Grinnell College Aeolian-Skinner Opus 1091 restoration

 

Foley-Baker, Inc., 

Tolland, Connecticut

Duke University Chapel, 

Durham, North Carolina

The 1932 Aeolian at Duke University Chapel has as colorful a history as any American organ. In 1930, at a time when contracts had grown scarce, Aeolian wrested the job from Skinner, only to plagiarize the stoplist and layout of Skinner’s 1928 organ for Princeton University Chapel. By the time Aeolian installed the job, their brazen move had evolved into the bittersweet reality of a merger with Skinner. Thus, the Duke organ became Aeolian’s last statement of what a grand organ should be. After World War II, the instrument developed particular appeal through the tenure of Chapel organist Mildred Hendrix, with later chapters of near-replacement in the late 1980s, a seminal bequest toward restoration by Director of Chapel Music Benjamin Smith, renewed respect in the 1990s, and a complete renovation finished in 2009 by Foley-Baker, Inc. More than history, the tale of the Duke Aeolian reads like a screenplay.

Mike Foley recently wrote up the project in The American Organist from his company’s point of view; a forthcoming article in The Tracker will examine the organ’s historical and contemporary importance in greater detail. This piece focuses on technical and musical issues raised in the renovation, since the Duke project lies in that area between restoration (in which nothing is changed) and rebuilding (in which new and old material are given equal status toward an updated musical goal). How this project balanced respect for the original material with modern and practical concerns is important to review, and can be examined in three primary areas: musical, console, and interior.

 

Background

From 1929 to 1932, its final years of production, Aeolian’s organ department produced three heroic organs: Longwood Gardens (Op. 1726, 146 ranks, five 32′s), completed in June 1930; Westchester County Center, an auditorium in White Plains, New York (Op. 1747, 69 ranks, 32′ Bombarde), completed in late 1930; and Duke Chapel (Op. 1785, 120 ranks, three 32′s), signed in October 1930, installed in early 1932 and dedicated that June. (In 1931, Aeolian signed a fourth in this mode for the Hershey Community Theatre in Pennsylvania. The contract went to Aeolian-Skinner in the merger, and the resulting instrument, completed in 1933 under Ernest Skinner’s personal direction, was a Skinner through and through.)

High pressures, large scales, multiple reed batteries, and identical primary scaling link these Aeolians as sister efforts. The recent renovations at Duke and Longwood reveal that while Aeolian’s intentions were suitably heroic in each case, the company was still feeling its way along the finer points of how to build mechanisms and pipes to cope with the demands of high wind pressures. In turn, those details affect how these organs are renewed for their second life cycle.

 

Musical issues

At 120 ranks, the tonal disposition at Duke represented an apotheosis of the Symphonic organ, from a period in which a semblance of traditional chorus building was beginning to return to American organbuilding. The comprehensive chancel scheme was supported by an encased two-manual section in the nave, having an unenclosed chorus, Pedal 16′ Principal in the façade, and a group of enclosed softer voices.

The instrument remained in this original state only 16 years, however. Certain mechanical and musical issues brought about a campaign of work by Aeolian-Skinner in 1948, including a new remote-control combination action and crescendo pedal. Ten new string ranks were installed, probably not to provide a different type of tone as much as to correct speech deficiencies common to ranks built from Hoyt metal, as the originals were. Some sounds were changed. New Choir mutations did not precisely replicate the Aeolian originals, and the Antiphonal chorus was remodeled, using new 8′ and 4′ ranks, a revoiced chorus reed, and a de-tierced and brightened mixture. Finally, the chancel Great chorus underwent a bit of reshuffling: the 51⁄3′ Quinte became a third 4′ Principal, the III–VI Plein Jeu was returned to the factory to be loudened, and the chorus was rebalanced somewhat on site.

In 1975 the Echo-Antiphonal was removed to make way for the present Flentrop, deleting a section of the Aeolian many had found particularly effective. But much more noteworthy was the Chapel’s acoustical transformation in 1974, from one of stereotypical Akoustolith deadness to epic acoustical grandeur. This one event changed all music in Duke Chapel; certainly no one active at Aeolian or Aeolian-Skinner ever experienced Op. 1785 as we do today.

Given this history of change, it was clear that any serious renovation of the Aeolian needed to develop an ethic around the organ’s tonal content. Duke organists Robert Parkins and David Arcus spent years considering the matter, working through the issues as they considered various restorers. By the time Foley-Baker was signed on in 2007, the plan had solidified around restoration of the 1932 tonal scheme: retaining the 1948 Aeolian-Skinner replacement ranks, reversing the 1948 changes and shifts, and regulating the pipes as closely as could be reasoned to where Aeolian left them in 1932. The adoption of such a plan was not a foregone conclusion, for the Aeolian is not without its anomalies. Unison flute tone outside the Solo is atypically gentle (the Great Principal Flute, for example, is softer than the Gemshorn), and some layout details that actually aid tonal projection do not initially appear to. After careful study and consideration, however, the conclusion among organists and rebuilders was that the most musical result would be attained with a return to the 1932 scheme.

While Aeolian’s scaling and voicing was heroic in these jobs, the metal pipework and some of the heftier chorus reeds are perhaps one degree less substantial than what is asked of them. As a result, it becomes especially incumbent to examine pipes thoroughly during rehabilitation to ensure their readiness for another life-cycle. In addition to normal tub washing, numerous seams and loose languids were repaired. Pipes were re-rounded on mandrels to assure good speaking conditions, tops trimmed, and new tuning collars fit throughout. Some of the largest wood pipes had developed cracks, which were routed out, splined and repaired. Finally, Foley-Baker tonal director Milovan Popovic reviewed all flue pipes on the voicing machine. The goal here was to do anything and everything that would promote stability of speech and tone for the next several generations.

For Duke, two aspects made the flue reconditioning process more complex. Unlike working on a Skinner, where many examples exist for study, the scarcity of this breed of Aeolian can involve more interpretation than can be comfortable during a restorative process. Also, Aeolian employed Hoyt metal for many flue ranks, evidently unaware of the material’s tendency to creep over time. The syndrome mostly affects flue pipe windways, as lower lips bow out, making the tone less efficient and duller while vaguely staying on speech. Re-setting the windways is straightforward enough, but it involves a careful ear and a degree of conjecture to divine what the original voicers were after.

Broome & Co. LLC undertook reconditioning of all reed stops, having performed a similar task with the Longwood reeds, each job informing the other. That process is intensive. The pipes are fully documented before disassembly and rigorous cleaning; wood wedges are replaced with brass; every scrolled slot is cut out and replaced; and finally, the pipes are re-assembled and checked through on the voicing machine.

The final element in the organ’s musical rehabilitation was the many weeks of tonal finishing, again led by Milovan Popovic. Tremolo regulation received perhaps as much attention as tone, an area to which Mike Foley is personally devoted. Aeolian used small tremolos to wobble large reservoirs, resulting in a light, fast and almost reiterative effect that many would find unpalatable today. To produce, from these elements, an effect that organists will actually use is no small feat. Finally, after years of silence, the Chimes and Harp are heard again, the latter particularly fine in Aeolian organs, long on tone and short on action noise.

In the end, there was one stoplist change and one addition. The 15-inch wind pressure Pedal reed unit was made available in the manuals as an additional unison Trombone. And a new 25-inch-wind Festival Trumpet was added, modeled on the louder of the two fanfare Tubas on the Skinner at Yale University (the Aeolian-Skinner at Girard College in Philadelphia has a stop of similar construction). All members of the design team reflected upon a group of samples; the preferred stop was built by A.R. Schopp’s Sons and voiced by Christopher Broome. These unenclosed pipes are nestled into the right transept opening, speaking directly into the crossing as a heraldic voice.

 

Console

While the company’s earliest consoles followed the terrace-jamb form typical of the late 19th century, Aeolian evolved a trademark style in the ’teens, using horizontally tilting tablets in angled side jambs. The resulting low profile, even for large consoles, suited the residential setting (the person on the bench, operating a roll, could still engage socially). Organists often derided these consoles, since at a glance it wasn’t clear which stops were drawn. Branching out to church organs in the 1920s, Aeolian first rotated the tablets to the more usual vertical arrangement, then developed a distinctive type of drawknob console, with natty celluloid moldings around departments and large ivory stopknobs on thick ivory shanks rather than the usual ebony. Some peculiarities migrated from the residence consoles: expression shoes with little excursion, spongy key action without tracker touch, non-AGO pedalboard and clavier relationships, and placement of the Sforzando piston directly next to Great to Pedal (surprise!).

The Duke console was Aeolian’s tallest of this model: impressive as a forest of ivory, if tending to noisiness with its vacuum-action stopknob motors. As the size and fame of the Duke choir grew, the console height became a liability in the visual communication between organist and conductor. And, with the removal of the nave sections in 1975, the console contained many redundant controls.

For these and other reasons, the organists decided they would prefer to archive the original console and have a smaller one better suited to the instrument’s current configuration. Richard S. Houghten of Milan, Michigan was directly contracted for this work, along with the design and installation of solid-state control systems throughout. The new console blends dimensions and features more typical of Skinner (particularly key-touch and piston arrangement) with some of the visual design peculiar to the Aeolian original. Legally sourced ivory for keys, stopknobs, tablets, pistons, and indicator tags contribute to an ambience more of a modernized old console than a brand-new one.

 

Interior

Projects involving old organs are made easier when the instruments in question are entirely original. More challenging is an organ that has unquestionable musical merit but might not have a mechanical foundation of comparable quality. At Longwood, Aeolian’s first truly high-pressure effort (ranging from 8″ to 30″), Aeolian experienced some structural instability with their new style of pitman windchest. Unlike Skinner chests, which are formed with horizontal joist-like separators between every stop, the Aeolian pitman chest is a simple box with a solid table, four sides and an occasional vertical post. At Longwood, this proved insubstantial to the pressures employed (many were reinforced in the recent renovation); the White Plains organ shows further evidence of the same syndrome. By the time the Duke organ was built, Aeolian had already realized that stouter construction was necessary. While each chest was carefully checked for signs of stress or need for reinforcement, none was needed in the end.

Otherwise, restoring all mechanisms to a like-new standard comprises the bulk of any restorative effort. Each firm’s instruments bring particular challenges. Aeolian was atypical in being a two-finish wood shop: some things painted, others shellacked. This factor complicates renewal of the main windchests, whose solid tops are shellacked but whose sides and bottoms are painted. Most Aeolian organs have 6-stage accordion swell engines. For fancy jobs, a relay mixed and matched the six stages to produce 14 discrete increments of opening. A nice idea in theory, in practice the operation could lack smoothness, particularly in the first few stages. For Duke, Aeolian built 14-stage accordions, an elegant solution but a tougher restoration challenge. Finally, tremendous effort was put into renewing the Duke chambers and making all surfaces maximally reflective, together with a well-lit working environment for the technician. After decades of looking dank and worn, the chambers now gleam like a first-class hotel lobby.

 

Personnel

There had been talk of restoring the Duke Aeolian since 1990. Through the 1990s and 2000s, former curator Norman Ryan had rehabilitated much of the Swell, and portions of the Choir and Solo. In the push to undertake a comprehensive renovation, two gentlemen stood behind the project and saw that it got done. Duke University Organist Dr. Robert Parkins set aside earlier conceptions about style and saw that the instrument’s fabric and tone were respected. He also dealt with the many logistical issues such projects raise. Chapel Organist Dr. David Arcus, familiar with and fond of similar instruments built by Skinner (particularly that at Yale University, on which he studied with Dr. Charles Krigbaum) asked important questions, challenged assumptions, and kept music central to the discussion. His persuasive playing on the Aeolian invigorated established admirers and persuaded new ones. For Sunday worship, the two organists have developed creative means of employing both Flentrop and Aeolian in antiphonal hymn accompaniment, as well as showcasing Duke’s other organs: the meantone Brombaugh in the side Memorial Chapel, and the Richards, Fowkes in Goodson Chapel, next door at Duke Divinity School.

