in contrast to the Tromba voiced Great Trumpet, is a brighter, more harmonically developed, open sound. The Salicional has a slight edge, and the Flauto Dolce, reminiscent of the Skinner voice of this name, is not as assertive as even a Dulciana but loud enough to be heard. The Corno d'Amour, a capped trumpet nearly identical to a Flugelhorn, serves in place of the customary Oboe. The Swell design also featured the Contra Fagotto as the 16' reed voice in place of the Waldhorn in the 1931 stoplist.

The Choir manual, boasting exquisite strings, Viola and Dulciana, and a notably fine clarinet, is voiced as a mild principal ensemble, a tad soft in an otherwise carefully balanced instrument. The 8' Concert Flute is made of wood harmonic pipes, and the 4' Lieblich Flote is a capped metal rank of singular beauty. The Pedal division, as in 1931, counts only two ranks with unification, plus many borrows from manual ranks. The five lowest pipes of the 32' Sub Bourdon, GGGG to BBBB, are enormous in scale, much larger than the following pipes in the 16' octave. The first seven notes in the 32' octave are resultants. The five-rank Antiphonal organ, in contrast to the projected 1931 stoplist (never installed), was added the following year and contained a Diapason and and Octave. The Park College Stylus, apparently referring to these stops commented: "Two new stops in connection with the echo organ will combine the features of both the echo organ and the antiphonal organ."29

Seated at the console demonstrating the instrument to the writer, Canon John Schaefer, organist and choirmaster of Grace and Holy Trinity Episcopal Cathedral in downtown Kansas City who is staff organist at Park, remarks that this Kimball organ has "real character" and an enduring quality that has survived the fads and fashions of the postwar era to remain a most attractive instrument. Carefully planned and executed, it is a tribute to the artistry of George Michel. Schaefer remarks that if there is a weakness in this instrument it is in the mutations, derived from the Dulciana in the Choir and Flute in the Swell, which "don't do much."30  In keeping with the period, the entire instrument was under expression when installed although subsequently the shades of the Great and Pedal divisions were removed.

The primary function of the Graham Tyler Chapel today, no longer used for scheduled chapel services by the college, is as one of the most popular wedding venues in the metropolitan area. Park College is now an independent school with no denominational affiliation. The epic Kimball organ, a noteworthy instrument by a neglected builder in a bygone era, was renovated in 1978 by Charles McManis who praised it in a letter to the college president as a noteworthy example of the "Clarified Ensemble" in the contemporary epoch of American organbuilding.31 When funds permit, it is scheduled for a full restoration by the Quimby Pipe Organ Company.

Missouri Valley College

Founded in 1888 by Cumberland Presbyterians, Missouri Valley College is located in Marshall, Missouri, a town seventy miles east of Kansas City, settled in 1839 and named for Chief Justice John Marshall of the U.S. Supreme Court. Marshall is the county seat of Saline County, so named because of numerous salt springs in the area. Stewart Chapel, built in 1906 (see photo), was given by prominent St. Louis lawyer Alphonso C. Stewart, L.L.D., a trustee and lifelong benefactor of the school, in honor of his father, General A. P. Stewart, Confederate States of America.32 The chapel was remodeled in 1935, a gift of Mrs. Olive Depp Richey, widow of an early trustee of the college. The new Kimball organ was designated the James Edward Richey Memorial Organ.33

The organist and keyboard professor at Missouri Valley was Claude Leslie Fichthorn, 1885-1972 (see photo). A native of Reading, Pennsylvania, where he studied piano, organ and voice in his youth, Fichthorn served local churches as organist and choirmaster while yet a teenager. Then, even without a college degree, he taught at Ursinus College in Pennsylvania before coming to Missouri Valley, in 1912, to teach piano. The following year he studied voice in Paris with Louis Dubigny, then returned to Missouri Valley where he completed a B.A. degree in 1916. In 1931, Fichthorn obtained an M.A. from Columbia University. He also held the A.A.G.O. certification. From 1920 to 1935, he was organist and choirmaster of the Westport Presbyterian Church in Kansas City and afterward, for twenty years, held the same position at the Methodist Church in Marshall.34

As the resident impresario of Marshall, Fichthorn, now dean of the school of music at Missouri Valley, was a man of broad musical interests and boundless energy. He orchestrated what must have been one of the most extensive musical programs for a town of 8500 people to be found anywhere. In addition to directing the keyboard, choral and instrumental music offerings of the college and serving as organist and choirmaster at the Methodist Church organ on Sunday morning, he organized and directed the Marshall Symphony, an ambitious project for a rural community but one not entirely unknown in the state.35 Fichthorn was awarded an honorary Mus.D. from Missouri Valley in 1948, in grateful recognition of his forty years of devoted service to the school. And in 1962, in reply to a citation for his half century of service to the school he said: "I have had fun and enjoyed my work, and that is why it has been so wonderful."36

Dean Fichthorn played the opening recital on the twenty-six rank three-manual Kimball organ on Thursday evening, December 5, 1935 (see program), preceding rededication of the chapel and dedication of the organ on Sunday afternoon. The Marshall Democrat-News described the forthcoming recital as designed to exhibit the tonal resources of the new organ. Bach's D-Minor Toccata and Fugue was said to be his work most often heard on radio since it was judged as more dramatic than the composer's other works which were deemed more classical. The choice of Widor's Toccata, selected specifically to exhibit the tonal colors of the organ, reflected the belief that as the premier organ composer of the late romantic period, he, unlike other composers, perceived the instrument's possibilities as an interpretive medium.37 Barbara Owen comments that his program was "quite ambitious" in that playing the complete Widor Symphony No. 2 was unusual, adding that organists and musicians in general weren't favorably disposed toward Stravinsky and the Firebird Suite in 1935. However, since Fichthorn was also an orchestra conductor, he most likely had a good feeling for orchestral works.38

In his program notes, Fichthorn asserted that Bach's fugues were the epitome of organ composition and the D-minor Toccata and Fugue was the most popular. The eight symphonies of Widor were said to be "unequaled in breadth of concept and richness of imagination" and the second symphony "more lyrical" than the others. The chimes of a church in Canada were the inspiration for Russell's "The Bells of 'St. Anne de Beaupre." Fichthorn described his composition "In the Forest" as: "An afternoon in the forest, heard are the peaceful brook, the call of birds, the threatening storm and a return to peaceful meditation." In that time as well as today, it was not unusual for organists to play their own works in a recital. Delius' "On Hearing the First Cuckoo in Spring" was portrayed as an impressionistic study by the recently deceased and the "most original" composer Great Britain has produced. Stravinsky's Firebird Suite was hailed as this composer's most popular work for orchestra.39

The choice of a three-manual design for an organ of just twenty-six ranks (see stoplist) was, no doubt, deemed appropriate for the teaching and performance demands of a college. With a budget limit of these resources, the voices were distributed over the manuals in a very interesting way. Professor Mary Ellen Sutton, organ teacher at Missouri Valley, 1968-73, described the unification and borrowing as "very skillful."40 The specifications for the instrument were written by Fichthorn and revised by William H. Barnes, with voicing and tonal finishing by George T. Michel. Program notes called attention to the thirty combination pistons and toe studs on the console incorporating the new Kimball Remote Control System. Also, a new non-rigid sound-absorbing material in the console made it as silent as possible. The entire instrument was under expression in two chambers.41

On the Great division, the Gemshorn lent itself well to unification, augmented the principal chorus, and added color and pitch. The 4' Flute, borrowed from the Swell unit Rohrflute, blended well with the 8' Harmonic Flute, while the Dulciana provided a soft stop on the division. The Diapasons I and II were a throwback to a previous era, indicating that the designers had not totally abandoned that paradigm. The Mixture began on the 15th, because there was no independent 2' stop on the division.

The Swell division, with the unit Rohrflute from 16' to 2' pitches, so typical of Michel, was supplemented by strings, string principals and a full reed chorus plus the ubiquitous Vox Humana, another vestige of previous times. Barbara Owen observes that on this Kimball, the Choir was nearly as large as the Swell, which was unusual for a period when the Swell was customarily the largest division of the organ. She notes that the absence of an Oboe among the reeds was also unusual. The 16' Waldhorn, frequently used by Skinner, would impart a "growl" at this pitch but was comparatively lacking in blending and solo quality and thus would disappear entirely from stoplists in the postwar era.42

The Choir began with an 8' Diapason borrowed from the Second Diapason on the Great. Therefore, it was most likely voiced as a string principal, as the independent voice on this division would customarily have been. The Melodia was unified to 4' and 2' and, in effect, would most likely have been a Wald Flute at 4' since the scales for the Melodia and Wald Flute were often the same. The reeds on the Choir, French Horn, Cor Anglais and Clarinet, were solo voices from the symphonic era.