A project of this magnitude, accomplished on budget in 20 months, requires planning of the surest sort coupled to experience in managing complex projects. While Mike Foley plays an active role in that process, foreman Phil Carpenter’s long experience in the site management shows through every detail of the finished result. The Duke renovation takes its place in FBI’s impressive roster of high-profile work of late: Boston-area Aeolian-Skinners at Symphony Hall, The First Church of Christ, Scientist, and Trinity Church; Groton School; and in 2010, the relocated 1929 Skinner for The Memorial Church, Harvard University.

For those who admire all of Duke’s fine organs, in their excellence and variety, this renovation allows the Aeolian to shine forth with the elegance of its sisters. Better still, it is played often and well. For those who labor hard on such jobs, there is no finer outcome.

—Jonathan Ambrosino

 

Photo credit: Mark Manring

 

The Duke Aeolian was rededicated in a gala concert February 8, 2009, jointly offered by Drs. Parkins and Arcus to a capacity audience, with works of Brahms, Karg-Elert, Reger, Pierné, Franck, Gigout, Locklair, Tournemire, and Jongen. The entire recital can be seen episodically on YouTube.

 

Chancel Organ, Duke University Chapel, Durham, North Carolina

  Aeolian Organ Company, Opus 1785, 1931Р32

GREAT (wind pressures: 6″ for flues, 12″ for reeds)

32′ Quintaton (from tenor c) 61 pipes

16′ Diapason 73 pipes

partially in north façade

16′ Bourdon (Pedal, ext) 17 pipes

8′ First Diapason   73 pipes

swapped with Second in 1932

8′ Second Diapason   73 pipes

swapped with First in 1932

8′ Third Diapason   73 pipes

restored to original from Prestant 4′

8′ Gemshorn 73 pipes

8′ Principal Flute   73 pipes

8′ Doppel Flute   73 pipes

(in Choir chamber)

51⁄3′ Quint   73 pipes

restored to original from Third Diapason

4′ Octave   73 pipes

4′ Principal 73 pipes

4′ Flute   73 pipes

(in Choir chamber)

31⁄5′ Tenth   73 pipes

22⁄3′ Twelfth   61 pipes

2′ Fifteenth   61 pipes

Harmonics V 305 pipes

Plein Jeu III–VI 268 pipes

16′ Contra Tromba   73 pipes

(in Choir chamber)

8′ Trombone (Pedal)

8′ Tromba   73 pipes

(in Choir chamber)

4′ Octave Tromba   73 pipes

(in Choir chamber)

8′ Tuba Mirabilis (Solo)

8′ Festival Trumpet   61 pipes

(new, floating, 25″ wind pressure)

Great to Great 16

Great to Great 4

Great Unison Off

SWELL (wind pressures: 6″ for flues and orchestral reeds, 10″ for chorus reeds)

16′ Bourdon   73 pipes

8′ Diapason   73 pipes

8′ Geigen Diapason   73 pipes

8′ Gamba   73 pipes

8′ Gamba Celeste   73 pipes

8′ Salicional   73 pipes

8′ Voix Celeste   73 pipes

8′ Rohrflute   73 pipes

8′ Cor de nuit*   73 pipes

8′ Flauto dolce   73 pipes

8′ Flute Celeste   61 pipes

4′ Octave   73 pipes

4′ Fugara   73 pipes

4′ Flute Triangulaire*   73 pipes

22⁄3′ Nazard*   61 pipes

2′ Piccolo   61 pipes

2′ Flautino*   61 pipes

13⁄5′ Tierce*   61 pipes

Cornet V (composed of stops marked*)

Chorus Mixture V 305 pipes

16′ Posaune   73 pipes

8′ French Trumpet   73 pipes

8′ Cornopean   73 pipes

8′ Oboe   73 pipes

8′ Vox Humana   73 pipes

4′ Clarion   73 pipes

8′ Harp (in Choir box)

4′ Celesta (in Choir box)

Tremolo

Chimes

Swell to Swell 16

Swell to Swell 4

Swell Unison Off

CHOIR (wind pressure: 6″ throughout)

16′ Gamba   12 pipes

(ext Viole d’orchestre 8′)

8′ Diapason   73 pipes

8′ Viole d’orchestre   73 pipes

8′ Viole Celeste   73 pipes

8′ Concert Flute   73 pipes

8′ Quintadena (derived from stops marked*)

8′ Dulciana*   73 pipes

8′ Dulciana Celeste   73 pipes

4′ Violina   73 pipes

4′ Harmonic Flute   73 pipes

22⁄3′ Nazard*   61 pipes

2′ Piccolo   61 pipes

13⁄5′ Tierce   61 pipes

11⁄7′ Septieme   61 pipes

16′ Fagotto   73 pipes

8′ Trumpet   73 pipes

8′ Corno di bassetto   73 pipes

8′ Orchestral Oboe   73 pipes

8′ Tuba Mirabilis (Solo)

8′ Festival Trumpet

8′ Harp   49 bars

4′ Celesta (ext Harp)   12 bars

Tremolo

Chimes   25 tubes

Choir to Choir 16

Choir to Choir 4

Choir Unison Off

SOLO (wind pressures: 10″ for flues and orchestral reeds, 15″ for chorus Tubas, 25″ for Tuba mirabilis)

8′ Stentorphone   73 pipes

8′ Gamba   73 pipes

8′ Gamba Celeste   73 pipes

8′ Flauto Mirabilis   73 pipes

4′ Octave   73 pipes

4′ Orchestral Flute   73 pipes

Mixture V 305 pipes

16′ Tuba   73 pipes

8′ Tuba Mirabilis   73 pipes

8′ Tuba   73 pipes

8′ French Horn   73 pipes

8′ English Horn   73 pipes

4′ Clarion   73 pipes

Tremolo

Chimes

Solo to Solo 16

Solo to Solo 4

Solo Unison Off

PEDAL (wind pressures: 6″ for flues, 15″ for reeds)

32′ Diapason (ext Ped Diap)   12 pipes

32′ Bourdon (from Bourdon 16′; 1–12 in 

common with Diapason 32′)

16′ Diapason   32 pipes

16′ Contrabass   32 pipes

16′ Diapason (Great)

16′ Bourdon   68 pipes

16′ Gamba (Choir)

16′ Echo Lieblich (from Swell Bourdon)

102⁄3′ Quint (from Pedal Bourdon)

8′ Octave (ext Diapason) 12 pipes

8′ Principal   32 pipes

8′ Gedeckt (from Pedal Bourdon 16′)

8′ Stille Gedeckt (from Sw Bourdon 16′)

51⁄3′ Twelfth (from Pedal Bourdon 16′)

4′ Flute (from Pedal Bourdon 16′)

Harmonics V 160 pipes

32′ Bombarde (ext Ped Tbone) 12 pipes

32′ Fagotto (ext Choir)   12 pipes

16′ Trombone   32 pipes

16′ Tuba (Solo)

16′ Tromba (Great)

16′ Fagotto (Choir)

102⁄3′ Quint Trombone (from Great Contra

Tromba 16′)

8′ Trombone (ext)   12 pipes

8′ Tuba Mirabilis (Solo)

8′ Festival Trumpet

4′ Clarion (ext)   12 pipes

Chimes (Choir)

 

Couplers

Great to Pedal 8 Solo to Great 16

Swell to Pedal 8 Solo to Great 8

Choir to Pedal 8 Solo to Great 4

Solo to Pedal 8 Solo to Swell 16

Great to Pedal 4 Solo to Swell 8

Swell to Pedal 4 Solo to Swell 4

Choir to Pedal 4 Swell to Choir 16

Solo to Pedal 4 Swell to Choir 8

Pedal to Pedal 4 Swell to Choir 4

Pedal Divide Great to Choir 16

Swell to Great 16 Great to Choir 8

Swell to Great 8 Great to Choir 4

Swell to Great 4 Solo to Choir 16

Choir to Great 16 Solo to Choir 8

Choir to Great 8 Solo to Choir 4

Choir to Great 4 Pedal to Choir 8

Great and Choir Transfer

 

Balanced Expression Pedals

Choir Expression

Swell Expression

Solo Expression

Crescendo (programmable)

 

Combination Pre-sets

Standard Capture Combination System with 256 levels of memory

Manual Piston Combinations

Great: 1–8, 0 (Cancel)

Swell: 1–8, 0

Choir: 1–8, 0

Solo: 1–8, 0

Pedal: 4–8, 0

General: 1–20

General Cancel

Pedal Piston Combinations

Pedal: 1–5, 0

General: 1–16

Setter

Piston Sequencer

Memory Up and Down pistons

 

Reversibles

Manual and Pedal Pistons

Great to Pedal 8

Swell to Great 8

Choir to Pedal 8

Solo to Pedal 8

Diapason 32′

Bombarde 32′

Fagotto 32′

16′ Manual Stops Off

32′ Pedal Stops Off

All Swells to Solo Expression Pedal

Sfz mf

Sfz Tutti

 

Manual Pistons Only

Solo to Swell 8

Swell to Pedal 8

Choir to Great 8

Solo to Great 8

Swell to Choir 8

Solo to Choir 8

Great to Choir 8

All Pistons Next

Harp Sustain

 

Indicator Lights

Usher Signal

Telephone

Transposer

Pedal Divide

Sfz mf

Sfz Tutti

Crescendo

All Swells to Solo Expression Pedal

All Pistons Next

Pedal 32′ Off

Manual 16′ Off

Harp Sustain

Digital display for memory level, general piston number, and crescendo level

Dennis E. Northway

Dr. Dennis Northway is Parish Musician at Grace Episcopal Church, Oak Park, Illinois, a former Dean of the Chicago AGO chapter, Artistic Director of the Handel Week Festival in Oak Park, Illinois, an employee of John-Paul Buzard Organbuilders, recently Councilor for Research and Publications of the Organ Historical Society, and Chair of the 2012 OHS National Convention. He is the co-author, with Stephen Schnurr, of Pipe Organs of Chicago and Pipe Organs of Chicago—Volume Two, author of To Touch the Garment’s Hem: meditations before a choir rehearsal, and editor of The ChicAGO Centenary Anthology.

As part of the Organ Historical   Society’s 57th national convention in metropolitan Chicago (to take place July 8–13, 2012), we will visit the corner of Milwaukee and Addison streets in Chicago. Located there is Carl Schurz High School, a Prairie-style building from 1909 given Chicago Landmark status. It boasts a 1,800-seat auditorium with a three-second reverberation time and a spectacular four-manual pipe organ. We hope you will join us in Chicago to hear this instrument! This is the story of that remarkable pipe organ as told in correspondence.

The story of Carl Schurz High School, and its four-manual 1935 Whitelegg-designed M. P. Möller pipe organ, Opus 6373, is well documented in the more than 250-page factory file now housed in the American Organ Archives of the Organ Historical Society. This is a landmark instrument—it is intact, and in need of restoration. The saga of the instrument, and the final negotiations and installation presented in correspondence, is an important and interesting case study of a ground-breaking pipe organ. The instrument was once appreciated and has recently been largely neglected. It has not been heard in concert in nearly 30 years. Fortunately, neglect and disuse have preserved a large instrument that represents a revolution in pipe-organ building in America.  

We begin with a Western Union telegram dated September 1, 1935 from organ consultant Calvin Brown to Richard O. Whitelegg (1871–1944), Tonal Director of Möller, which states:

 

SUGGEST YOU COME HERE EARLY NEXT WEEK STOP FOUR MANUAL DEAL WHICH BELIEVE CAN TURN YOUR WAY ANSWER BY WESTERN UNION¹

Whitelegg came to America and worked with the Welte firm that later became the Welte-Tripp organ company. Calvin Brown’s interest in Whitelegg’s work may stem from the latter’s work as the tonal supervisor for a four-manual instrument on the near South Side of the city in St. Augustine Roman Catholic Church.² This large instrument in a generous acoustic would have made a profound impression on the listener. 