Recalling the instrument from the perspective of the postwar era and his practices as tonal director of the Reuter Company, Franklin Mitchell said the diapasons would be considered a tad "hooty" today, while the trumpet was big in scale and would pass today as a tuba. The Clarinet was very "conventional" and sonorous. The Salicional string was thin and keen. The Waldhorn was a mild 16' reed with not much character. Mitchell commented that George Michel later veered toward diapason type strings, such as a small Geigen, which were not nearly as authentic as an orthodox string voice.43 Sadly, this notable instrument was lost when the chapel burned on February 28, 1973.44

Summary

The 1930s, marking the close of one epoch and the beginning of another, were a major turning point in the history of the pipe organ in America. The Kimball Company was an industry icon before WWII and a builder deserving of recognition today. The three instruments discussed above were milestones in the history of Kimball and representative of the progress of this landmark era in terms of several criteria. These include the emergence of an authentic principal chorus capped with a mixture, the place of chorus reeds in an ensemble and the role of mutations--although failure to embrace them as independent voices. Most important, they reflect Michel and Kimball's vision and implementation of the fundamental concepts of pitch, color, contrast and blend in the design and voicing of the inimitable King of Instruments.        n

                                   

R. E. Coleberd writes frequently on the history and economics of pipe organ building.

 

For research input and critical comments on earlier drafts of this paper the author gratefully acknowledges : Tom Atkin, Wilson Barry, E.A. Boadway, Christopher Bono, Carolyn Elwess, Laura Gayle Green, Alan Laufman, Charles McManis, Albert Neutel, Barbara Owen, Michael Quimby, Pam Reeder, Lois Regestein, John Schaefer, Katharine Fichthorn Schanz, Jack Sievert, and Mary Ellen Sutton.

 

Bibliographical material on Park College is found in Fishburn Archives, McAfee Memorial Library, and on Missouri Valley College in Murrell Memorial Library. The author expresses his appreciation to Carolyn McHenry Elwess of Park and Pam Reeder of Missouri Valley for their assistance.

Notes

                  1.              Junchen, David L., Encyclopedia of the American Theater Organ, Pasadena, California: Showcase Publications, Vol. 1, 1985, pp. 206-209.

                  2.              Bradley, Van Allen, Music for the Millions: The Kimball Piano and Organ Story, Chicago, Illinois: Henry Regnery Company, 1957, p. 191.

                  3.              Junchen, op cit, p. 209.

                  4.              Charles McManis, letter to the author, October 8, 1998.

                  5.              Jack Sievert, letter to the author, September 30, 1998.

                  6.             A Chronicle of Memories: Park College--1875-1990, Copyright by the Alumni Association of Park College, Parkville, Missouri, 1990, pp. 17-21. Also C. M. Elwess, "Park College: Past, Present and Future," Alumni Directory, 1995, p. V.


7.                    

Alois Lang (1871-1955), was a native of Oberammerg

 

PARK COLLEGE

PARKVILLE, MISSOURI

 

DEDICATION

ANNETTE MATILDA HERR ORGAN

PROGRAM

June 7, 1931

William Harrison Barnes

 

1. (a) Caprice Heroique                Bonnet

    (b) Reverie  Bonnet

    (c) Andante (Grand Piece Symphonique)   Franck

2. (a) Scripture and Prayer        Pres. Frederick W. Hawley

    (b) He, Watching Over Israel             Mendelssohn

3. (a) The Legend of the Mountain       Karg-Elert

    (b) Scherzo Rogers

    (c) Dripping Spring Joseph Clokey

4. Remarks concerning the Tonal Structure of the Organ         Barnes

5. (a) Nocturne                 Farrata

    (b) Beside the Sea   Schubert

    (c) Toccata (Gothic Suite)   Boellmann

 

Benediction

 

PARK COLLEGE

PARKVILLE,  MISSOURI

 

DEDICATORY RECITAL

William H. Barnes, Mus.D. (Park)

Monday evening, October 24, 1938

at eight o'clock

 

Grand Choeur Dialogue               Gigout

Sketch in D Flat               Schumann

St. Anne's Fugue             J.S. Bach

Chorale Prelude "Jesu, Joy of Man's Desiring"               J.S. Bach

Prelude and Fugue in B Flat     J.S. Bach

Chorale Prelude "Lo, How a Rose E'er Blooming"     Johannes Brahms

Ronde Francais                 Boellmann

The Mirrored Moon      Karg-Elert

Pastorale              Cesar Franck

Chorale in E Major        Cesar Franck

Dreams                 McAmis

Theme And Variations                  Widor

 

Graham Tyler Memorial Chapel, Park College, Parkville, Missouri

W.W. Kimball, 1931

 

Great Organ (enclosed)

                  16'          Open Diapason (unit) 85 pipes

                  8'             First Diapason 61 pipes

                  8'             Second Diapason (from 16' Diap)                                            61 notes

                  8'             Clarabella (ext Pedal Bourdon) 17                                            pipes

                  8'             Concert Flute 61 pipes

                  4'             Octave (from 16' Diap) 61 notes

                  4'             Flute Harmonique 61 pipes

                  II              Grave Mixture 122 pipes

                  8'             Trumpet 61 pipes

                                    Chimes, 20 tubes

Swell Organ

                  16'          Bourdon (unit) 97 pipes

                  8'             Diapason 73 pipes

                  8'             Chimney Flute (from Bourdon) 73                                           notes

                  8'             Salicional 73 pipes

                  8'             Vox Celeste 73 pipes

                  8'             Spitz Flute Celeste 134 pipes

                  4'             Octave 73 pipes

                  4'             Flute (from Bourdon) 73 notes

                  22/3'      Nazard (from Bourdon) 73 notes

                  2'             Piccolo (from Bourdon) 73 notes

                  16'          Wald Horn 85 pipes

                  8'             Horn (from Wald Horn)

                  4'             Clarion (from Wald Horn)

                                    Harp (prepared for) 49 bars

Choir Organ

                  8'             Diapason (from Gt Second Diap)                                             61 notes

                  8'             Concert Flute (from Great) 61                                                                       notes

                  8'             Gamba 73 pipes

                  8'             Dulciana 73 pipes

                  8'             Unda Maris 61 pipes

                  4'             Harmonique Flute (from Great) 61                        notes

                  4'             Dulcet (Dulciana) 61 notes

                  8'             Clarinet 73 pipes

                  8'             Harp (from Swell)

Echo Organ (prepared for)

                  8'             Gedeckt 61 pipes

                  8'             Viol Aetheria 61 pipes

                  8'             Vox Angelica 61 pipes

                  4'             Flute (ext) 12 pipes

                  8'             Vox Humana 61 pipes

                                    Chimes

Pedal Organ

                  32'          Resultant 32 notes

                  16'          Diapason 44 pipes

                  16'          Second Diapason (from Great) 32                                            notes

                  16'          Bourdon 44 pipes

                  16'          Second Bourdon (from Swell) 32                                                               notes

                  8'             Octave (from Diapason) 32 notes

                  8'             Flute (from Bourdon) 32 notes

                  8'             Flauto Dolce (from Swell Bour-                                                                    don) 32 notes

                  16'          Wald Horn (from Swell) 32 notes

 

Source: The Diapason, March, 1931, page 2.

 

Graham Tyler Memorial Chapel, Park College, Parkville, Missouri

W.W. Kimball, 1938

 

Great Organ

                  16'          Contra Gemshorn (ext.) 12 pipes

                  8'             First Diapason 61 pipes

                  8'             Second Diapason 61 pipes

                  8'             Hohl Flote 61 pipes

                  8'             Gemshorn 61 pipes

                  4'             Octave 61 pipes

                  4'             Gemshorn (ext.) 12 pipes

                  4'             Flute Harmonique 61 pipes

                  IV            Fourniture 244 pipes

                  8'             Trumpet 61 pipes

                                    Chimes (Deagan "D" Kimball spe-                                           cial, piano hammer action) 25                                                                 tubular bells

                                    Tremolo

Swell Organ

                  16'          Lieblich Gedeckt (ext.) 12 pipes

                  8'             Geigen Diapason 73 pipes

                  8'             Rohrflote 73 pipes

                  8'             Salicional 73 pipes

                  8'             Voix Celeste 73 pipes

                  8'             Flauto Dolce 73 pipes

                  8'             Flute Celeste (T.C.) 61 pipes

                  4'             Octave Geigen 73 pipes

                  4'             Flute d'Amour (ext.) 12 pipes

                  22/3'      Nazard (ext.) 61 notes

                  2'             Flautino (ext.) 61 notes

                  13/5'      Tierce (prepared for)

                  IV            Plein Jeu 244 pipes

                  16'          Contra Fagotto 73 pipes

                  8'             Trumpet 73 pipes

                  8'             Corno d'Amour 73 pipes

                  8'             Vox Humana 61 pipes

                  4'             Clarion 73 pipes              

                  8'             Harp (prepared for)

                  4'             Celesta (prepared for)

                                    Tremolo

Choir Organ

                  16'          Contra Viola (ext.) 12 pipes

                  8'             Viola 73 pipes

                  8'             Viola Celeste (T.C.) 61 pipes

                  8'             Concert Flute 73 pipes

                  8'             Dulciana 73 pipes

                  8'             Unda Maris (T.C.) 61 pipes

                  4'             Lieblich Flote 73 pipes

                  4'             Viola (ext.) 12 pipes

                  4'             Dulcet (ext.) 12 pipes

                  22/3'      Dolce Twelfth (Dulciana) 61 notes

                  2'             Dolce Fifteenth (Dulciana) 61                                                                        notes

                  8'             Clarinet 73 pipes

                                    Chimes (Great)

                  8'             Harp (prepared for)

                  4'             Celesta (prepared for)

                                    Tremolo

Antiphonal Organ

Manual

                  8'             Diapason 61 pipes

                  8'             Melodia 61 pipes

                  8'             Viiole d'Amour 61 pipes

                  8'             Vox Angelica 49 pipes

                  4'             Octave 61 pipes

                                    Tremolo

Pedal Organ (Installed 1939)

                  32'          Sub Bourdon GGGG-BBBB* 5                                                                  pipes

                  16'          Open Diapason 44 pipes

                  16'          Bourdon 56 pipes

                  16'          Contra Viola (Choir) 32 notes

                  16'          Lieblich Gedeckt (Swell) 32 notes

                  8'             Octave (ext. Open Diapason) 32                                                                  notes

                  8'             Flute (ext. Bourdon) 32 notes

                  8'             Gemshorn (Great) 32 notes

                  8'             Stillgedeckt (Swell) 32 notes

                  4'             Flute (ext. Bourdon) 32 notes

                  16'          Contra Fagotto (Swell) 32 notes

                                    Chimes (Great), 8'

* First 7 notes Resultant

Pedal Antiphonal

                  16'          Lieblich Bourdon (ext. Melodia) 12                       pipes

 

Source: The Diapason, September 1, 1936, pp. 1-2.

 

PARK COLLEGE

PARKVILLE, MISSOURI

 

EDNA SCOTTEN BILLINGS

Organist

Tuesday evening, October  25, 1938

at eight o'clock

 

The Program

 

I

First Concerto  Bach

Allegro

Grave

Presto

Choral Prelude, "My Inmost Heart Doth Yearn"           Bach

Fugue in G Minor           Bach

 

II

Piece Heroique                  Franck

Saluto Angelico from "Cathedral Windows"   Karg-Elert

Romance             Bonnet

Lamento               Bonnet

Variations De Concert Bonnet

 

PARK COLLEGE

PARKVILLE, MISSOURI

 

ORGAN RECITAL

 

Joseph A. Burns, A.B., M.Mus., F.A.G.O.

Thursday evening, October 27, 1938

at eight o'clock

 

The Program

 

I

Fantasie And Fugue in G Minor              Bach

Ave Maria           Bossi

Siciliana, Stile Antico    Bossi

Scherzo in G Minor      Bossi

 

II

Clair De Lune  Karg-Elert

Chorale Inprovisation, "Jerusalem, Thou City Built On High"                Karg-Elert

Le Voldu Bourdon         Rimsky-Korsakoff

Andante Cantabile          Widor

Toccata in F      Widor

 

Stewart Chapel, Missouri Valley College, Marshall, Missouri

W.W. Kimball, 1935

 

Great Organ

                  16'          Contra Gemshorn (ext.) 12 pipes

                  8'             Diapason I 73 pipes

                  8'             Diapason II        73 pipes

                  8'             Harmonic Flute 73 pipes

                  8'             Dulciana (Choir) 61 notes

                  4'             Octave 73 pipes

                  3'             Flute (Swell) 61 notes

                  III            Mixture (12, 15, 19) 183 pipes

                  8'             Trumpet  73 pipes

                                    Chimes

                                    Harp

                                    Celesta

                                    Tremolo

Swell Organ

                  16'          Lieblich Gedeckt (ext.) 12 pipes

                  8'             Geigen Principal 73 pipes

                  6'             Rohrflote 73 pipes

                  8'             Flute Dolce 73 pipes

                  8'             Flute Celeste 73 pipes

                  8'             Salicional 73 pipes

                  8'             Vox Celeste 73 pipes

                  4'             Octave Geigen 73 pipes

                  4'             Flute d'Amour (ext.) 12 pipes

                  22/3'      Nazard (ext.) 61 notes

                  2               Flageolet (ext.) 61 notes

                  16'          Waldhorn 73 pipes

                  8'             Trompette 73 pipes

                  8'             Vox Humana 61 pipes

                  4'             Clarion 73 pipes

                                    Harp

Choir Organ

                  8'             Diapason (Great II) 61 notes

                  8'             Melodia 73 pipes

                  8'             Dulciana 73 pipes

                  8'             Unda Maris 73 pipes

                  4'             Flute (ext. Melodia) 12 pipes

                  4'             Dulcet (ext. Dul.) 12 pipes

                  22/3'      Dolce Twelfth (ext.) 61 notes

                  2'             Piccolo (ext. Melodia) 61 notes

                  2'             Dolce Fifteenth (ext.) 61 notes

                  13/5'      Dolce Tierce (ext.) 4 pipes

                  8'             French Horn 73 pipes

                  8'             Cor Anglais 73 pipes

                  8'             Clarinet 73 pipes

                                    Harp

                                    Celesta

                                    Tremolo

Pedal Organ

                  32'          Acoustic Bass 32 notes

                  16'          Open  Diapason 32 pipes

                  16'          Contra Gemshorn (Gt.) 32 notes

                  16'          Bourdon 32 pipes

                  16'          Lieblich Gedeckt (Sw.) 16 pipes

                  8'             Octave (ext. O.D.) 12 pipes

                  8'             Gemshorn (Gt.) 32 notes

                  8'             Flute Ouverte 32 notes

                  8'             Stillgedeckt 32 notes

                  4'             Super Octave 12 pipes

                  16'          Trombone (ext. Gt.) 12 pipes

                  8               Trumpet (Great) 32 notes

                                    Chimes

 

Source: The Diapason, January, 1936, pp. 1-2.

 

STEWART COLLEGE

MISSOURI VALLEY COLLEGE

MARSHALLL, MISSOURI

 

Dedicatory Recital

James Edwin Richey Memorial Organ

Thursday evening, December 5, 1935

Dean Claude Leslie Fichthorn, recitalist

 

Toccata and Fugue in D Minor                Bach

Symphony Number 2  Widor

Praeludium Circulaire

Pastorale

Andante

Salve Regina

Adagio

Finale

Marche Champetre        Boex

Largo, New  World Symphony               Dvorak

The Forest          Fichthorn

On Hearing the First Cuckoo in Spring               Delius

Firebird Suite    Stravinsky

Berceuse

Finale

W. W. Kimball Op. 7231 Restoration, St. John’s Cathedral, Denver

Michael Friesen

Michael Friesen, of Denver, Colorado, is an organ historian who specializes in the history of organbuilding in America in the 18th and 19th centuries. He was President of the Organ Historical Society from 2003 to 2007.

Files
webMar10p24-25.pdf (263.66 KB)
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St. John’s Episcopal Cathedral, Denver, Colorado, has announced that Spencer Organ Company, Inc. of Waltham, Massachusetts will restore the cathedral’s historic 5,949-pipe organ built by W. W. Kimball of Chicago. The four-manual, 96-rank Kimball organ, Op. 7231 of the firm, was dedicated on May 18, 1938, and was the last major instrument constructed before Kimball ceased organ-building operations in 1942 after the outbreak of World War II.
Founded in 1857, Kimball was a major manufacturer and supplier of musical instruments, primarily pianos and reed organs. Pipe organ manufacture began in 1891. Altogether, the company built and installed 7,326 organs throughout the United States and abroad. Most of the firm’s large instruments have been replaced, neglected, or substantially rebuilt. The Denver Kimball is now prized because of its completely original condition (not a pipe has been changed), preserving a rich English Cathedral aesthetic popular between the wars.
Although the instrument has been well maintained during its 71 years, it has developed the mechanical problems that come to all pipe organs with age and wear through heavy use. To preserve the instrument and keep it in optimal condition, the cathedral has committed to a comprehensive restoration process. Much of the organ was removed in June 2009, not only for restoration, but also to allow repairs and improvements to the organ’s chamber (built in a part of the cathedral intended as a temporary brick structure that has since become permanent). The organ restoration will include replacement of leather components, repair and renewal of mechanisms, and a thorough cleaning and re-regulation of all pipes.
The Spencer Organ Company, Inc., founded in 1995 by Joseph Rotella, specializes in the restoration of electro-pneumatic pipe organs. The Spencer firm, with eleven employees, has been entrusted with the restoration and maintenance of numerous Skinner, Aeolian-Skinner, and Kimball organs. The Denver project is a two-year program of staged work, beginning with the June removal and scheduled for completion in fall 2011.
The Kimball restoration is part of an effort at St. John’s to improve several aspects of the building in commemoration of its 150th anniversary in 2010–11, which includes the 100th anniversary of the cathedral building itself. (The parish was founded in 1860; the current cathedral building was dedicated in 1911.) Fund-raising for those projects and anniversary programs is underway. The cathedral is considering the commission of new organs for the rear gallery and St. Martin’s Chapel, details of which will be announced later. Throughout this process, St. John’s will continue its extensive music program without interruption.
St. John’s has purchased an instrument built in 1869 by the Boston, Massachusetts firm of E. & G. G. Hook, its Op. 476, for use as a temporary instrument while the 1938 Kimball organ undergoes restoration. The Hook was formerly in the First Methodist Church of Lawrence, Massachusetts, its original home. The congregation currently using that building did not need the Hook for their worship and offered it for sale through the Organ Clearing House.
The Hook is a two-manual, 17-stop, tracker-action instrument, contained in a free-standing walnut case with Victorian-stencilled façade pipes. Co-restorers are Richard C. Hamar of Norwich, Connecticut and Susan Tattershall of Denver, with additional materials and/or labor furnished by Norman Lane and Rick Morel of Denver, Rubin Frels of Victoria, Texas, Barbara Owen of Newburyport, Massachusetts, and Michael Quimby of Warrensburg, Missouri. In addition, over 1,400 hours have been contributed to the project by many parish volunteers and non-parishioner friends, from youth to adult, who have helped with various tasks, ranging from making new trackers, cleaning all parts of the organ, sanding the old varnish off the case, and re-stencilling the decorative components.
The restoration project follows the Organ Historical Society’s Guidelines for Conservation and Restoration for pipe organs. The pedal action, which was converted to tubular-pneumatic action in 1911 by the Hutchings Organ Company of Waltham, Massachusetts, has been returned to mechanical action in Hook style. Subsequent tonal alterations had included substituting a 22⁄3′ mutation stop and a 2′ flute for the 8′ Keraulophon and 4′ Violina ranks in the Swell, respectively, and a 4′ Flute d’Amour displaced the 16′ Bourdon on the Great, which was moved to a jump slide. The Keraulophon pipes were found in the organ, and have been repaired and restored to their original place; the jump slide and the Flute d’Amour were removed, with the Bourdon being returned to its original location, which required a redesign of the toeboard. The 2′ principal rank will remain in the organ for the time being until suitable replacement Violina pipes are found. The case has been given a new traditional shellac finish, and the façade pipes are being restored to their original color scheme. Thus the original musical aesthetic, mechanical functioning, and appearance of the Hook is being restored to the greatest extent possible.
Coincidentally, St. John’s had previous relationships with the Hook firm, purchasing two organs from them in succession: first, a small organ in 1875, which was used in its original church building in downtown Denver, and then a second, large three-manual organ in 1881 for the first cathedral located at 20th and Welton Streets, which burned in 1903.
The Hook organ has been placed on the floor of the nave in the back of the cathedral while repairs and refurbishing of elements of the cathedral chancel are undertaken. St. John’s began offering a recital series on the Hook in January 2010. Further concert dates will be announced. For additional information, contact the Cathedral Music Office at 303/577-7717. 