The Schurz instrument, with its vanguard specification for the time, is also highly noteworthy with regard to the speed of its implementation and completion. The specification is dated October 29, 1935 and was accepted in contract form dated November 4, 1935 in Hagerstown, Maryland. The Swell and Great divisions, played from the four-manual console, were heard in public recital on December 19, 1935—six weeks and three days later!  

The remarkable specification below includes an identical version of the three Great mixtures: the III Mixture, the III–V Cornet, and the amazing IV Harmonics, detailed by John Gladden Barr (b. 1938) in his 1977 dissertation, “A Tonal History of Pipe Organs Built by M. P. Möller, Incorporated.” This “experimental” chorus had been built by Whitelegg and placed in the west wall of the Möller erecting room in 1934.³

The compositions, listed in the dissertation, are given below:

 

Mixture III

15th 15th 15th 

19th 12th 12th 

22nd 19th 8th 

#1–23 24–40 41–61

C–A# B–D# E–C

Unison: 44 scale at 8′ CC, 1/4 mouth

Quint: 2 notes smaller, 1/5 mouth

 

Cornet III–V

1st

8th 8th

12th 12th 12th

15th 15th 15th

17th 17th 17th

#1–12 13–24 25–61

C–B C–B C–C

Unison: 42 scale at 8′ CC, 2/7 mouth

Quint: 2 notes smaller, 1/4 mouth

Tierce: 4 notes smaller, 1/4 mouth

 

Harmonics IV 

17th 17th 10th 

flat 21st flat 14th 8th 

19th 19th 12th 

22nd 15th 15th 

1–39 40–51 52–61

C–D D#–D D#–C

Unison: 48 scale at 8′ CC, 2/9 mouth

Quint: 2 notes smaller, 1/5 mouth

Tierce: 4 notes smaller, 1/5 mouth

21st flatted [Septième]: 8 notes smaller, 1/5 mouth

 

Carl Schurz High School, Chicago, Illinois; 1935 M. P. Mљller, Opus 6373

GREAT (Manual II, 5″ wind)

16′ Double Diapason (metal, sc 35, 73)

8′ First Diapason (metal, sc 43, 61)

8′ Second Diapason (ext 16′ Dble Diap)

8′ Harmonic Flute (metal, sc 50, 61)

4′ Octave (metal, sc 56, 61)

22⁄3′ Twelfth (metal, sc 65, 61)

2′ Fifteenth (metal, sc 70, 61)

III–V Cornet (metal, 269 pipes)

III Mixture (metal, 183)

IV Harmonics (metal, 244)

Chimes (from Choir)

Great 16′

Great Unison Off

Great 4′

SWELL (Manual III, enclosed,
7″ wind pressure)

16′ Salicional (metal, sc 46, 97 pipes)

8′ Geigen Principal (metal, sc 46, 73)

8′ Rohr Floete (wood and metal, 73)

8′ Salicional (ext, 16′ Salicional)

8′ Voix Celeste (TC, metal, sc 59, 61)

4′ Geigen (ext, 8′ Geigen Principal)

4′ Chimney Flute (ext, 8′ Rohr Floete)

4′ Salicet (ext, 16′ Salicional)

2′ Flautino (metal, sc 73, 61)

V Plein Jeu (metal, 305 pipes)

16′ Contra Fagotto (metal, 97)

8′ Trumpet (metal, 73 pipes)

8′ Fagotto (ext, 16′ Contra Fagotto)

8′ Vox Humana (in second enclosure,

metal, 61)

4′ Clarion (ext, 16′ Contra Fagotto)

Tremolo

Swell 16′

Swell Unison Off

Swell 4′

CHOIR (Manual I, enclosed,
5″ wind pressure)

16′ Spitz Floete (metal, sc 40, 85 pipes)

8′ Diapason (metal, sc 47, 73)

8′ Spitz Floete (ext, 16′ Spitz Floete)

8′ Spitz Floete Celeste (TC, sc 52, 61)

4′ Principal (metal, sc 62, 73)

22⁄3′ Twelfth (capped metal, sc 72, 61)

2′ Fifteenth (metal, sc 76, 61)

8′ Clarinet (metal, 73 pipes)

8′ Vox Humana (from Swell)

Tremolo

Chimes (25 tubes)

Choir 16′

Choir Unison Off

Choir 4′

SOLO (Manual IV, enclosed,
8″ wind pressure)

8′ Stentor Diapason (metal, 73 pipes)

8′ Major Flute (wood and metal, 73)

8′ Gross Gamba (metal, sc 56, 73)

8′ Gross Gamba Celeste (metal, sc 56, 73)

8′ Tuba Mirabilis (metal, 73)

Tremolo

Solo 16′

Solo Unison Off

Solo 4′

PEDAL

32′ Resultant (from Diap and Spitz Fl)

16′ Diapason (5″ w.p., wood, 44 pipes)

16′ Second Diapason (Gt 16′ Dble Diap)

16′ Contra Bass (5″ w.p., stopped wood, 44)

16′ Spitz Floete (from Choir)

16′ Salicional (from Swell)

8′ Octave (ext, 16′ Diapason)

8′ Flute (ext, 16′ Contra Bass)

8′ Spitz Floete (from Choir)

16′ Trombone (8″ w.p., in Solo enclo- sure, metal, 56 pipes)

16′ Fagotto (from Swell)

8′ Trombone (ext, 16′ Trombone)

4′ Trombone (ext, 16′ Trombone)

Chimes (from Choir)

INTER-DIVISIONAL COUPLERS

Great to Pedal 8, 4

Swell to Pedal 8, 4

Choir to Pedal 8

Solo to Pedal 8, 4

Swell to Great 16, 8, 4

Choir to Great 16, 8, 4

Solo to Great 8, 4

Swell to Choir 16, 8, 4

Solo to Choir 8, 4

Choir to Swell 16, 8, 4

Solo to Swell 8, 4

Great to Solo 16, 8, 4

Choir to Solo

Swell to Solo

 

ACCESSORIES

12 General pistons (1–12 thumb, 1–6 toe)

8 Great and Pedal pistons and Cancel (thumb)

8 Swell and Pedal pistons and Cancel (thumb)

6 Choir and Pedal pistons and Cancel (thumb)

6 Solo and Pedal pistons and Cancel (thumb)

6 Pedal pistons and Cancel (affecting couplers, thumb and toe)

General Cancel (thumb)

Combination setter (thumb, with indicator light)

Pedal to Great pistons on/off (thumb)

Pedal to Swell pistons on/off (thumb)

Pedal to Choir pistons on/off (thumb)

Pedal to Solo pistons on/off (thumb)

Great to Pedal reversible (toe)

Test button and light (for current)

Chimes damper (toe reversible)

Harp damper [sic] (toe reversible)

All Swells to Swell reversible (toe, with indicator light)

Swell expression shoe (with indicator dial)

Choir expression shoe (with indicator dial)

Solo expression shoe (with indicator dial)

Crescendo shoe (with indicator dial)

Sforzando reversible (thumb and toe, with indicator light)

What follows is a virtual flurry of correspondence addressing various façade decisions, descriptions of changes in specification, commentary on blower placement, wiring, etc. We shall see that many letters crossed in the mail on the same day! Because of the close time frame and the extant fairly complete correspondence on this groundbreaking instrument, let us explore the documentation for insights into Opus 6373 and its manufacture.

On stationery from the Board of Education, City of Chicago, Carl Schurz High School, 3601 Milwaukee Avenue dated November 22 to the Möller Organ Company, we read:

Gentlemen–

Enclosed please find the print of organ console which is o.k. Please note notation on reverse side of the blue print—console is to be movable and we are planning to place it on the stage, with three junction boards—one in center, and one on each side. Please tell Mr. Whitelegg I have changed my mind about “Horn” for “Solo Organ”—and wish Stentorphone in its place as originally specified.

Sincerely,

LeRoy Wetzel

The dummy façade pipes in the display were intended from the outset, as noted in a letter from M. P. Möller, Jr. to LeRoy Wetzel (Schurz High School’s choir director) on November 25:

Mr. Whitelegg has passed into the factory instructions that the display pipes are to be of natural zinc finish. Your comments on this will be brought to his attention.

November 26 finds Whitelegg writing to LeRoy Wetzel at the high school:

 

In reply to your letter of the 22nd, referring to the movable console, we note you suggest having three junction boards, and while this can be done, it is really very impractical. This method would lead to all sorts of trouble—short circuits, etc., besides considerable additional expense. You should arrange to have the cables come up either at the left or right hand side of the stage, preferably right in the corner, with long enough cable to reach to the center of the stage.  

In regards to the console being movable, this being an all electric action, there will only be cable attachments and it will be possible to move the console wherever you desire; but really as regards having those union boards, that just isn’t done, as in all cases tried previously it ended up in having to make a permanent job of just the one set of cables.

We are planning to ship the first part of the organ by freight Saturday, comprising the platform, pedal pipes, pedal chests, etc., and we are having men from the factory reach there to take care of the installation. I expect to be in Chicago in about ten days time. The organ in the Church of St. John of God Roman Catholic will be ready for ok, and possibly you will be able to give the time to run over and try the instrument as soon as it is tuned up.

Regarding the location of the blower, I am still of the opinion that it is more advisable to place it in the fresh air inlet; there is always a 12 degree rise of temperature from the air entering the blower until the time it gets into the organ and considering that underneath the stage that temperature is running as high as seventy and eighty, would bring the temperature of the wind up to ninety degrees, which is somewhat high and could be harmful in the way of drying out woodwork, etc. However, this matter can be left for decision until the men arrive for the installation.

 This was to be a special organ in many ways. In a factory order from Whitelegg dated November 27, 1935, we read:

 

The type of organ bench required is the pattern made after the one sent to Hugh McAmis Studios, New York, only made of oak in finish to match the console. As this console will be out on the stage for many public occasions it is necessary to have this special organ bench in preference to the standard style.

 

November 27, Whitelegg writes to Calvin Brown, 4539 North Richmond Street:

 

Dear Cal: I have just received your letter referring to the location of the blower for the Carl Schurz High School. Mr. Wetzel has written mentioning that there was some opposition regarding the location of the blower. Frankly, there is everything in its favor as regards the location of the blower in the fresh air inlet. There is always at least a twelve degree rise in temperature from the air intake to the outlet, which just for a few exceptional occasions, the temperature will normally delivered from the blower be around about 70 degrees. On the other hand, if the blower is located immediately under the stage, the temperature there is any where from 70 to 80, and figuring the rise of temperature as it passes through the blower, will be considerably warmer or a higher degree of temperature than would be good for the woodwork. However, you can settle this matter when the installation commences, but my preference would be where I suggested.  

Regarding the location of console, we have heard from Mr. Wetzel and they are thinking of having the console on the stage with three union boards for attaching console, either on each side or the center. This, while it can be done, is right out of the question in every case where this
[s]ort of console attachment has been tried, and the result has been failure. Here are almost certain difficulties as regards short circuits or bad contacts and always ends up in a permanent connection being made. My suggestion is that if the console is to be on the stage, considering the orchestra pit as first requested, it would be better to decide on which side the console would be permanently located and then have cables long enough to extend to the center of the stage.

I expect to be in Chicago again within the next ten days or so, no doubt will be seeing something of you then.

 

Calvin Brown was the recipient of a letter from Whitelegg dated December 3 discussing the console, blower placement, belted generators, commission, and concludes:

 

We are making every effort to have this organ playing for the 19th, that would be the Swell and Great divisions, hence the reason for going ahead with all parts and the necessity to eventually send a large staff to Chicago to get the work done. Well, I expect to be in Chicago next week, probably this week-end and will give you a ring in case there should be anything required in regard to the Carl Schurz School for discussion.