St. John’s Episcopal Cathedral
Denver, Colorado
W. W. Kimball Company
Chicago, Illinois
Op. 7231, 1938

4 manuals, 96 speaking stops, 96 ranks, 5,949 pipes

Great (61 notes, Manual II, unenclosed, except as noted *)
16′ Double Diapason
16′ Quintaton*
8′ First Diapason
8′ Second Diapason
8′ Third Diapason*
8′ Harmonic Flute*
8′ Bourdon*
8’ Gemshorn*
4′ First Octave
4′ Second Octave*
4′ Flute Harmonique*
22⁄3′ Octave Quint
2′ Super Octave
IV Fourniture
III–V Full Mixture
16′ Contra Tromba*
8′ Tromba*
4′ Clarion*
Tremolo (for enclosed labial stops)
Chimes (Solo)

Swell (61 notes, enclosed, Manual III)
16′ Contra Salicional
16′ Echo Lieblich
8′ Geigen Principal
8′ Hohl Flöte
8′ Salicional
8′ Voix Celeste
8′ Rohrflöte
8′ Flauto Dolce
8′ Flute Celeste
8′ Aeoline
8′ Aeoline Celeste
4′ Octave Geigen
4′ Traverse Flute
22⁄3′ Twelfth
2′ Fifteenth
III Cornet
V Plein Jeu
16′ Waldhorn
8′ Trumpet
8′ Cornopean
8′ Oboe
8′ Vox Humana
4′ Clarion
Tremolo
Chimes (Solo)
Harp (Choir) 8′
Celesta (Choir) 4′

Choir (61 notes, enclosed, Manual I)
16′ Contra Dulciana
8′ Diapason
8′ Concert Flute
8′ Viola
8′ Dulciana
8′ Unda Maris
4′ Prestant
4′ Lieblich Flöte
4′ Viola
22⁄3′ Nazard
2′ Piccolo
13⁄5′ Tierce
16′ Bassoon
8′ Trompette
8′ Clarinet
8′ Orchestral Oboe
Tremolo
Harp (8′, 61 bars)
Celesta (4′, from Harp)
Chimes (Solo)

Solo (61 notes, enclosed, Manual IV)
16′ Contra Gamba
8′ Flauto Mirabilis
8′ Gamba
8′ Gamba Celeste
4′ Orchestral Flute
4′ Gambette
2′ Piccolo Harmonique
8′ Tuba Mirabilis
8′ French Horn
8′ Cor Anglais
4′ Clarion
Tremolo
Chimes (25 tubular bells)
Harp (Choir) 8′
Celesta (Choir) 4′

Pedal (32 notes, unenclosed [except for enclosed borrows])
32′ Open Diapason (ext.)
16′ Open Diapason
16′ Principal
16′ Double Diapason (Great)
16′ Geigen
16′ Violone
16′ Bourdon
16′ Contra Gamba (Solo)
16′ Contra Salicional (Swell)
16′ Echo Lieblich (Swell)
16′ Contra Dulciana (Choir)
8′ First Octave (ext. Op. Diap.)
8′ Second Octave
8′ Geigen (ext.)
8′ Cello (ext. Violone)
8′ Flute (ext. Bourdon)
8′ Stillgedeckt (Swell 16′ Echo Lieblich)
8′ Dulciana (Choir 16′ Contra Dulciana)
4′ Super Octave
4′ Flute (ext. Bourdon)
IV Mixture
32′ Contra Waldhorn (ext.)
16′ Trombone
16′ Waldhorn
16′ Tromba (Great)
16′ Bassoon (Choir)
8′ Trumpet
4′ Clarion
Chimes (Solo)

Antiphonal (Manual IV; prepared for, 21 blank drawknobs)

Antiphonal Pedal (prepared for, 7 blank drawknobs)

Summary
Division Stops Ranks Pipes
Great 18 25 1,489
Swell 23 29 1,973
Choir 16 16 1,132
Solo 11 11 791
Pedal 28 15+7 ext. 564

Total 96 96 5,949

Couplers and Accessories
# = indicator light provided

Couplers (by tabs on coupler rail):
Great Sub 16′
Great Super 4′
Swell Sub 16′
Swell Unison Off
Swell Super 4′
Choir Sub 16′
Choir Unison Off
Choir Super 4′
Solo Sub 16′
Solo Unison Off
Solo Super 4′
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′
2 blanks [intended for Antiphonal to Pedal 8′, 4′]
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′
Choir to Swell 8′
Solo to Swell 8′
Swell to Choir 16′
Swell to Choir 8′
Swell to Choir 4′
Solo to Choir 8′
Great to Solo 16′
Great to Solo 8′
Great to Solo 4′
5 blanks [intended for Antiphonal division coupling to be determined]

Reversibles (by thumb piston and toe stud):
Great to Pedal
Swell to Pedal
Choir to Pedal
Solo to Pedal
Antiphonal to Pedal
Swell to Great
Choir to Great
Solo to Great
#Mezzo Sforzando (settable)
#Sforzando (settable)
#32′ stops off
#16′ stops off

Combinations (by thumb piston):
General 1–10
Great 1–8
Swell 1–8
Choir 1–8
Solo 1–8
Antiphonal 1–6
General Set
Cancel

Combinations (by toe stud):
General 1–10
Pedal 1–8
Pedal to Combinations On/Off (all manual divisions)
Pedal to Combinations 1st/2nd Touch
Pedal Movements:
balanced Enclosed Great expression pedal
balanced Choir expression pedal
balanced Swell & Master expression pedal
balanced Solo expression pedal
#balanced Crescendo pedal
#Chimes Soft (hitchdown)
#Chimes Sustain (hitchdown)
#Harp Sustain (hitchdown)

Accessories:
Expression Pedal Adjuster
#Signal Light
#Current Light

____________________________

St. John’s Episcopal Cathedral
Denver, Colorado
E. & G. G. Hook
Boston, Massachusetts
Op. 476, 1869

2 manuals, 17 speaking stops, 15 ranks, 772 pipes

Great (58 notes, CC–a3)
16′ Bourdon [TC]
8′ Open Diapason
8′ Stopped Diapason Bass
8′ Melodia [TC]
8′ Gamba [TC]
4′ Octave
2′ Fifteenth
II Mixture [11⁄3′ + 1′]

Swell (58 notes, CC–a3,
enclosed)
8′ Stopped Diapason Bass
8′ Stopped Diapason Treble [TC]
8′ Keraulophon [TC]
4′ Flute Harmonique
2′ Principal [originally 4′ Violina]
8′ Bassoon
8′ Oboe [TC]

Pedal (27 notes, CC–d1)
16′ Sub Bass
8′ Flöte

Couplers and Mechanicals
Swell to Great
Great to Pedal
Swell to Pedal
Swell Tremulant
Bellows Signal
Four Composition Pedals:
Great Forte
Great Piano
Swell Forte
Swell Piano

New Organs

Default

Cover

Buzard Pipe
Organ Builders, Champaign, Illinois

Opus 29,
completed November, 2003

All Saints
Episcopal Church, Atlanta, Georgia

Some years ago I was contacted about a new organ for All Saints Episcopal
Church by the assistant organist, Jefferson McConnaughey. We seemed to be
speaking the same language concerning how we thought organs should sound, and I
was eager to meet him, music directors Ray and Elizabeth Chenault, and to visit
the church. Our conversations were put on hold while the parish called a new
rector and undertook other projects. At the time we were blessed with
commissions to build the organ at St. Paul's Episcopal Cathedral, Oklahoma
City, and large instruments for Glenview Community Church (III/71) and Holy
Family Catholic Church of Rockford, Illinois (III/56).

A few years went by, and I was invited to visit the church. Judging from the
size of the instrument under discussion, I expected to enter a huge space.
Instead, the church was more modest than vast, the acoustic more understated
than generous. At first blush, it seemed that 40 stops could have adequately
met their needs. But, no real lady ever gives up all her secrets at once, and
so I patiently looked and listened.

I listened to their former instrument while walking around the room, and
observed the acoustical phenomena under which the musicians had been laboring
for so long. The organ, although installed in the chancel in relatively close
proximity to the congregation, diminished drastically in volume in the nave. I
concluded that a part of the organ had to be installed in the body of the
church, to support singing and "pull" the sound out of the main part
of the organ installed in the chancel. Additionally, sound generated in the
nave lost its energy quickly; sound simply didn't travel well without becoming
garbled.

The musicians wanted to be able to properly register an organ to
"text-paint" Anglican Chant, choral anthems and ceremonial music in
the Anglican musical tradition. They needed a wide variety of accompanimental
tone colors at every dynamic level so that the organ could always support the
singers, even at pianissimo volume levels. It was equally important that the
organ musically render the great body of organ literature, even that of the
French Baroque school, of which Mr. McConnaughey seemed quite fond. And, the
Chenaults are duo organists; the literature which has been (and has yet to be)
commissioned for them had to be accommodated. This requires a large organ, as
coloristic stops outside the component voices for the essential choruses had to
be included and integrated into the design. Fortunately, these stops were never
in competition for space or funding, nor were our classic concepts of the
hierarchical scaling of divisions within the instrument ever compromised. Some
specific organs were studied: The Temple Church, London; King's College,
Cambridge; and St. Paul's Cathedral, London.

There is a beautiful chapel behind the Epistle side choir stalls, at 90
degrees to the axis of the church, which also serves as an overflow room on
Sundays. Worshippers there were relegated to viewing services on a small
closed-circuit TV, and could not participate in the hymn-singing because, being
outside the body of the church, they couldn't hear the organ. If the new organ
were to address and meet all the musical and acoustical requirements of the
church, then the chapel also needed to have some pipes in it, so that those
seated there could feel a part of the worshiping community.

All of these requirements were brought to bear upon a single instrument. Yes,
I agreed, this instrument has to be large--very large. Even if the room seats
only 550 souls, the musical and physical requirements dictated an organ of a
size which one might initially think out of proportion.

The position and installation of the new Main Organ was relatively
straightforward. The Great, Swell, Choir, Tuba, and Pedal would have to be
installed in the chancel, in an enlarged version of their existing chamber,
plus spaces created by cantilevering steel platforms into the chancel space on
both Epistle and Gospel sides.

The antiphonal division, a romantic Solo Organ including a Diapason Chorus
which mirrors the Great, had to be installed in the nave. But there was no
floor space for cases, no desire to see columns, and windows everywhere, many
of them signed by Louis Comfort Tiffany. By clever engineering of the diatonic
windchest layouts (which we had first used at St. Paul's Cathedral in Oklahoma
City) we were able to tuck the Solo Organ cases up in the rafters of the church
above the narthex, on either side of a central great window. By creative use of
perspective, we were able to engineer the location of the supporting steel
platforms so that they wouldn't block the view of the Tiffany windows in the
side aisles, yet give us sufficient height for the pipes inside the cases.

As conversations concerning the tonal design took shape, Ray, Elizabeth, and
Jeff fell in love with our tonal style which, while embracing eclecticism, has
its own unique personality. They visited both our large organs, and Jeff
actually played Sunday services on our Opus 7 organ at The Chapel of St. John
the Divine in my wife Linda's stead. The All Saints organ is a very logical
outgrowth of our style as practiced in our smaller organs, and as our two
larger organs have led us. The humble beginnings of Opus 7 at the Chapel, in
which we made 29 stops into a cathedral organ, can be seen all over this much
larger organ. Well-informed national and historical inspirations are
distributed throughout, so that the whole is at unity with itself. No German
Hauptwerk, French Récit or English Chair Organs for us. For example the
Great includes the mature English practice of 8' First & Second Open
Diapasons, married nicely to the French Fonds d'Orgue. A voluptuous Full English
Swell has continental fire by virtue of the authentic (but modified) French
reed battery, but the lyrical soft solo reed is a plaintive English Oboe. No
quirky nomenclature either. Although rooted in 19th-century English practice of
"Diapason, Principal, Twelfth, Fifteenth," etc., the stops in our
organs are what they say they are. If the Swell reed is spelled
"Trompette," you can be assured that you will hear a Trumpet with
French shallots and pipe construction.

The Great is based upon a 16' Double Open Diapason of tin which stands
proudly in the Gospel side case along with the rest of the division. A complete
Diapason chorus through Mixture, flutes at 8' & 4', and a Viola da Gamba
make up the flue work, and the reeds are Trombas, brought up to the manuals from
the Pedal Trombone. The Mixture breaks at octaves, rather than at fifth
intervals. In this way, one doesn't hear alternating unison and fifths playing
as the top rank, and the breaks are virtually unheard.

The Great also incorporates an harmonic corroborating stop which was more at
home in English and American concert organs of the early part of the last
century. Our four-rank Harmonic Mixture has in it a unison, a quint, a tierce,
and a flat-seventh. These are all the harmonics present in Tromba class reeds,
which are on the Great at 8' and 4' pitches. We originally included the
Harmonic Mixture as a way to prevent the dark Trombas from covering the
brightness of the mixture work in full organ, but have found that when used
sans Trombas, the ancient flavor of 18th-century Dutch organs is perceived in
an uncanny way. One could even imagine the wind to be unsteady--but of course
it's not!

The Solo has a Diapason Chorus nearly mirroring the Great, and despite its
distance from the Main Organ, it can exactly balance the Great Plenum in
certain contexts. The Solo contains a pair of E. M. Skinner-inspired Gambas,
the celesting rank in the case across the church from its unison pair. Now
that's a Celeste! The Flügel Horn, while a lyrical romantic solo reed, has
just enough harmonic interest to function beautifully as a chorus reed. The
Bassett Horn is certainly at home playing obbligato parts in Elgar, but has
just enough Cromorne in it to play Daquin with a French nose in the air.

One can use the Choir in a classic context, as a Positiv when a lighter foil
to the Great is desired. But this division is the real choral accompanying
workhorse. It's one of the most elegant, light, but profound Choir divisions we
have created. The Choir features a flute chorus from 16' up, and a proper
Diapason chorus complete with a four-rank quint mixture, a fifth interval
higher than the Great. But the luxurious feature in this day and age is our
Dulciana Chorus, which includes a three-rank mixture in which the 4' enters
early on at tenor C. Our Dulcianas are truly small Diapasons, and there is
nothing like the effect of accompanying voices with Diapason color, but at such
a soft volume. The Dulciana Mixture has many uses in coloring and painting
texts, 90% of which I would never have envisioned. Our Cornopeans are
small-scaled, but fundamental Trumpets as the original prototypes were, not the
horn-like Cornopeans one would otherwise love to hate. The Clarinet is truly of
English style, and the English Horn is orchestral in color with enough body to
be the foundation of the Choir reed battery, yet enough jazz in the color to
differentiate itself from the more fundamental Swell English Oboe.

The Chapel Organ includes a small-scaled Diapason Chorus at 8' and 4' to
lead the hymn-singing, and an 8' Aeoline and Vox Angelica. These very, very
soft string-toned stops allow the worshippers there to feel connected, and also
provide a powerfully effective pianissimo "wrap-around" effect as the
softest sounds concluding a smooth decrescendo. These little strings can just
be barely heard in the nave as the expression box closes on the Solo Flute
Cœlestis. When they play alone, they are literally in another room, off in
the distance.

In the All Saints organ, the Great, Swell, Choir, Solo, and a portion of the
Pedal divisions play upon 4 inches of wind pressure. The Trombones and Trombas
play upon 7 inches of wind, the Solo Festival Trumpets on 6 inches, and the
Major Tuba plays upon 20 inches of wind. The Tuba is housed in its own
expression box, and the organist can easily select which expression shoe may be
used to operate the Tuba's expression (or whether it is to remain open) by a
simple rotary switch. We aim to expand the color and dynamic range of the pipe
organ, while keeping the console controls simple and straightforward.

Before I was selected as their builder, Ray, Elizabeth, and Jeff charged me
to design the perfect instrument for all their requirements, and they would
undertake the responsibility of presenting this plan to the organ committee to
get their reaction, and see if the instrument would have to suffer at the hands
of "value engineers." Although my past experience made me somewhat
timid about presenting such a large (expensive) instrument as part of a
selection competition, we arrived at the specification of 63 straight speaking
stops, 87 ranks of pipes (5229 pipes overall), in five free-standing cases
throughout their church.

I will never forget the evening of a crucial organ committee meeting when I
received an excited telephone call from Ray. The musicians presented the
proposal and the room fell silent. People on the committee asked questions to
the effect: "Now, do all three of you musicians agree on this builder? Do
all three of you agree with each other in every respect to this instrument?"
When the answer was an emphatic yes, a committee member said: "How many
times do musicians agree with each other about anything, let alone every of the
many thousands of details in this organ's design!? This is what we need for All
Saints, and we need John-Paul to build it for us." A member of the
committee, Sarah Kennedy, later wrote a check for the entire project, in loving
memory and in honor of her family, The Kenans.

The organs' visual designs were developed during August and September of
2001. The first draft of the Chapel Organ's design was revised to be more in
keeping with the modern nature of the chapel (and less like King's College,
Cambridge). The Main Organ and the Solo Organs were built according to my first
pen-and-ink renderings.

All of my design drawings are executed by hand. The discipline of cleaning
the drafting table and truing the parallel bars and 90-degree instruments
contributes to clearing my mind of everything except what I need to think about
for the organ on the blank piece of paper.

It is always my goal to design organ cases which appear as though they had
always been in the church. The All Saints cases use shapes and colors found
throughout the room, and mirror the restrained nature of the Victorian Gothic
design. But the cases become vivid, exciting, and dramatic by incorporation of
the fabulous red enamel and gold leaf adorning the church's clerestory. The
inclusion of the red gave me license to add contracting pieces of red-stained
Honduras mahogany in the stained white oak cases. The soaring nature of the
Solo Organs, as their lines ascend while moving toward the great window, seemed
to cry out for heraldic angels, announcing the Great Day of Judgment on
gold-leafed trumpets. Thanks to parishioner David Foerster for making these
possible.