The same day, from Möller sales manager E. O. Shulenberger⁴ (who was “on the road” in Chicago) to M. P. “Ted” Möller, Jr., we read: 

 

I spent all forenoon with Mr. Brown and the Schurz High School. First, because Brown asked me to go out, and secondly, because Buterbaugh⁵ who arrived here yesterday with Kenneth ’phoned and said he thought they would have Union trouble. I am quite sure that we will have some trouble before we are through. Every employee around the School, including half dozen or more engineers, electricians, janitors, and some others, amounting to about a total of fifty-five in all, are Union men, and the Chief Engineer, while courteous regarding certain things, says that the electrical union even interfered when he fixed one of the electric clocks. It was a sad mistake, I think, that we built the platform there. Maybe the steel workers won’t find it out, but there is every reason to believe they will. That and the electrical work is the most serious. I talked to the Chief Engineer, the Principal of the School, Mr. Wetzel, and some others, and they said they will do what they can, and I told Buterbaugh and Kenneth to work and not talk.

In a letter written while he was in the Möller Chicago office in the McCormick Building, 332 South Michigan,
E. O. Shulenberger writes to M. P. (Ted) Möller, Jr., on December 4, 1935: 

 

Dear Ted:

I have your letter of December 2d. The boys worked last night until ten o’clock, and got part of the steel-work of the platform up, and so far without any interference. I understood that Brown’s commission was to be figured on the basis of contract price, less motor wiring, starter and platform, which as I remember was $13,650.00, or whichever was my original estimate, plus a Clarinet. That is what Mr. Whitelegg told me at the time. I will try to find out, if possible, about the grille, but I am not sure that I can make the contact today, and if I don’t leave the city later today, I will the first thing in the morning. I understood, however, that the sawed out grille as approved by the architect was what was wanted, and the architect, Iam [sic] informed, is final regarding all of those matters.  

I wrote you about the junction yesterday, and have suggested that the wiring be done to a junction board, placed on an apron of the stage, and the wiring from there permanent, since there will be no air. I think Mr. Brown will work that out, and he has the confidence of Mr. Wetzel, and would be the best medium to take it up.

I advise strongly against Kenneth attempting the motor wiring, and have told Buterbaugh toget [sic] an estimate from an electrical contractor out there, and send the estimate to Hagerstown. All the employees there are union men, and are watching what is going on. So far they have not interfered with the steel-work, but the Chief Engineer, who is in charge of the entire building and equipment, is a union man, and told me if the Delegate came in and found our men doing electrical wiring, he would start real trouble. The Chief Engineer said he don’t care, but that they are checked up very frequently, and what we might save by Kenneth doing it, might be more than lost by trouble that would be caused, and furthermore, difficulty with the inspectors could be expected.

Whether the generator is direct-connected or belt-driven probably won’t be an issue, but as we have all decided that the place for that blower is in the engine-room, there is plenty of room for a direct-connected generator. It would be impossible to put the blower and air duct where Mr. Whitelegg suggested and keep the organ in tune, as the temperature in there yesterday was below thirty, with a terrific draft, and no-one here wants to put it there. The engine-room is not hot, never above seventy, generally considerably below, and has all kinds of space. 

 

On December 10, 1935 Richard Whitelegg writes to LeRoy Wetzel:

 

The last of the Carl Schurz High School organ will be leaving the factory next Saturday, and this is almost certain unless some unforeseen difficulty arises, that the organ—at least the Swell and Great divisions—will be available for the 19th. I had expected to be in Chicago by this time, but there have been several matters which have detained me and again I must go up to New York, but I am still hoping to be in Chicago within the next three or four days.

It is indeed a considerable effort to get that organ completed in the short time: I gave it preference and hence the reason why the organ will be available as promised. I do not think that there is any other part of the world that an organ of that size could be handled on such short notice: however, nothing has been spared to make it one of the finest organs that ever left the factory.

On the tonal side of the instrument, you are going to find a very much more aggressive organ tonally than the one in your church: we have all the Great work unenclosed and the Mixtures—flu [sic] work a very sweet agressive⁶ tone, likewise with the reeds. However, I am sure after you have used the instrument a little while it will appeal to you much better than the late, Heavy Phonon Diapason type of organ.

Mr. John Buterbaugh will, I expect, have arrived in Chicago by this time. He has installed many of the larger Möller organs and in my opinion is one of the most capable organ builders we have at the present time. Mr. Buterbaugh will be in complete charge of the installation, and you will find him very tactful, diplomatic, and ready to co-operate in every way. In any case, I expect to be around myself for two or three days prior to the 19th, so will be seeing you.

 

M. P. Möller, Jr. writes December 14, 1935 to R. O. Whitelegg, in care of the Chicago office⁷:

 

In reference to your telephone call from New York this morning, I was very surprised that you were still in New York as I thought the New York work was to simply be the conference with DeTar on Wednesday and that you would be in Chicago on Thursday. I haven’t had a report as to what progress they are making, but as the organ must be playing by the 19th, or just what the schedule is. I really had not been worrying about it, as I presumed you were there and were taking care of all details.  

The third load is going today, containing the Choir and Solo organs and I presume practically everything except some parts of the case.

 

Whitelegg responds, in a report to
M. P. Möller dated December 16, 1935:

 

The plans there are to have the Great and Swell divisions playing on the 19th, which is all I promised at the time of signing the contract. 

I plan to give three or four days to the St. John of God organ, and also set up the tonal values of whatever is playing at the High School, and then return to the factory, possibly the end of this week.  

Yours truly, 

R. O. Whitelegg

 

P.S. Since the above was dictated, I’ve been over to Carl Schurz School. The work is progressing satisfactorily, Mr. Wetzel stated that he is ordering the balance of the contract tomorrow, and he is also asking for the list of suggestions on the other prepared for pipes, which I am sending to him from this office.⁸

 

Whitelegg writes then to M. P. Möller on December 20, 1935:

 

Dear Sir: Regarding Carl Schurz High School, the organ was available for use last night as planned, and is truly remarkable. In Mr. Wetzel’s own words, he expected a fine organ, but it has exceeded anything that he hoped to have.

E. O. Shulenberger writes to Calvin Brown, 4539 North Richmond Street on December 23, 1935:

 

I understand that the boys got the organ playing at the time wanted and can not do any more now until after the Holiday Season. I hope everything has come through satisfactory [sic] to every one.

We find a memo from the Hagerstown Möller factory to the offices in Chicago dated December 31, 1935:

 

The last load of the Carl Schurz High School organ will arrive at the High School on Monday morning, January 6.

Richard O. Whitelegg writes to J. B. Buterbaugh on January 17, 1936: 

 

Please let me have a report as to the progress of the Carl Schurz High School, in order that I can plan my future movements. I will be busy in the factory until the 25th, and plan to spend a few days at the completion of the organ you are installing.

Because it was a strict union house, and because of the heavy use of the auditorium during the day, we find sent to the attention of Mr. Whitelegg from Buterbaugh the following: “I am starting to do regulation this evening as we must work nights from now on.”

The prepared-for stops, the Vox Humana, Chimes, and Trombone 16′ & 8′ were called for by Calvin Brown on January 22, 1936 for the sum of $1,330.00.

The Vox Humana stopknob was ordered from H. W. Cramer by M. P. Möller, Jr., January 31, 1936.

The weekly installation report to the factory dated February 1, 1936 and signed by John Buterbaugh states: “Chimes installed. Organ tone regulated except Solo,” with a listed probable completion date of organ as February 12.

The following week’s installation report, dated February 8, 1936 states:

 

Solo and Choir finished, some regulation and final tuning of Great and Swell.  Probable completion date of organ is February 13th and dedication planned in about a month. Signed John Buterbaugh.

C. W. Nowell⁹ provides a report of All Electric Consoles (no pneumatics in consoles) built by Möller; a copy of this is in the file and is reproduced here. It may be surprising to some that Möller produced these in this period. Note the exceptional number of magnets in the Schurz console and the unique report configuration of that entry. (See chart.)

John Buterbaugh, who oversaw the installation of the instrument, writes from the Hotel Milshire on February 18, 1936:

 

The organ in the High School is entirely finished and is an exceptionally fine job according to all who have heard it. I have gone over it with M. Wetzel and he says it is beyond his expectations.

Calvin Brown writes to E. O. Shulenberger on February 28, 1936 and states: 

 

I am very much pleased with the job and your boys did an excellent job and I hope to have some more for your firm shortly.

 

G. N. Snyder, writing from the Chicago office of M. P. Möller to Richard O. Whitelegg March 13, 1936 reports: 

 

Mr. Buterbaugh and I drove out to the Schurz High School yesterday, and had the pleasure of meeting with Mr. LeRoy Wetzel. This is a case where the folks are most over-joyed with the organ and all those who had anything to do with its installation, etc. I have heard no man speak more highly of anything than he. He incidentally mentioned that Dr. Barnes had visited him a day previous, and that Dr. Barnes was most enthusiastic about the organ, making the statement that it sounded like a fifty thousand ($50,000.00) dollar organ.

 

Warfield Webb¹⁰ writes to Möller on April 20, 1936 and says: 

 

Understand you recently installed a large and expensive organ in the Carl Schurz High School, Chicago. As a writer for many, many kinds of publications, wonder if anything in the nature of a story about this organ has appeared in a music or school publication. . . Understand this organ is one out of the ordinary found in a school. Perhaps you may be able to give me some interesting data.

 

E. O. Shulenberger, Secretary and Sales Manager, responds on May 1, 1936:

 

The organ there is very much out of the ordinary as found in schools and has attracted an unusual amount of attention, so it should make a very good story. I am sure that Mr. Leroy Wetzel, head of the music department of that school, would be glad to assist you in getting any or all information, and Dr. William H. Barnes, the organ architect, South Wabash Avenue, has also made a lot of study on it. He has written an article to be published in the American Organist on the particular organ, but as this publication has not yet come out, I have not seen the copy.

 

Whitelegg writes to “Mike” Buterbaugh August 13, 1936:

 

I hope to be able to see and hear this organ after visiting Kalamazoo when that organ is completed.

 

L. B. (“Mike”) Buterbaugh, writing from the Chicago office, Suite 1742 McCormick Building, 322 South Michigan on October 12, 1936, reports, “The organ itself is in very fine shape.”

There is a great deal more in the file; however, this array of documents gives us a glimpse of what it took to get a large instrument in quickly. This also hints to the truth that all large instruments take a great deal of negotiation, in all aspects of construction and design, to fabricate and install. Opus 6373 is a monumental organ and completely intact. You are cordially invited to hear it live at the Chicago national convention of the Organ Historical Society this summer!

 

Listen to Dennis Northway play the Schurz Victory March on Möller Opus 6373 at: www.TheDiapason.com.

Pasi Organ Builders, Inc., Roy, Washington, Opus 19 Sacred Heart Co-Cathedral, Houston, Texas

 

Pasi Organ Builders, Inc., Roy, Washington, Opus 19

Sacred Heart Co-Cathedral, 

Houston, Texas

 

From the organbuilder

The instrument is placed in the rear gallery on either side of the 40-foot-high Resurrection Window. This massive window necessitated a divided layout for the organ’s five divisions of pipes, and several unique design solutions were used to compensate for the lack of a traditional central organ case. During the organ’s design, construction, and voicing, this instrument developed a unique character of its own—thanks in large part to the building’s wonderfully reverberant acoustics.

The visual design of the instrument combines architectural features found in this building with elements from historic European organs. The organ is entirely encased in white oak woodwork, with decorative carvings above the façade pipes. Both the carvings and the façade pipe mouths are gilded with 23-carat gold leaf. The wooden case serves a vital tonal function by blending and focusing the sound of the 5,499 organ pipes, while also protecting them from dust.

The console’s four manual keyboards are covered with cow bone and ebony, and the pedal keyboard is made of maple and rosewood. The 111 stop knobs, controlling the organ’s five divisions of pipes, are on either side of the keyboards. The stop knobs and toe pistons are made of pau ferro. Other species of wood found in the organ include tulip poplar, redwood, sugar pine, basswood, walnut, hornbeam, and Douglas fir.

The organ is laid out vertically in order to take advantage of the given space. The pipes of the Great division are placed on windchests above the impost on the east side of the window. The Swell division is placed above the Great, hidden behind the façade pipes and gilded carvings. The Positive division is located above the Swell, almost hugging the building’s 72-foot-high ceiling. The Grand Choir and Pedal divisions are located on the west side of the window, with the Spanish Trumpets (Trompeta) speaking from the very top above the Pedal division. They are placed horizontally, just behind the façade, in order to sound in the most assertive manner possible.

Two electric blowers supply wind to the organ via six bellows measuring approximately 4 feet by 8 feet. The bellows and blowers are located behind and inside the organ’s two cases. This wind system imparts a gentle flexibility to the organ’s sound, allowing the pipes to sound more like a choir of human voices rather than an inexpressive machine.

The organ’s tonal scheme draws most of its inspiration from the great North German and French organs of the 17th and 18th centuries. Its resources are further leavened with many stops inspired by 19th- and 20th-century models. This enhances its flexibility in playing choral accompaniments and interpreting the monumental solo organ literature of the 19th and 20th centuries. The organ is tuned in “Mark Brombaugh Mild,” an unequal temperament that favors the keys nearest to C major while still remaining harmonious in the most distant keys.

With the exception of the free-reed Clarinette 8′ stop, all of the metal pipes were made in the Pasi shop—from the casting and rolling of the metal through to the completed pipes. They are made of various alloys of tin and lead, with trace impurities of copper, bismuth, and antimony to help stiffen the metal. To enhance the intensity of the lead pipes’ sound, the metal is hammered following casting in order to tighten its molecular structure. The three 32′ stops, as well as the large pipes of several other stops, are made of tulip poplar wood.

The three traditional manual divisions—Great, Positive, and Swell—are placed above the console on the east side of the window, and have normal suspended mechanical key action and mechanical couplers. The Grand Choir and Pedal divisions on the west side of the window are modeled after the
Résonance division in the famous 1775 Jean-Esprit Isnard organ at St. Maximin, Provence. Most of the Grand Choir pipes are shared between the two divisions, but have independent stop knobs and actions for each division. 

This divided layout of the organ, combined with the comprehensive tonal scheme necessitated by the cathedral’s vast interior space, posed a special challenge in the design of the key action. Running a horizontal mechanical key action from the console to the west case 30 feet away would have been impractical. Our solution was to use the electric proportional key action developed by NovelOrg of Longueuil (Montreal), Quebec. 

The NovelOrg proportional key action is an all-electric action with sophisticated electronic control that allows the valves in the windchests to follow exactly the motion of the key. Applying this action to the remote Grand Choir and Pedal divisions makes it possible to retain the sensitive control of pipe speech found in a traditional mechanical key action. In addition to the regular mechanical couplers, the Great, Positive, and Swell keyboards are coupled to the Grand Choir through the NovelOrg proportional action. The stop action is electric, and the solid-state combination action allows up to 20 organists to each have 55 levels of memory, providing for the storage and recall of thousands of stop combinations.

The staff of Pasi Organ Builders, Inc., constructed, installed, and voiced the organ over a period of three years. The Pasi staff and other artisans who contributed to this project are as follows:

Markus Morscher: design, casework, windchests, wood pipes, bellows, pipe racking, and installation

Michael Spieler: casework, windchests, wood pipes, bellows, console key action, pipe racking, and installation

Rochus van Rumpt: metal flue pipes (including fabrication of the largest façade pipes on-site), reed pipes, installation, and voicing

Mark Brombaugh: design, installation, and voicing

Arpad Magyar: metal flue and reed pipes

Maurine Pasi: pipe shade carving and gilding

Jennifer Von Holstein: carving design and administration

Robert Wech: design

Raphi Giangiulio: metal flue and reed pipes, design

Gyöngyi Czimbor: assistant in the Pasi wood and pipe shops

Douglas Brewer: installation

Bruce Shull: voicing

Dominik Maetzler: combination action wiring

Martin Pasi: design, flue and reed pipes, installation, voicing, and administration.

—Martin Pasi

 

From the consultant

What a joy it has been to work with the clergy and musicians of the Co-Cathedral of the Sacred Heart, with the architects and building contractor, and especially with Martin Pasi and his entire team. I remember very well the first meeting of the organ selection committee in 2006, when Cardinal DiNardo spelled out his vision for the project. The task of the committee, under the leadership of Crista Miller, was to find the right company to build an organ that would accompany, complement, and even augment the most perfect musical instrument—the human voice. In addition, the committee needed to be certain that the organ would function first and foremost for the Catholic liturgy. I remember how enthusiastic the cardinal was about the idea of installing a tracker-action organ that would draw from the great traditions of the past while also offering something special for our time. 

The overall concept of the organ is unique, but also firmly rooted in tradition. The left side (when looking at the large Resurrection Window) is played from the upper three manuals with traditional mechanical key action. This side has an especially large and expressive Swell division, useful for choral accompanying and organ music of the 19th and 20th centuries. The principal choruses of the Great and Positive are Germanic, while the many individual stops and small combinations make possible the performance of a wide range of organ music from the Renaissance and Baroque periods, including French classical repertoire. The right side of the instrument, played from the bottom manual and pedals, uses the electric proportional key action. The right side of the instrument contains the largest pipes, including three 32′ stops. This side also includes a massive principal chorus (with a large progressive mixture), impressive reed choruses, and full foundations appropriate for the French symphonic organ repertoire and festive congregational accompaniments.

I shall mention here only a few of the individual stops. The undulating Suavial (Voce umana) on the Positive is of great historical significance, although it is infrequently heard on this continent today. The two brilliant battle Trompetas on the Grand Choir are drawn from the Spanish and Latin American traditions. And the free-reed Clarinette, also on the Grand Choir, produces a very rare and exotic sound. From the quietest stops to the massive principal and reed choruses, the instrument produces a marvelous effect in the clear but reverberant acoustics of the co-cathedral. The residents of Houston owe Martin and all his associates at Pasi Organ Builders a debt of gratitude for this wonderful addition to the growing list of impressive new organs in our city.

—Robert Bates

Professor of Organ

Moores School of Music

University of Houston

 

From the director of music

When I came to the Co-Cathedral of the Sacred Heart in October 2004, one of my first duties was to provide music for the groundbreaking ceremony for the new 1800-seat church, to be completed in April 2008. There was discussion of moving the church’s small Pilcher organ into the new church, but I knew from my graduate assistantship under Hans Davidsson’s Eastman Rochester Organ Initiative that there are many bright stars in contemporary American organbuilding. Martin Pasi gave an intriguing presentatation on a new dual-temperament organ in the Omaha Cathedral at the first annual EROI Festival in Rochester. I had arranged for a demonstration on pipe making to the Eastman organ studio and vividly remember Martin as being incapable of allowing even a throwaway demo pipe to sound anything less than beautiful.

In January 2006, I was happy to lead an archdiocesan organ committee charged with procuring a new world-class instrument for the Co-Cathedral. We began by reviewing the fine organs in sister cathedrals in larger cities—New York, Los Angeles, and Chicago—and U.S. cathedrals where great pipe organs have emerged, and with them, a tradition of fine sacred music.

Our situation was somewhat challenging, in that the Resurrection Window, planned long before the instrument, is placed in the middle of the organ. This could have eliminated the possibility of a mechanical-action instrument. Enter the extraordinary Martin Pasi and his firm, Pasi Organ Builders, Inc. To accommodate the window, they implemented a dual-action system, mechanical and electro-mechanical. This success speaks for itself, in a thrill for both the player and numerous audience members. 

The firm’s nineteenth instrument is their largest to date and their first four-manual organ. It contains such luxuries as a free-reed Clarinette and a set of horizontal trumpets in a tribute to the Hispanic heritage of the Archdiocese of Galveston-Houston. This organ accompanies the liturgy in a modern way, inspired by historic traditions of 17th-century north and south Germany, Italy, Spain, and 17th- to 19th-century France. Moreover, this versatile instrument, eclectic without compromise, has proven to blend beautifully with orchestral instruments and to render well choral accompaniments of the English tradition.   

Many people deserve thanks. Hearty congratulations to Martin Pasi and his  associates at Pasi Organ Builders. His Eminence Daniel Cardinal DiNardo, Archbishop Joseph A. Fiorenza, and Auxiliary Bishop Vincent M. Rizzotto were all key, as well as Fayez Sarofim and the Brown Foundation and their gift to Houston. Zeigler Cooper Architects and Linbeck Construction were invaluable. As consultant, Robert Bates contributed at all phases, continuing with the ongoing lunchtime recital series, and national conferences. Pastor and rector, The Very Reverend Lawrence W. Jozwiak has been immensely helpful, as was the organ dedication committee chaired by John Burchfield, and the many who contributed program funds.  

—Crista Miller 

Chair, Organ Selection Committee

Director of Music and Organist

 

Letter from Daniel Cardinal DiNardo in the dedication program booklet

From my days as a child, hearing the great von Beckerath organ at St. Paul Cathedral in Pittsburgh, to hearing today the opus XIX organ hand-crafted by Martin Pasi and Associates for the Co-Cathedral of the Sacred Heart, I have recognized and appreciated the importance of a good pipe organ to serve the liturgical music needs of the Church. But, this is not merely a personal observation. The Second Vatican Council’s Constitution on the Sacred Liturgy attests: 

 

In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument that adds a wonderful splendor to the Church’s ceremonies and powerfully lifts up the spirit to God and higher things. (Sacrosanctum concilium, 120) 

 

In 2006 our organ committee was reviewing and approving plans for the new pipe organ in Sacred Heart Co-Cathedral. At that time, I specifically requested that the organ be capable of serving three essential purposes: 1) Accompany the people’s singing at the Mass and rites of the church; 2) Provide choral accompaniment; and 3) Play traditional and classical organ repertoire. These purposes are recapitulated by the Bishops of the United States in their recent instruction on sacred music highlighting the use of the organ: 

 

Among all other instruments which are suitable for divine worship, the organ is “accorded pride of place” because of its capacity to sustain the singing of a large gathered assembly, due to both its size and its ability to give “resonance to the fullness of human sentiments, from joy to sadness, from praise to lamentation . . .” In addition to its ability to lead and sustain congregational singing, the sound of the pipe organ is most suited for solo playing of sacred music in the Liturgy at appropriate moments. Pipe organs also play an important evangelical role in the Church’s outreach to the wider community in sacred concerts, music series, and other musical and cultural programs. For all of these reasons, the place of the organ should be taken into account from the outset in the planning process for the building or renovation of churches. (Sing to the Lord: Music in Divine Worship, 87–88).

For all of these reasons, the opus XIX pipe organ was commissioned. And, now, we celebrate its completion and inaugurate it on its profound mission. It is my sincere hope and prayer that this pipe organ will, indeed, lift all of our minds to God and higher things: through sustained congregational singing; through the accompaniment of our choirs; and through the concerts, which invite members of our wider community into the Church to experience the immensity and magnificence of God through the mysterious and powerful musical sentiments expressed by this organ. 

I want to sincerely thank Rev. Lawrence W. Jozwiak, the rector of the co-cathedral, the organ committee, and all who have made this magnificent instrument a reality. And I thank all of you for your continued prayers and blessings upon the Church in the Archdiocese of Galveston-Houston.