All of us will remember exactly where we were on 9/11. I was at the drafting
table finishing the designs for the Main Organ cases. I had penciled the
drawing the day before and was preparing to ink the drawing when I heard the
news reports. My entire staff came up to the drafting room and we all went to
the conference area where a small television showed us the horrors unfold as
the second airliner smashed into the second building. As we heard a large
airplane overhead, being sent to land at our local airport, I was asked if we
were going to close for the day. I said, no. We had to go about our task of
making beautiful things, especially in light of the ugliness that visited
itself on our country that day. If we wanted to take time off individually to
mourn our country's losses, go with my blessing, but the doors would remain
open and I would continue to draw a beautiful pair of pipe organ cases.

I set to cleaning out my India ink pens, and put on a CD of The English
Anthem II
from St. Paul's Cathedral,
London.

Oh Lord, look down from heaven, and behold the habitation
of Thy holiness and of Thy glory: Where is Thy zeal and Thy strength? Thy
mercies towards me, are they restrained?

My deepest thanks to the musicians at All Saints Church, everyone on the
organ committee, Greg Kellison, chairman; Paul Elliott, the rector; David
Foerster, and Sarah Kennedy for selecting me and my firm for this tremendous
commission.

My overwhelming gratitude goes to the members of my staff whose hard work
and dedication made such an excellent instrument so sublime: Charles Eames,
executive vice president, general manager and chief engineer; Brian K. Davis,
associate tonal director; Keith Williams, service department director; Shayne
Tippett, shop manager; Jay Salmon, office manager; Evan Rench, pipe maker,
voicer; Steve Downes, tonal assistant; C. Robert Leach, cabinetmaker; Stuart
Martin, cabinetmaker; Kenneth McCabe, winding systems; Ray Wiggs, consoles,
windchests; Robert Ference, service technician; Stuart Weber, service
technician; Jonathan Borchardt, service technician; JoAnne Hutchcraft Rench,
receptionist.

--John-Paul Buzard

GREAT (4-inch wind pressure)

Manual II - unenclosed pipework

16' Double Open Diapason

8' First Open Diapason

8' Second Open Diapason (ext 16')

8' Viola da Gamba

8' Harmonic Flute

8' Bourdon

4' Principal

4' Spire Flute

22/3' Twelfth

2' Fifteenth

2' Fourniture V

13/5' Harmonic Mixture IV

16' Double Trumpet

8' Trombas (ext Ped)

4' Clarion (ext Ped)

Tremulant

Chimes

8' Major Tuba (20" wind)

8' Tuba Solo (melody coupler)

8' Fanfare Trumpets (Solo)

SWELL (4-inch wind pressure)

Manual III - enclosed and expressive

8' Open Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste

4' Principal

4' Harmonic Flute

22/3' Nazard

2' Flageolet

13/5' Tierce

22/3' Full Mixture V

16' Bassoon

8' Trompette

8' Oboe

8' Vox Humana

4' Clarion (ext 16')

Tremulant

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHOIR (4-inch wind pressure)

Manual I - enclosed and expressive

16' Lieblich Gedeckt (wood)

8' English Open Diapason

8' Flûte à Bibéron

8' Gedeckt Flute (ext 16')

8' Dulciana

8' Unda Maris

4' Principal

4' Koppel Flute

2' Recorder

2' Mixture III–IV (Dulcianas)

11/3' Fourniture IV

Sesquialtera II (22/3' & 13/5')

16' English Horn

8' Cornopean

8' Clarinet

Tremulant

Cymbalstern (14 bells)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

Harp (digital)

Celesta (digital)

ANTIPHONAL SOLO (4- & 51/2-inch wind)

Manual IV - in twin cases over the narthex (expressive)

8' Open Diapason

8' Viola da Gamba

8' Gamba Celeste (CC)

8' Melodia

8' Flute Cœlestis II (Ludwigtone)

4' Principal

4' Flûte d'Amour

2' Doublette

11/3' Mixture IV

8' Flügel Horn

8' Corno di Bassetto

Tremulant

Cymbalstern (8 bells)

Chimes (Gt)

8' Fanfare Trumpets

8' Major Tuba (Gt)

Harp (digital)

Celesta (digital)

PEDAL (various wind pressures)

32' Double Open Diapason (digital)

32' Subbass (digital)

32' Lieblich Gedeckt (Ch, digital)

16' First Open Diapason

16' Second Open Diapason (Gt)

16' Bourdon

16' Lieblich Gedeckt (Ch)

8' Principal

8' Bass Flute (ext 16' Bourdon)

8' Gedeckt Flute (ext 16' Lieblich)

4' Choral Bass

4' Open Flute (ext 16' Bourdon)

22/3' Mixture IV

32' Contra Trombone (wood)

16' Trombone (wood, ext 32')

16' Double Trumpet (Gt)

16' Bassoon (Sw)

8' Trumpet (ext 16')

4' Clarion (Sw)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHAPEL (4-inch wind, floating)

8' Open Diapason

8' Aeoline

8' Vox Angelica (tc)

4' Principal

Chapel on Great

Chapel on Swell

Chapel on Choir

Chapel on Solo

Chapel on Pedal

Intraddivisional couplers

Gt/Gt 16-UO-4

Sw/Sw 16-UO-4

Ch/Ch 16-UO-4

Solo/Solo 16-UO-4

Interdivisional couplers

Gt/Ped 8, 4

Sw/Ped 8, 4

Ch/Ped 8, 4

Solo/Ped 8, 4

Sw/Gt 16, 8, 4

Ch/Gt 16, 8, 4

Solo/Gt 16, 8, 4

Sw/Ch 16, 8, 4

Solo/Ch 16, 8, 4

Pedal Stops to Divisional Pistons


The Wicks Organ Company, Highland,
Illinois has built a new organ for the Barrington United Methodist Church,
Barrington, Illinois. In 1999 the church building was destroyed by fire. Their
losses included a 41-rank Möller pipe organ, which had been rebuilt as
recently as 1988. As planning for their new building began, the search for a
new pipe organ started. The church’s demands for their new organ were
that it had to be a great congregational organ, but also able to perform for
recitals as well. The sanctuary was to be a top-notch performance facility as
well as a place of worship. The church desired an organ of 3 manuals and 5
divisions, including an antiphonal. Each division was to have a principal
chorus, and the foundations of the Great organ were to be exposed.

The church committee heard many styles of instruments built by Wicks over
the last seven decades. This included, a North German neo-Baroque style
instrument, a symphonic organ scaled and designed by Henry V. Willis, an
American Classic, and an Aeolian instrument from the 1920s that had been
rebuilt by the Wicks Organ Company in conjunction with Mr. Madison Lindsey. The
service playing abilities of each instrument were demonstrated to the
committee, and they identified and found themselves drawn to the
English/symphonic style of the rebuilt Aeolian instrument. The organ committee
chose Wicks over several other builders after hearing several new Wicks
installations and the company ‘s recent success in exactly this style of
instrument.

The completed organ is described as an English service organ with orchestral
capabilities. The instrument is able to not only provide a seamless crescendo
from ppp to fff, but can do it with flair. In addition to service music, the
organ is able to perform every possible type of organ literature from the
Renaissance to the present. It is also able to realize orchestral
transcriptions with great skill, thanks to the presence of many orchestral solo
stops in each division, blending choruses, and 2-inch thick beveled and overlapping
felted shades. The completed organ consists of 24 ranks of pipes and 25 digital
voices. The Wicks design team pre-engineered space to accommodate real pipe
ranks to replace these voices. The Swell is on 7 inches of wind, the Pedal 10
inches; the Choir and Great are on 6 inches, with the exception of the
Clarinet, English Horn, and Tuba in the choir, which are all on 10 inches.

The solo reeds of this organ are of a unique style, derived from the
Willis/Wicks style reeds used in many Wicks organs over the decades, married to
the traditional ideas of Skinner solo reeds. The end results were clear,
smooth, stops of unique color and great versatility throughout the compass. The
greatest asset to the organ is the lively acoustical environment of the sanctuary.
The collaboration of the building committee, acousticians Kirkegaard &
Associates of Chicago, and the Wicks Organ Company have resulted in a
beautiful, successful combination of organ and room.

The console is drawknob style with 45-degree side jambs, a glass music rack,
and P&S keys with ivory resin naturals and ebony sharps. The drawknobs are
made of polished hardwood. Made of red oak, the interior is very light and the
exterior is stained to match the woodwork of the chancel furnishings. The console
features a tilt tab that allows the digital Tuba and Festival Trumpet to
emanate from the antiphonal division located in the rear of the church instead
of their native divisions. The console also has a Manual I/II transfer for
French literature.

Installation of Opus 6412 began in August of 2003, and an initial tonal
finishing and adjustment of digital voices took place in early September. After
the church’s dedication, Wicks tonal director Dr. William Hamner and reed
voicer Greg Caldwell completed an entire tonal finishing.