—Daniel Cardinal DiNardo

Archbishop of Galveston-Houston

 

Pasi Organ Builders, Opus 19

Four manuals, 76 stops

GREAT II

16′ Principal

8′ Praestant

8′ Spitzfloete

8′ Harmonic Flute

8′ Gamba

6′ Quinte

4′ Octave

4′ Nachthorn

3′ Quinte

2′ Octave

13⁄5′ Terz

8′ Cornet V (c1)

2′ Mixture V

22⁄3′ Rauschpfeife IV

16′ Trumpet

8′ Trumpet

8′ Trompette

4′ Clairon

POSITIVE III

16′ Quintadena

8′ Praestant

8′ Gedeckt

8′ Salicional

8′ Suavial (g)

4′ Octave

4′ Rohrfloete

3′ Nazard

3′ Sesquialtera II

2′ Octave

2′ Gemshorn

13⁄5′ Tierce

11⁄3′ Larigot

1′ Scharff IV

16′ Dulzian

8′ Cromorne

8′ Trumpet

8′ Trechterregal

SWELL IV

16′ Bourdon

8′ Praestant

8′ Viola

8′ Celeste

8′ Rohrfloete

4′ Octave

4′ Harm. Flute

4′ Violetta

31⁄5′ Gross Tierce

22⁄3′ Nazard

2′ Octave

2′ Octavin

13⁄5′ Tierce

1′ Flageolet

2′ Mixture V 

16′ Bassoon

8′ Trompette

8′ Oboe

4′ Clairon

8′ Voix Humaine

GRAND CHOIR I

32′ Principal

16′ Praestant

16′ Violone

16′ Bourdon

8′ Octave

8′ Flute

4′ Octave

3′ Plein Jeu Harmonique III–V+

16′ Posaune 

16′ Bombarde 

8′ Trompette 

8′ Trumpet 

8′ Clarinette 

4′ Schalmay 

8′ Trompeta

4–16′ Trompeta

+Grand Choir only

PEDAL

32′ Principal 

16′ Praestant

16′ Violone

16′ Bourdon

8′ Octave

8′ Flute

4′ Octave

4′ Mixtur VI*

32′ Bombarde* 

32′ Trombone* 

16′ Posaune 

16′ Bombarde 

8′ Trompette 

8′ Trumpet 

8′ Clarinette 

4′ Schalmay 

2′ Cornet*

8′ Trompeta

* Pedal only

Zimbelstern (seven rotating bells)

Separate tremulants for the Great and Positive divisions, one normal and one Voix Humaine tremulant for the Swell division.

Normal mechanical-action unison couplers.

Optional electric-assist couplers to the Great, Positive, and Pedal.

Electric-assist couplers to the Grand Choir, and for all Octave Graves.

Electric stop action; 18 general and 38 divisional pistons on 2,750 levels of memory.

Wind system: twin blowers producing pressures ranging between 80 and 120 mm.

Three double-rise bellows for the Swell, Grand Choir and Pedal divisions. Two Baroque wedge bellows for the Great and Positive divisions.

 

A. David Moore, Inc., 

North Pomfret, Vermont

All Hallows’ Parish, Davidsonville, Maryland

 

From the builder

Designing an organ for All Hallows’ Church involved some unique challenges for its builder. The small brick building dates to 1734, and was gutted by fire in 1940. Rebuilt much as it was (without the Victorian alterations), the original walls and brick floor were retained. It seems that until 2010, the parish never owned a pipe organ.

The decision to place the organ on the left side of the chancel included the requests that the casework be no taller than the altar window, that the instrument be no larger than the sacristy in the opposite corner, and that the case was to “fit” the furnishings of the room. Thus, the back and left sides of the organ are against the walls, and maintenance can be done only through the front and right side of the main case. The detached console and Positiv division are one unit, adjacent to the case front, and facing the choir on the other side of the nave. Three flats of Open Diapason and Principal basses face the congregation, and the side contains two flats of Open Diapason basses, one of which is in a door that can be opened for Great and Pedal tuning. Those offset basses are operated by a remote assisting mechanism in which a small amount of air travels down a 5/16″ diameter tube that feeds a small wedge bellows and valve below each pipe.

The Great is on a C and C# chest, with the smallest pipes in the middle. The Positiv is played from the upper keyboard; the chromatic chest is at floor level; and the pipes are tuned by removing a grille on the top of the case. The manual keys are suspended, with a backfall system that pulls up the Positiv pallets; angled trackers and a rollerboard operate the Great pallets. The Positiv stop knobs are in the console and the Great knobs project from the main case on the organist’s left. The basswood tables of the chests will not split; the sliders are of quarter-sawn maple; the slider seals are of Neoprene; there is no plywood in the organ; the wind pressure is almost two inches; and the temperament is Kirnberger III.

Though the acoustics are quite good and the sound of the organ is focused by a curved ceiling, there is a slight “flutter echo” heard by a listener in the center of the room. The maple case is of wood harvested on the Moore farm in North Pomfret, Vermont, and sawn on location by a Wood-mizer band sawmill. There are no carvings on the case, but some subtle ornamentation appears at the tops of the pipe flats. The cornice of the case was copied from the 18th-century American case in Old North Church, Boston, and the All Hallows’ sacristy cornice was changed to match it.  

In the Great, the metal pipes are 28% tin and 72% lead, with small amounts of copper, antimony, and bismuth; the metal was cast from old organ pipes. The 8′, 4′, 22⁄3′, 2′, and 13⁄5′ ranks are close to Hook pipe scales, and have fairly low cutups and moderate nicking. The Holpipe is a metal chimney flute, and has 12 stopped wood basses; a new Haskell bass serves the Viol; and the Hautboy is an exact copy of a Hook stop. The Positiv Stop’d Diapason is of wood, small in scale but with a good fundamental tone, and is copied from a Geo. S. Hutchings stop; the Flute is of stopped and open wood and has metal trebles; the Fifteenth has 24 Claribel-style open wood basses and metal trebles. The German scales for the Dulcian are a composite, and there are half-length resonators in the lowest octave. The basses have wood blocks and shallots made in one piece, and the dimensions for the shallot openings, bores, tapers, and inside resonator diameters are close to 18th-century North European practice. The use of wood for a shallot avoids the need for lead or leather facings. In terms of hardness, the wood is somewhere between lead or brass and a leathered surface, and the brass tongues are fairly wide and thick. Long tuning wires are labeled on the tops and are easily reached.

The installation of A. D. Moore’s Opus 34 was enjoyable, and there were many trips to Davidsonville for installation, final voicing, and tuning. The crew of builders—A. David Moore, Tom Bowen, John Atwood, and Lubbert Gnodde—stayed with Jan and Mike Power. Mike Menne is the organist at All Hallows’, and collaborated on the organ’s specification. Mr. Gnodde played the dedicatory recital on November 7, 2010, which included works by Alain, Bach, Sweelinck, Scheidemann, Buxtehude, Mendelssohn, Couperin, Langlais, and the “Flower Duet” from Lakmé by Léo Delibes, featuring Sharon Potts and Laurie Hays, sopranos.

—E. A. Boadway and A. David Moore

 

From the organist

All Hallows’ Parish, also known as South River Parish, is one of the original parishes established by Act of the General Assembly of the Province of Maryland in 1692. As a worshiping community, it existed as early as 1650, with its first written record that of the birth of Thomas Chaney on 1 March 1669. The original church building, now lost, was probably of timber construction, and either burned or deteriorated to the extent that a new building, at a new site, was constructed, with the aid of a levy of 20,000 pounds of tobacco, around 1727–1730. The church bell, in a separate wooden tower, bears the inscription “Belonging to St. All Hallows’ Church 1727” and was probably provided by Queen Anne’s Bounty. 

The 1727 building, still in use, is a modest brick, hipped-roof building, just under 30 by 60 feet. There are no records extant that show the original seating plan of the building, but in the 19th century a small balcony was taken down (probably originally for the use of some of the 200 slaves who had been baptized by the second rector), and at least twice remodeled in the Victorian taste of the times, with heavy dark wood furnishings, stained glass, and slip pews.

The church was nearly lost on 11 February 1940 when a disastrous fire broke out about an hour after a service, destroying everything but the brick walls. For the rebuilding, it was decided to return the building to the look and feel of the early 18th century with white walls, white box pews, and clear glass windows. 

There is no record of any pipe organ during the building’s first 280 years, so any description of musical accompaniment before the fire is purely conjectural. After the restoration, a series of electronic instruments was installed in the front of the room. When a new rector arrived in 2000, he hired his friend James Weaver, Curator of the Division of Musical Instruments at the Smithsonian and co-founder of the Smithsonian Chamber Players, to come to the parish and revive a flagging music program and small choir of willing and enthusiastic singers. During his tenure, Weaver established a high level of musical expectation but hesitated to begin a project to replace the dreary electronic. When he left to pursue other projects and I arrived, enthusiasm to begin an organ project was high and the process began.

Early on, it was determined that (1) the organ would have mechanical action, (2) it would be tonally appropriate to the age of the building, (3) it would be visually designed so as not to overwhelm the scale and balance of the architecture, and (4) the primary visual focus at the front of the room would continue to be the triple window behind the altar. The restoration of the early 1940s had created two large closets in the front corners of the building. One was used as a tiny sacristy, the other as storage and placement for the bass speaker cabinets of the organ. It was determined that the organ would be placed where the sacristy had been, and the sacristy moved to the other side. The Altar Guild was quite pleased, as they had improved facilities and more extensive storage. 

A number of organbuilders were consulted, both from the U.S. and abroad, in our search for a builder. Almost every builder proposed an instrument that would be the dominant visual focus in the room. Some of them were tonally based on no more than an 8′ flute. David Moore, recommended by St. Margaret’s Convent in Boston and United Church on the Green, New Haven, was the only one who demonstrated an enthusiasm to work within our constraints.

As the organ and case design progressed, David proposed a novel solution: place the console at right angles to the main case and put the second manual pipes in the console in the manner of a continuo. In that manner, the main case could be lowered to match the sacristy on the other side, maintaining the Georgian balance of the church interior, while providing the tonal resources we needed. It also made it possible for the organist to face the choir directly across the chancel, with excellent sight lines.

The tonal design had three major objectives: (1) to provide leadership for congregational singing, (2) to accompany a wide variety of choral music, and (3) within its modest resources, to play as wide a spectrum of organ music as possible. 

Early in the planning stages, it was determined that the foundation would be an 8′ Principal, with both an 8′ flute and string to provide solid unison tone. A full diapason chorus, including 22⁄3, would be included, but the modest size of the building made the inclusion of a mixture unnecessary. The suggestion of a Hook-style Oboe as the Great reed was inspired! We insisted on a Tierce as well, for both solo color and ensemble brilliance. Having used a continuo for a year and a half before the instrument was installed, a similar tonal scheme of 8′, 4′, and 2′ for the second manual seemed natural. David suggested a Dulcian to round out the resources of that manual, adding significantly to the color possibilities of the instrument.

The organ has proved a tremendous success. Visually, it slips effortlessly into its corner of the building. The three pipe flats of the case front echo the semi-circular arches of the tripartite east window, repeated in pipe flats on the case side. The most oft-repeated comment from parishioners was “It looks like it’s always been there!” It was decided to use the natural darker grey of lead/tin pipe metal in the display pipes rather than shiny tin to minimize visual distraction from the altar. The wood façade pipes of the 8′ flute of the second manual are painted white to match the case. Many people don’t realize they are pipes at all until they see the mouths near the floor! The use of removable slatted grilles at the top of the second manual case allows for both good tonal egress and tuning ease. 

Musically the organ has been a huge success. The modest stoplist of 13 registers, with two reeds, two mutations, and four unison flue ranks lends itself to performing a wide spectrum of music. Though much of the instrument is inspired by 19th-century American organbuilding, early music sounds extremely convincing. Bach sounds very convincing, Sweelinck variations show off varieties of tonal color, the Dulcian can sound like a Renaissance consort when used by itself but becomes a chameleon when combined with one or both of the Positiv flutes. The Hautboy functions as a ‘petit trompette’, smooth in the treble and bolder in the bass. It serves as a very attractive solo stop, but when combined with the principals, becomes bold and assertive. Add the Twelfth and Tierce and it becomes a fiery French Grand Jeu. The solid foundation tone makes the instrument an excellent vehicle for Mendelssohn, and the Viol, both alone and with the Holpipe, provides softer sounds. There is sufficient tonal variety for stirring hymn singing as well as accompaniment of Anglican choral music. 