--Brent Johnson

Great (exposed)

16’ Violone*

8’ First Open Diapason

8’ Second Open Diapason

8’ Violoncello

8’ Harmonic Flute (Ch)

4’ Principal

4’ Flute Octaviante

2’ Fifteenth

IV Full Mixture

8’ Chorus Tuba (Ch)

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Chimes* (Ant)

Swell (expressive)

16’ Minor Bourdon*

8’ Open Diapason

8’ Stopped Diapason*

8’ Viola*

8’ Viola Celeste*

8’ Flauto Dolce*

8’ Flute Celeste*

4’ Octave Diapason

4’ Triangular Flute*

22/3’ Nazard*

2’ Recorder*

13/5’ Tierce*

IV Plein Jeu

16’ Waldhorn*

8’ Cornopean

8’ Oboe*

4’ Clarion

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Tremolo

Choir (expressive)

8’ Geigen (1-12*)

8’ Concert Flute

8’ Dolcan*

8’ Dolcan Celeste*

4’ Octave Geigen

4’ Transverse Flute

2’ Harmonic Piccolo

16’ Bass Clarinet

8’ Clarinet

8’ English Horn

8’ French Horn*

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

8’ Chorus Tuba

Tremolo

Harp*

Antiphonal (unenclosed - floating) (prepared)

8’ Festival Trumpet*

8’ Tuba Mirabilis*

Chimes*

Antiphonal Pedal (prepared)

Pedal

32’ Contre Bourdon*

16’ Open Wood

16’ Major Bourdon

16’ Violone* (Gt)

16’ Minor Bourdon* (Sw)

8’ Principal

8’ Flute

8’ Stopped Flute

4’ Octave

4’ Harmonic Flute (Gt)

32’ Ophicleide*

16’ Trombone (1–12*)

16’ Waldhorn (Sw)

8’ Tromba

8’ Trumpet (Sw)

4’ Oboe (Sw)

7-bell zimbelstern

*= Digital Voices

New Organs

Default

Cover

Our Savior's Lutheran Church,
Rockford, Illinois

Buzard Pipe Organ Builders,
Champaign, Illinois

Opus 23

 

Builder's statement

It has been a high honor to build the new organ for Our Savior's
Lutheran Church. The congregation is actively engaged in musical expression at
every service and their participation is extraordinarily high. The new organ is
a part of the congregation's ongoing growth and recent construction of a new
church building.

The Evangelical Lutheran Church of America is an inclusive,
living tradition which embraces diversity and newness, while fostering
liturgical expression through the Lutheran Book of Worship and its incredibly
rich musical tradition. It is truly a catholic, inclusive tradition, as are its
musics and requirements for an organ. Therefore, a balanced eclecticism must be
embraced when designing the organ. However, it is only through a single
artistic vision that such eclecticism can have integrity as the organbuilder's
individual style.

Our instruments are first and foremost accompanying organs.
Their primary roles are accompanying choirs, leading hymn-singing and lending
grandeur to ceremonial occasions. They are liturgy-spirited, but
literature-minded as well. A wide variety of solo literature played for
voluntaries and recitals is an essential requirement of an organ and is given
careful consideration when designing all our instruments. The true test of such
an instrument is its ability to sensitively accompany choral repertoire,
colorfully illuminate textual subtleties in the hymns and canticles, and
musically render the Bach "Magnificat" fugue at the close of service.

The abundance of 8-foot stops creates a blended full sound,
made more intense by each successively added stop as a crescendo is built. The
rich, warm "Buzard Trademark" strings are sufficient for leading a
congregation of 300 people, and the full Swell behind the box majestically
supports a choir without overpowering. The Festival Trumpet (a Tuba) can
regally herald the arrival of the Bishop or a bride, and it is orchestrally
appropriate to the full organ's accompaniment. The organ can text-paint the
hymns and accompaniments through registrations and subtle changes as the
meaning of the texts shifts. Within its modest stoplist are the resources to
effectively capture the sprightliness of Purcell, the spirituality of Howells,
and the intricacies of Bach's counterpoint.

The case of this organ is made of solid white oak with
walnut accents, and was designed in conjunction with the building's architects.
The facade pipes utilize flamed copper and polished tin, with the low 9 pipes
of the Pedal 16' Open Diapason made of poplar and cherry, lacquered in a color
which harmonizes with the other colors in the room. The Tuba is horizontally
mounted over the Great Organ and is made of flamed copper. The interior pipes
are made of 50% tin and lead, with 15% tin for some of the metal flutes. The
Great, Swell, and a portion of the Pedal divisions play upon 4 inches of wind
pressure. The low 10 pipes of the Pedal 16' Open Diapason and the 16' Bourdon
play on 41/4  inches, the Festival
Trumpet plays on 10 inches of pressure. The organ comprises 24 stops, 30 ranks,
across two manuals and pedal.

Thanks to the Buzard staff who have made this organ a
reality, and who turn hunks of wood and metal into living, breathing, and
singing creations worthy to praise and extol our Creator. John-Paul Buzard,
design, artistic direction, tonal finishing; Brian Davis, head voicer, manager,
tonal department, installation; Stephen P. Downes, tonal assistant,
installation; Charles Eames, general manager, engineering, installation; R.
Charles Leach, cabinetmaker, installation; Stuart Martin, cabinetmaker,
installation; Kenneth McCabe, cabinetmaker, wind system, installation; Jay K.
Salmon, office manager; Ray Wiggs, console & chest builder, installation;
Keith Williams, service department manager.

 

GREAT

                  16'
style='mso-tab-count:1'>         
Lieblich
Gedeckt (wood)

                  8'
style='mso-tab-count:1'>            
Open
Diapason (tin-facade)

                  8'
style='mso-tab-count:1'>            
Flûte
à Bibéron  (metal)

                  8'
style='mso-tab-count:1'>            
Gedeckt
Flute (ext 16')

                  4'
style='mso-tab-count:1'>            
Principal

                  4'
style='mso-tab-count:1'>            
Spire
Flute

                  22/3'
style='mso-tab-count:1'>     
Twelfth

                  2'
style='mso-tab-count:1'>            
Fifteenth

                  13/5'
style='mso-tab-count:1'>     
Seventeenth

                  11/3'
style='mso-tab-count:1'>     
Fourniture IV

                  8'
style='mso-tab-count:1'>            
Minor
Trumpet (Sw 16')

                                    Tremulant

                                    Cymbalstern

                                    Chimes

                  8'
style='mso-tab-count:1'>            
Festival
Trumpet (10≤ wind)

                  8'
style='mso-tab-count:1'>            
Trumpet
Solo 8'

                                    Gt/Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    MIDI
on Great

SWELL

                  8'
style='mso-tab-count:1'>            
English
Diapason

                  8'
style='mso-tab-count:1'>            
Stopped
Diapason (wood)

                  8'
style='mso-tab-count:1'>            
Salicional

                  8'
style='mso-tab-count:1'>            
Voix
Celeste (TC)

                  4'
style='mso-tab-count:1'>            
Principal

                  4'
style='mso-tab-count:1'>            
Harmonic
Flute

                  2'
style='mso-tab-count:1'>            
Flageolet

                  2'
style='mso-tab-count:1'>            
Full
Mixture IV

                  16'
style='mso-tab-count:1'>         
Bassoon
(full length)

                  8'
style='mso-tab-count:1'>            
Trompette

                  8'
style='mso-tab-count:1'>            
Oboe

                  4'
style='mso-tab-count:1'>            
Clarion
(from 16')

                                    Tremulant

                  8'
style='mso-tab-count:1'>            
Festival
Trumpet (Gt)

                  8'
style='mso-tab-count:1'>            
Trumpet
Solo (Gt)

                                    Sw/Sw
16-UO-4

                                    MIDI
on Swell

PEDAL

                  32'
style='mso-tab-count:1'>         
Subbass
(1-12 digital)

                  32'
style='mso-tab-count:1'>         
Lieblich
Gedeckt (Gt) (1-12 digi-                                                                 tal)

                  16'
style='mso-tab-count:1'>         
Open
Diapason (wood, flamed cop-                                        per,
polished tin)

                  16'
style='mso-tab-count:1'>         
Bourdon
(wood)

                  16'
style='mso-tab-count:1'>         
Lieblich
Gedeckt (Gt) (wood)

                  8'
style='mso-tab-count:1'>            
Principal
(from 16') (tin-facade)

                  8'
style='mso-tab-count:1'>            
Gedeckt
Flute (from 16')

                  4'
style='mso-tab-count:1'>            
Choral
Bass (from 8') (tin-facade)

                  16'
style='mso-tab-count:1'>         
Trombone
(ext Sw Trpt)

                  16'
style='mso-tab-count:1'>         
Basson
(Sw)

                  8'
style='mso-tab-count:1'>            
Trumpet
from 16')

                  4'
style='mso-tab-count:1'>            
Clarion
(from Sw 16')

                  8'
style='mso-tab-count:1'>            
Festival
Trumpet (Gt)

                                    Gt/Ped
8 4

                                    Sw/Ped
8 4

                                    MIDI
on Pedal

 

Festival Trumpet

Swell reed battery

 

Lauck Pipe Organ Company, Otsego, Michigan, has completed an
organ renovation project for Pillar Christian Reformed Church, Holland,
Michigan. The church's organ was originally built in 1900 by Barkhoff. In 1928,
Hinners installed an electro-pneumatic organ. Stolz Piano and Organ of Holland,
MI, was contracted in 1965 to provide a new console, recondition pipes and
replace the blower. In 1996 Lauck Pipe Organ Company installed a new 2-manual
console and completed an electric action rebuild as their Opus 42, which added
11 new ranks, repositioned the windchests, and returned the facade to the 1900
configuration. The present project added nine new ranks, including a third
manual division, revoicing and rescaling of old ranks, and a new three-manual
console. The firm's Opus 52 comprises 31 ranks, electric action. A service of
rededication took place on September 10 with guest organist Linda Hakken
performing. Jonathan Tuuk played the rededication concert on September 11.