In addition to a performance by the young Dutchman from David Moore’s shop, Lubbert Gnodde, further recitals in the inaugural series were presented by Mark Brombaugh, Bryan Mock, and myself, with repertoire ranging from late Medieval to William Albright. 

The instrument continues to serve as proof that a real pipe organ is within the realm of possibility for a small parish, and that it can provide more musical satisfaction than an electronic with a plethora of digital gadgets and twice as many stops.

—Michael Menne

 

Cover photo: Sabine Joyce

 

GREAT (I) 56 keys, CCРg3

8′ Open Diapason

8′ Holpipe

8′ Viol

4′ Principal

22⁄3′ Twelfth

2′ Fifteenth

13⁄5′ Tierce

8′ Hautboy

POSITIV (II) 56 keys, CCРg3

8′ Stop’d Diapason

4′ Flute

2′ Fifteenth

8′ Dulcian

PEDAL 30 keys, CCРg3

16′ Bourdon

 

Couplers

I–P

II–P

II–I

 

Glück Pipe Organs,

New York, New York

Faith Lutheran Church,

New Providence, New Jersey

The new pipe organ for Faith Lutheran Church was created for use in traditional worship and for the performance of solo organ literature with a reasonable degree of historical accuracy. Although conservative in its core concept and tonal structure, some unusual pipe forms and design elements take it beyond the realm of the tonal cookie-cutter.

The instrument replaces a very heavily unified organ from the 1960s that subsequently had been altered by a local tuner. Inspection revealed that it contained several ranks of flue pipes that could be rescaled and incorporated into the new organ. While the mouths of these salvageable ranks were “cut to speech,” the pipes had never been truly voiced or tonally finished. They were essentially raw pipes of good alloy, straight from the pipemaker. Retaining these heritage pipes accomplished three goals: it enabled us to broaden the scope of the instrument from two manuals to three, it made the congregation understand that pipe organs could be investments, not merely expenses, and it gave church members a deeply satisfying feeling of historical continuity.

 

The façade design

When this project began years ago, the bidding organbuilders were asked to design an organ for the front of the church as part of a comprehensive renovation. Despite my strong indication that I preferred a rear gallery location, I conceived two chancel designs, one unilateral, the other divided. As the years passed, larger considerations arose for this thriving church. Should they once again enlarge their present church and school complex, or build a new church on new land? The church retained respected organ, architectural, and acoustical consultant Scott Riedel of Milwaukee, whose calm advice and clear education resulted in the organ in place today, as well as enlarged facilities for the music department and an improved acoustic. 

In the end, I got my wish. The organ sings from an elevated, central position in the new rear gallery. The A-frame structure, characteristic of so many American Lutheran churches of the era, naturally calls for North European case morphology. The mahogany case, proportioned for a relaxed “fit” in the room, is accented with understated pipe shades and foliate carvings in maple.

Within this visual context, I engaged in a bit of iconography and mannerism. The central “Trinity” of pipes is non-speaking, allowing me the opportunity to increase their length and have them break through the cornice and soar heavenward. The remainder of the façade is composed of pipes from the Great 8′ Præstant. The twelve polished zinc pipes of the lowest octave, with their undulating mouth lines, represent the Apostles. They are, in turn, flanked by the spotted metal 4′ range, playing upon the number seven, which recurs often in scripture. In each “flat” of pipes, the outer two pipes are reversed to acknowledge the visual strength of the roofline, and pipe lengths are balanced by building every other pipe one semitone over-length. 

 

The console

When minister of music Dr. John Girvin asked that I address the needs of an easily navigable, mobile console with unobstructed sight lines, I took as a point of departure the Aeolian organ consoles designed for the homes of the aristocracy during the first quarter of the last century. In this restrained and modern version, the tablets operate vertically, rather than horizontally, so that there is no confusion as to whether a stop is on or off. Each divisional field is in the same location as it would be in a drawknob console. The console is equipped with a comprehensive combination action and record and playback system.

The organist can see and conduct over the console effortlessly, and musicians can even stand around it and read their music from atop its cabinetry. It glides anywhere in the new organ and choir loft on an undetectable, integrated dolly, since choral and instrumental ensembles of various configurations are a normal part of musical life at Faith Lutheran. I designed the new gallery rail to be somewhat visually opaque but tonally transparent, with rhythmic elements paying homage to the likes of Wright, Mackintosh, and Stickley.

 

Tonal structure

While assiduously avoiding the lure of the unthinking American Lutheran stoplist, the structure of the Great principal chorus nonetheless had to be the starting point. It is supplemented by an 8′ Harmonic Flute, a requirement of the French Romantic repertoire. Carried down in open metal to A10, the bottom nine notes are borrowed from the open 8′ Spitzflöte so as to have no break in the tone. Taking advantage of unit actions in the Swell, the unison flute and string are duplexed to the Great, making available the dense velour of the fonds d’huit. The 16′ Dexter Geigen, which begins at middle C, is a broad and rosiny string of both solo and ensemble capability, adding gravity to the right hand without weight. It was made from the 8′ Viola that was in the church’s original organ, a rank that had only extended to 4′ C, with a borrowed capped metal bass. 

The 8′ Trumpet is broad, warm, and round, with English shallots and bells of higher lead content than the division’s fluework. It nobly melds into the ensemble without making a brash entrance. It is actually an upward extension of the Pedal reed unit, playing on the Great but being of the Pedal.

The notably potent Swell department is home to the second, slightly brighter plenum. I did not want to overdevelop the unenclosed Positiv and leave the church with a vestigial, anemic Swell. While the Great Chorus Mixture IV assumes a predictable American formula, the Swell Mixture II–IV was composed for sparkle and clarity without losing its integrative powers. This is accomplished by having the quints and unisons either in balance or favoring the unisons at all times (which has great benefits in hymn accompaniment and contrapuntal music), and keeping a unison pitch at the top of the harmonic stack except for a very brief, essentially unnoticeable two-note break near the top of the keyboard. 

The Swell strings are firm and deliberately incisive. Two powerful wooden flutes of double-mouth construction come from the 1919 Hall organ formerly in the Swedenborgian church in New York City, a 38-rank instrument that I acquired when that building was remodeled. The 8′ Doppelgedeckt  seems exceptionally present at the console, yet is buoyant in the nave. The orchestral “spit” in the harmonic range of the 4′ Holzdoppelquerpfeife is extraordinary, and the stop is worthy of copying in the future. 

Faith Lutheran’s original organ had a handful of “wired” mutations, taken from the unified ranks of the small Swell division. Such practice can never meet with true success, because these harmonics must be independently scaled, voiced, and finished, and the laws of physics make it impossible for them ever to be in tune. The new organ’s independent Nazard and Tierce ranks are joined on one slider in deference to the budget. Although flute-scaled, the chameleon-like Cornetto II serves as a pointed Sesquialtera when drawn with the 8′ flute, yet forms a round Cornet of French flavor when drawn with the entire flute choir. The tierce remains unbroken throughout the compass, and was actually made from a fine 2′ rank that was in our stock, appropriately rescaled and revoiced.

The Swell 8′ Trompette, with Bertounèche shallots and harmonic resonators, is significantly more brilliant than its Great counterpart. The full-length resonators of the 16′ Basson assure grandeur and richness in anthem accompaniments. Half-length resonators always fall short of the mark, a imprudent expedient, especially in situations like this, where the worthier compromise is to extend the 16′ stop down from the 8′ Hautbois.

When Albert Jensen-Moulton, general manager of Glück Pipe Organs, devised the layout of the new organ, he placed the Positiv in “Brust” position, immediately behind the façade on the right side, in juxtaposition to the Great to its left and the Swell behind. It is in close proximity to the singers and instrumentalists, and enjoys the distinct physical separation sought in a Baroque tonal æsthetic. The metal flute choir (8′ capped, 4′ chimneyed, and 2′ open) forms the perfect continuo organ, its varied pipe forms avoiding the risk of duplicating or triplicating other manual stops. 

The instrument stands on slider soundboards, but the occasional extrapolation of ranks on electro-pneumatic unit actions expands the registrational possibilities, particularly in the Positiv. The center of gravity can be shifted by the warm and singing 8′ Spitzflöte, the other rank that was extended upward from the Pedal division. Once again, it is scaled and voiced as a Pedal stop, but balances perfectly here, with freedom of tonal finishing in the treble range. The 8′ Clarinet, poised for dialogue with the Swell tierce combination, has a more “antique” sound than its name implies, enhanced by the release characteristics of the pallets. Its color can be shifted quite effectively with other stops in the division, expanding its solo capabilities. The Positiv and Great manuals can be exchanged in order to accommodate music of the later French schools.

The Pedal is based upon the 16′ Holzviolon, an open wood string stop also selected from the Swedenborgian organ. It was in rough shape, with its mitered basses broken and only two octaves of wood pipes, but it was needed to lend pitch definition to the Pedal line. While we could have completed the treble with metal pipes, the very capable pipemakers at OSI crafted matching wooden trebles as well as Haskell re-entrant tubes for the bottom four notes. This stop enables the Pedal to steer in contrasting directions: a gentle, clarified, open chorus, by adding the 8′ and 4′ Spitzflötes, or a bolder sound, using the 8′ Octave and 4′ Fifteenth. The stopped wood 16′ Infrabass, retained from the previous organ, provides a solid foundation, and other mezzo-forte borrows from the manual divisions make up the rest of this flexible arrangement. The full-length 16′
Posaune has spotted metal bells in the bottom octave to inject brightness into the round, firm, rolling tone. It is extended to 8′ pitch, and is available on both the Great and Positiv manuals.

The salient factors in place that contributed to the success of this project include a supportive pastorate, an enthusiastic and generous congregation, a Minister of Music who tirelessly educated himself through research and inquiry, and a truly knowledgeable, interdisciplinary consultant who guided the project without ever interfering with the artistic process. These elements paved the way for Glück Pipe Organs, our suppliers, our subcontractors, and all those involved in the enlarging of the church complex to achieve this long-anticipated goal.