 

GREAT

                  8'
style='mso-tab-count:1'>            
Principal

                  8'
style='mso-tab-count:1'>            
Spitzflute

                  4'
style='mso-tab-count:1'>            
Octave

                  4'
style='mso-tab-count:1'>            
Hohlflute

                  22/3'
style='mso-tab-count:1'>     
Nazard

                  2'
style='mso-tab-count:1'>            
Superoctave

                  13/5'
style='mso-tab-count:1'>     
Tierce

                                    Mixture
III

                  8'
style='mso-tab-count:1'>            
Festival
Trumpet

                                    Chimes

                                    Harp

                                    Gt/Gt
4

                                    Sw/Gt
16-8-4

                                    Ch/Gt
16-8-4

CHOIR

                  8'
style='mso-tab-count:1'>            
Gedeckt

                  8'
style='mso-tab-count:1'>            
Salicional

                  8'
style='mso-tab-count:1'>            
Voix
Celeste (49 pipes)

                  4'
style='mso-tab-count:1'>            
Principal

                  4'
style='mso-tab-count:1'>            
Flute
Harmonique

                  2'
style='mso-tab-count:1'>            
Blockflute

                  11/3'
style='mso-tab-count:1'>     
Larigot

                  8'
style='mso-tab-count:1'>            
Krummhorn

                                    Tremulant

                                    Ch/Ch
16-4

                                    Sw/Ch
16-8-4

SWELL

                  8'
style='mso-tab-count:1'>            
Rohrflute

                  8'
style='mso-tab-count:1'>            
Viola

                  8'
style='mso-tab-count:1'>            
Viola
Celeste (49 pipes)

                  4'
style='mso-tab-count:1'>            
Principal

                  4'
style='mso-tab-count:1'>            
Koppelflute

                  2'
style='mso-tab-count:1'>            
Octave
(12 pipes)

                                    Plein
Jeu III

                  16'
style='mso-tab-count:1'>         
Bassoon
(12 pipes)

                  8'
style='mso-tab-count:1'>            
Trompette

                  8'
style='mso-tab-count:1'>            
Hautbois

                  4'
style='mso-tab-count:1'>            
Clarion
(12 pipes)

                                    Tremulant

                                    Sw/Sw
16-4

PEDAL

                  32'
style='mso-tab-count:1'>         
Untersatz

                  16'
style='mso-tab-count:1'>         
Principal

                  16'
style='mso-tab-count:1'>         
Subbass

                  16'
style='mso-tab-count:1'>         
Lieblich
Gedeckt (ext, Sw)

                  8'
style='mso-tab-count:1'>            
Octave
(ext)

                  8'
style='mso-tab-count:1'>            
Bourdon
(ext)

                  8'
style='mso-tab-count:1'>            
Gedeckt
(Sw)

                  4'
style='mso-tab-count:1'>            
Choralbass
(ext)

                  16'
style='mso-tab-count:1'>         
Bombarde
(ext, Gt)

                  16'
style='mso-tab-count:1'>         
Bassoon
(Sw)

                  8'
style='mso-tab-count:1'>            
Trompette
(Sw)

                  4'
style='mso-tab-count:1'>            
Clarion
(Sw)

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    Ch/Ped
8-4

Orgues Létourneau Limitée, Saint-Hyacinthe,
Québec, has completed a new organ for the historic Chapel Royal of St.
Peter ad Vincula at H.M. Tower of London. The firm's opus 70, the instrument
features mechanical key action and both mechanical and electronic stop action.
The organ was designed to accompany the chapel's professional choir, as well as
provide leadership for worship services. It is built within the 1699 case by
Father Smith, which was restored in the Létourneau workshops to its
original dimensions. The facade pipes, composed of the 8' Open Diapason, are
made of 70% tin (as is the entire principal chorus) and are gilded with 24
carat gold by artisan Isabelle Hordequin. Manual naturals are covered with
bone, accidentals are ebony; pedal naturals of maple, accidentals of ebony;
manual/ pedal compass 56/32. The photo is reproduced by permission of Historic
Royal Palaces under license from the Controller of Her Majesty's Stationery
Office.

 

Crown copyright: Historic Royal Palaces

GREAT

                  16'
style='mso-tab-count:1'>         
Bourdon
(stopped wood)

                  8'
style='mso-tab-count:1'>            
Open
Diapason

                  8'
style='mso-tab-count:1'>            
Chimney
Flute

                  4'
style='mso-tab-count:1'>            
Principal

                  4'
style='mso-tab-count:1'>            
Conical
Flute

                  22/3'
style='mso-tab-count:1'>     
Nazard

                  2'
style='mso-tab-count:1'>            
Fifteenth

                  13/5'
style='mso-tab-count:1'>     
Tierce

                  11/3'
style='mso-tab-count:1'>     
Mixture IV

                  8'
style='mso-tab-count:1'>            
Trumpet

                                    Tremulant

SWELL

                  8'
style='mso-tab-count:1'>            
Violin
Diapason

                  8'
style='mso-tab-count:1'>            
Stopped
Diapason (stopped wood)

                  8'
style='mso-tab-count:1'>            
Viola
da Gamba

                  8'
style='mso-tab-count:1'>            
Voix
Celeste (TC)

                  4'
style='mso-tab-count:1'>            
Principal

                  4'
style='mso-tab-count:1'>            
Open
Flute

                  2'
style='mso-tab-count:1'>            
Recorder

                  11/3'
style='mso-tab-count:1'>     
Nineteenth

                  2'
style='mso-tab-count:1'>            
Mixture
IV

                  16'
style='mso-tab-count:1'>         
Bassoon

                  8'
style='mso-tab-count:1'>            
Trumpet

                  8'
style='mso-tab-count:1'>            
Oboe

                  4'
style='mso-tab-count:1'>            
Clarion

                                    Tremulant

PEDAL

                  16'
style='mso-tab-count:1'>         
Contrabass
(open wood)

                  16'
style='mso-tab-count:1'>         
Bourdon
(stopped wood)

                  8'
style='mso-tab-count:1'>            
Principal

                  8'
style='mso-tab-count:1'>            
Bourdon
(1-12 stopped wood)

                  4'
style='mso-tab-count:1'>            
Choral
Bass

                  16'
style='mso-tab-count:1'>         
Posaune

                  8'
style='mso-tab-count:1'>            
Trumpet
(ext)

 

R.T. Swanson, Inc., of Grand Ledge, Michigan, has built a
new organ for the chapel of Michigan Lutheran Seminary, Saginaw, Michigan. The
school is affiliated with the Wisconsin Evangelical Lutheran Synod. Its main
purpose is to train students in grades 9 through 12 who are anticipating
careers in the teaching and pastoral ministries. The organ will be used for
daily chapel services and as a teaching and practice instrument.

The two-manual organ comprises 20 ranks, 1186 pipes located
in a shallow chamber created from what was previously second level storage
space. Action is electro-mechanical. All pipes are new with the exception of
the Subbass, Holtzgedeckt/Gedecktbass, and Hohl-flöte, which are recycled
pipes which were revoiced to blend with the new. Facade pipes are polished zinc
and are from the bass 17 of the Great 8' Principal and the bass 18 of the Pedal
8' Octave. The console is located on a rolling platform on the chapel's main
floor and features a 32 memory combination action and out only MIDI. Compass is
61/32. The organ dedication was on August 26 and featured a performance by
Leonard Proeber.

GREAT

                  8'
style='mso-tab-count:1'>            
Principal

                  8'
style='mso-tab-count:1'>            
Rohrflöte

                  8'
style='mso-tab-count:1'>            
Gemshorn

                  4'
style='mso-tab-count:1'>            
Octave

                  4'
style='mso-tab-count:1'>            
Hohlflöte

                  2'
style='mso-tab-count:1'>            
Superoctave

                  2'
style='mso-tab-count:1'>            
Mixture
IV

                  8'
style='mso-tab-count:1'>            
Trompette

                  8'
style='mso-tab-count:1'>            
Cromorne

                                    Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    MIDI
on Gt

SWELL

                  8'
style='mso-tab-count:1'>            
Holzgedeckt

                  8'
style='mso-tab-count:1'>            
Gemshorn

                  8'
style='mso-tab-count:1'>            
Gemshorn
Celeste TC

                  4'
style='mso-tab-count:1'>            
Principal

                  4'
style='mso-tab-count:1'>            
Koppelflöte

                  22/3'
style='mso-tab-count:1'>     
Nazard TC

                  2'
style='mso-tab-count:1'>            
Blockflöte

                  13/5'
style='mso-tab-count:1'>     
Tierce TC

                  8'
style='mso-tab-count:1'>            
Trompette

                                    Sw
16-UO-4

                                    MIDI
on Sw

PEDAL

                  32'
style='mso-tab-count:1'>         
Resultant

                  16'
style='mso-tab-count:1'>         
Subbass

                  16'
style='mso-tab-count:1'>         
Gedecktbass

                  8'
style='mso-tab-count:1'>            
Octave

                  8'
style='mso-tab-count:1'>            
Bassflöte

                  4'
style='mso-tab-count:1'>            
Superoctave

                  4'
style='mso-tab-count:1'>            
Flöte

                  16'
style='mso-tab-count:1'>         
Bombarde

                  4'
style='mso-tab-count:1'>            
Clarion

                                    Gt/Ped
8, 4

                                    Sw/Ped
8, 4

                                    MIDI
on Ped

 

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