—Sebastian M. Glück

Artistic and Tonal Director

Cover photo by Albert Jensen-Moulton

 

For information: 

212/608-5651

www.gluckpipeorgans.com

 

Glџck Pipe Organs Opus 13 (2011)

Faith Lutheran Church, New Providence, New Jersey

GREAT (Manual II)

16′ Dexter Geigen 34 pipes 50% tin, slotted, from C25

8′ Præstant 58 pipes polished zinc and 50% tin

8′ Harmonic Flute 49 pipes 50% tin, C1–G#9 from Spitzflöte

8′ Doppelgedeckt from Swell

8′ Viole de Gambe from Swell

4′ Octave 58 pipes 50% tin

2′ Fifteenth 58 pipes 50% tin

Chorus Mixture IV 232 pipes 50% tin

8′ Trumpet 28 pipes 30% tin, harmonic (Pedal extension)

Chimes 25 tubes G20–G44

Great Silent

16′ Swell to Great

8′ Swell to Great

4′ Swell to Great

8′ Positiv to Great

SWELL (Manual III)

8′ Viole de Gambe 58 pipes 50% tin, slotted

8′ Voix Céleste 46 pipes 50% tin, slotted, from C13

8′ Doppelgedeckt 58 pipes wood, double mouths, stopped

4′ Principal 58 pipes 50% tin

4′ Holzdoppelquerpfeife 58 pipes wood, double mouths, harmonic

2′ Gemshorn 58 pipes 50% tin

Cornetto II 116 pipes 50% tin

Mixture II–IV 176 pipes 50% tin

16′ Basson 12 pipes 50% tin

8′ Trompette 58 pipes 50% tin, harmonic

8′ Hautbois 58 pipes 50% tin

Tremulant

16′ Swell to Swell

4′ Swell to Swell

Chimes

POSITIV (Manual I)

8′ Spitzflöte 16 pipes 50% tin (Pedal extension)

8′ Viole de Gambe from Swell

8′ Bourdon 58 pipes 50% tin

4′ Rohrflöte 58 pipes 50% tin

2′ Recorder 58 pipes 50% tin

8′ Clarinet 58 pipes 30% tin

Tremulant

8′ Trumpet from Great

8′ Hautbois from Swell

8′ Swell to Positiv

Great/Positiv Transfer

PEDAL

16′ Holzviolon 30 pipes wood, C1–D#4 with re-entrant tubes

16′ Infrabass 30 pipes wood

8′ Octave 30 pipes zinc and 50% tin

8′ Spitzflöte 30 pipes zinc and 50% tin

8′ Gedeckt from Swell

4′ Fifteenth 12 pipes 50% tin

4′ Spitzflöte 12 pipes 50% tin

16′ Posaune 12 pipes zinc and 50% tin

16′ Basson from Swell

8′ Trumpet 30 pipes zinc and 30% tin

8′ Basson from Swell

4′ Hautbois from Swell

8′ Great to Pedal

8′ Swell to Pedal

8′ Positiv to Pedal

Great Chorus Mixture IV

C1 19.22.26.29

C13 15.19.22.26

C25 12.15.19.22

C37 08.12.15.19

C49 01.08.12.15

 

40 stops

32 ranks

Swell Cornetto II

C1 12.17 unbroken

 

Swell Mixture II–IV

C1 19.22

D15 15.19.22

F#43 12.15.19.22

C#50 08.12.15.19

D#52 01.08.12.15

Donald R. Traser

Donald R. Traser is the author of The Organ in Richmond (reviewed in The Diapason, December 2002). Organist and/or choirmaster of several Richmond-area churches since 1970, he has served as organist/choirmaster at Second Presbyterian Church, Petersburg, Virginia, since 2009, and is a past dean of the Richmond, Virginia AGO chapter. He is the author of the article, “Austin Lovelace, March 19, 1919–April 25, 2010: A Remembrance,” published in the October 2010 issue of The Diapason. Traser played the carillon for 27 years. He has written four books and numerous articles on such topics as hymnology (life member of The Hymn Society), trains, travel, organs, and stained glass. He is currently working on a book about stained glass in Richmond.

The Richmond Chapter of the AGO gathered on the morning of November 19, 2011 to observe the centennial of a Kimball organ of three manuals and 29 ranks. The chapter was joined by church members who heard a talk by this writer, as well as musical selections by a past organist, the current organist, and a chapter scholarship student.

Leigh Street Baptist Church is one of only a handful of Richmond’s legion of 19th-century churches to be both in its original location and original building. This landmark Greek Revival temple was designed by Philadelphia architect Samuel Sloan. The ground-floor basement was opened in 1853, though the church was not formally organized until 1854, and the upstairs main auditorium in 1857.

In an era when many of us lament the seemingly increasing number of churches that are abandoning their organs for other instruments, it may be interesting to note that this church stood for 25 years before it ever had an organ. Only a melodeon was in use when the church was completed, and what was considered appropriate in the way of music may seem very different to us.

After moving up from the basement when the main auditorium was completed, there was a group that insisted on forming itself into a choir and occupying seats in the gallery and from that elevation, leading the singing. After much discussion a vote was taken, resulting in the church asking those leading the singing to move to the main floor and occupy seats directly in front of the minister. The gallery element, however, kept up its agitation and when later after considerable discussion a vote was taken, the result was in its favor; accordingly, they moved back to the gallery, taking the melodeon with them.

In 1860 the minister brought to the church the following points for decision:

1. Does the church desire that the melodeon be used in the church music?

2. Does the church desire those who lead the singing to sit near the instrument?

3. Where does the church desire the leaders of the singing to sit?

4. Will the members of the church use their influence and do what they can to promote singing among the congregation?

5. Is the church in favor of having the congregation rise while singing the second hymn, which is given out from the pulpit?

The gallery element continued to lead the singing from on high, but in 1868 when it was proposed that $20 be appropriated to purchase books for the choir, at least one opponent expressed his opposition:

I, the undersigned, solemnly protest against the action of the church at the last meeting in appropriating funds to buy books for the choir, thus forcing members of this church who conscientiously believe a gallery choir to be an incubus on any church, to contribute to the support of a thing which they consider an evil, nothing but an evil, and that continually.¹ 

 

The good brother was voted down, yet he continued to be a faithful supporter of the church, despite his opposition to choirs and singing.

There is no reference of anyone to play an organ until 1871, at which time Mrs. Bettie MacKay was employed at a salary of $100 per year.

It was the ladies of the church who procured the first pipe organ from New York in 1882. Realizing the necessity of having a competent person to play it, the church was authorized to spend up to $250 per year, if necessary, to secure such a person.

The organ was built by the firm of L. C. Harrison (who had worked in the shop of Henry Erben and appears to have been his corporate successor) as their Opus 50 and cost $1,500. It was shipped to Richmond free of charge by the Old Dominion Steamship Company, and was dedicated on April 14, 1882 by Mr. T. Bennett Dashiell, described in the newspaper as “the popular organist.”²

Soon after the purchase of the new organ, Professor Leslie F. Watson (1859–1933), who had moved to Richmond in 1884, appeared on the scene to serve as organist (1885–1894) and was succeeded by his wife Laura (1860–1933) for the period 1894 to 1928. It was “Miss Laura” who had the longer association with Leigh Street, 34 years, and it is her name that is more associated with the church. She was a striking figure, well known for the large hats she wore. The Watsons were devout Methodists. A granddaughter related to me that since Miss Laura could not participate in the Holy Communion at Leigh Street, it was not difficult for her to slip out, walk the three blocks to Union Station Church where she was a member, receive the sacrament, and return to the organ, all during the sermon. The Leigh Street preacher, however, had to keep his eye on the back door and make sure his sermon lasted until her return. 

It was in 1911 that Mr. W. J. Parrish (1965–1938) gave the gift of the current Kimball organ to the church in memory of his wife, Jennie Martin Parrish (1865–1909). The old organ was given to Tabernacle Baptist Church, and then to St. Philip’s Episcopal Church, according to the Leigh Street Church centennial history. There is no record of the Kimball organ’s cost, though the similar-size Kimball installed at Second Baptist Church in 1906 cost $9,000. That organ was transported free from Chicago to Richmond by the Chesapeake & Ohio Railway; it seems likely the Leigh Street organ was carried over the same route, whether free or not.

W. W. Kimball (1828–1904) began manufacturing pianos in Chicago in 1857. The company began making reed organs and produced its first pipe organ in 1890. By the time the pipe organ division closed in 1942, it had produced more than 7,000 organs.³

Following the fashion of the time, the decision was made to place the new organ and the choir behind the pulpit. But there was a problem—the back wall was directly behind the pulpit, and behind that a public alley. The solution? Build a 14-foot deep addition to house the organ, supported on stilts over the alley! The organ was dedicated on Sunday, November 26, in conjunction with a large Sunday School addition to the building and general redecorating.

Leslie Watson gave the opening recital on the Kimball organ the following Tuesday evening, assisted by Mrs. F. D. Hequembourg, violin, and Mrs. Sallie Montgomery Brown, soprano. A capacity audience filled the church. One would have thought that Watson would have been the designer of the instrument, and probably was involved, but the dedication program states that Mr. Parrish selected Mr. H. A. Burke, “who is considered the foremost organ voicer and tone expert in the country,” for that task.

While the organ’s tonal scheme is reflective of many instruments of its time, there were several features, described in the dedication program, that were considered to be unusual:

 

In the Choir Organ there is a 16-foot Contra Salicional. This stop has only two duplicates in this country, having been recently introduced by Mr. Burke.

The Viola d’Amour (also in the Choir Organ) is a very rare stop.

Another new idea is that of the Pedal Treble Separation, which allows the performer to separate the Pedal keyboard in itself so that the upper twenty notes can be coupled to the manuals at super octaves, and leave the twelve lower notes to be used for a bass, thus permitting the organist to use both hands and both feet at the same time, in such a way as to produce many unique effects.

Chimes were donated by the Parrish children and dedicated at the church’s centennial in October 1954. A decade later Lawrence Walker, a local organ technician who represented Casavant Frères, converted the action from tubular-pneumatic to electro-pneumatic and replaced the console, but the voicing seems to have had little change, if any. Suzanne Bunting (b. 1936), long-time organ instructor at the University of Richmond, who grew up in the church and whose mother had previously been the organist, played the rededication recital.

When the Parrish Memorial Organ reached its 70th year, I was the parish musician and arranged for a commemorative recital by Earl L. Miller. The plan was for him to play as many of the 1911 recital pieces as possible, most of which had long passed from popularity. In the planning process, Earl wrote to me that several of the original compositions had surfaced but he had re-submerged them. Instead, he substituted other numbers by the same composers. A large crowd turned out, including descendents of both the Parrish and Watson families.

Another 30 years have now passed, and the Kimball organ continues its faithful service as it has for a century. It is a unique survivor, and while different from today’s instruments, is worthy of our interest and commemoration.

 

Leigh Street Baptist Church, 

Richmond, Virginia

W. W. Kimball

GREAT

8′ Open Diapason (metal) 61 pipes

8′ Gamba (metal) 61 pipes

8′ Dulciana (metal) 61 pipes

8′ Doppel Flute (wood) 61 pipes

4′ Octave (metal) 61 pipes

4′ Forest Flute (wood) 61 pipes

8′ Trumpet (metal) 61 pipes

SWELL

16′ Bourdon (wood) 61 pipes

8′ Horn Diapason (metal) 61 pipes

8′ Salicional (metal) 61 pipes

8′ Aeoline (metal) 61 pipes

8′ Vox Celeste (metal) 61 pipes

8′ Stopped Flute (wood) 61 pipes

4′ Flute Traverso (wood) 61 pipes

8′ Cornopean (metal) 61 pipes

8′ Orchestral Oboe (metal) 61 pipes

8′ Vox Humana (metal) 61 pipes

Vox Humana Tremulant

Swell Tremulant

CHOIR

16 ′ Contra Salicional (metal) 61 pipes

8′ French Diapason (metal) 61 pipes

8′ Viola d’Amour (metal) 61 pipes

8′ Dolce (metal) 61 pipes

8′ Melodia (wood) 61 pipes

4′ Flute Octaviente (metal) 61 pipes

2′ Piccolo Harmonique (metal) 61 pipes

8′ Clarinet (metal) 61 pipes

Tremulant

PEDAL

16′ Open Diapason (wood) 32 pipes

16′ Violone (metal) 32 pipes

16′ Lieblich Gedact (wood) 32 pipes

16′ Bourdon (wood) 32 pipes

1911 dedication program by Leslie F. Watson

Elegy Alfred Hollins

First Sonata, Introduction and Allegro 

Alexandre Guilmant

Violin solo, Andante from Concerto, Op. 64 Felix Mendelssohn

Mrs. Hequembourg

Romance and Barcarolle W. Wolstenholme

Flute Concerto Rinck

Song, The Message Blumenthal

Mrs. Brown

Cantilena Clifford Demarest

Fughetta Theodore Dubois

Sunset Melody Charles John Vincent

Funeral March of a Marionette

Charles Gounod

Violin solo, Lullay Rudolf Friml

Overture to William Tell Gioachino Rossini

Transcription by Dudley Buck

 

100th anniversary program

Suite Gothique, Op. 25 Leon Boëllmann

Connor Wood, Richmond Chapter 

      scholarship recipient

Benedictus Alec Rowley

The Penitent’s Prayer Leslie F. Watson

Donald R. Traser, former church organist

Pavane pour une infant defunte 

Maurice Ravel

Robert Ford, organ; 

Lawrence Robinson, current organist, 

    piano

Le Jardin suspendu Jehan Alain

Litanies Jehan Alain

Lawrence Robinson