New Organs

Austin Organs, 

Hartford, Connecticut

Opus 2344 (1961 and 2014)

St. Mark’s Episcopal Church,

New Canaan, Connecticut

In New Canaan, Connecticut, just north of a town landmark known as “God’s Acre,” an imposing edifice rises from the staid landscape. St. Mark’s Church was erected in 1961. Approaching from the south, the church beckons your creative spirit as it heralds the artistry that pervades its sacred space. The entrance of the church, facing an elegant, grassy commons to the south, is easily accessed from the street. Entering the two large, intricately carved doors one finds oneself inside an impressive sanctuary that evokes the feeling of a Gothic cathedral. Triangular vaults rise up majestically from towering concrete columns. The altar is clearly the focal point of the room, but behind the altar stands an equally impressive reredos approximately 35 feet wide, standing some 40 feet in the air, displaying 184 intricately carved figures. It was designed by sculptor Clark Fitz-Gerald, whose works can be found in Columbia University, Independence Hall in Philadelphia, Carnegie Hall, and Coventry Cathedral in England. 

Behind this acoustically transparent screen stands Austin Organs’ Opus 2344, dedicated by John Weaver in a concert on January 7, 1962. In 2014, Austin installed several new stops and completed an extensive tonal redesign of the instrument.

 

From the musician

In 2000, we started discussion about completing some major work on the organ. We thought it important to return to the company that gave birth to the instrument, so we called Austin Organs in Hartford for an evaluation and recommendations. Unfortunately the church was not ready to proceed with the project at that point, so the plan was placed on hold. When we revisited the project in 2008, I was surprised and pleased to reconnect with my former schoolmate from Westminster Choir College, Mike Fazio, who was now president and tonal director of the Austin company. 

As fate would have it, the company, now reborn under the auspices of the new owners, has revisited some of the original Austin organbuilding and voicing practices—their mindset moving beyond the so-common trend of “what’s happening now” and going back to some of the venerable earlier ideals. This philosophy is happily right in line with my own personal vision for this organ. I think that this key point in our collaboration helped lead to the successful rebirth of this instrument. Further, I believe that the combination of the talents of the outstanding Austin craftspeople, some who have been with the company for many years, along with the new administration, who respect the past but also embrace the future, to be a winning combination without equal. Working on this project, I was always confident in our conversations about the direction of the instrument, and I was pleased with the outcome, because we were consistently in sync. They always listened to my vision, and it felt like we were always on the same page with the ultimate goal.

When I arrived in 1998, it was already an organ to be proud of, and I was very happy to be playing this Austin, because it essentially worked well in this space. But today, with the tonal work and expansion, it has become much more versatile. While the organ certainly could have been defined as “American Classic,” I would now say that, while that character remains, we now have the impression of an “English Town Hall” instrument. The organ can handle a broader spectrum of literature, and I find that I can accompany the service in a much more exciting way. When I use the term “exciting,” I am not just talking about louder sounds, I am talking about the inclusion of some softer voices imparting more interesting nuance than there was previously. Utilizing the new timbres available in the pedal organ, the organ has developed a new undergirding that has truly helped its effectiveness in hymn accompaniment, among other things. The inventiveness of the Austin company in finding a creative way to add real pipes (installing a full-length 16′ reed in the Swell, and a full-length 32′ reed in the Pedal, and of course, the 32′/16′ Pedal Bourdon) was amazing! The 16′ Bourdon is also an excellent addition, as it helps support the lower voices in the choir and congregation. I am so proud to be able to boast that all of our additions are real pipes, real chimes, and a real harp, without having to resort to the digital versions. I am convinced that these real voices do add significant richness and quite amazing harmonic underpinning. I am therefore able to play the organ in a much fuller way than I could previously. This has improved both my musical creativity and the choir and congregation’s singing in response. 

—Brian-Paul Thomas

Organist and Choirmaster

From the builder

The organ has excellent tonal projection from its lofty position on the central axis of the church. Its tonal disposition is somewhat reminiscent of the late work of Austin’s most famous tonal designer, James Blaine Jamison (1882–1957). He began with the Austin Company in 1933, and his impact was rather dramatic. Early in his relationship with the company, he redefined the Austin Diapason scaling system and introduced his concepts for ensemble structure and voicing, which were quickly adopted and became common practice for a generation. Richard Piper (tonal director from 1952–1978,) continued the same trend, but imparted his own stamp on the company’s work. Piper had apprenticed for nearly a decade under Henry Willis III, working on many of England’s monumental instruments, his final work being the Dome Organ at St. Paul’s Cathedral, London. Coming to Austin, he was able to impart a bit of English nuance to the Austin version of the American Classic tonal ensemble, but that nuance did not seem to be present in this instrument. My predecessor at Austin Organs, Bruce Buchanan, visited the organ in September 2000. His impression was congruous with my own, in that he proclaimed, “St. Mark’s organ is a version of American Classic with North-European leanings. This means brightness has been preferred to brilliance, and clarity to body.” It was interesting to find his notes some months after I had submitted my own assessment to the church with similar findings.

The St. Mark’s organ had been an interesting platform for Richard Piper’s tonal experimentation. The Great and Positiv were voiced on low pressure (2¾′′ wind). It would appear that the Great Organ had the strongest North-German influence: light Prinzipal scaling, heavy mixture scaling, and the foundation apparently based on the 16′ Quintaton. Overall, the division exhibited bright ensemble tone and the Positiv was much like it. The Swell was designed with somewhat stronger English influence. It, like the Choir, was voiced on 4′′ of wind presure. It was built with colorful flutes, and lush string tone; it also had a full reed chorus, yet not a proper Oboe; there was a high-pitched Plein Jeu, yet the department lacked a full principal chorus. The Choir flue chorus is made up of flutes, independent cornet mutations, and a Gemshorn and Celeste. The Choir reeds included a rather thin Krummhorn (3/4′′ scale) and an 8′ Trumpet, voiced on 6′′ of wind pressure. In the style of many fine Austin instruments of the period, this organ’s Pedal division had nine independent ranks of pipes, beginning with a generous 16′ Open Wood Contra Bass, through a Pedal Mixture and reed chorus. At some point in history, an electronic 32′ Bourdon extension was added, but had failed and was disconnected several years ago.

Approaching the organ’s tonal redesign, we had some specific goals in mind: improve the Diapason chorus, revoice/replace some existing reeds, and supplement the Pedal department. Other enhancements became possible as the project developed. For example, while we would have liked to build a new, movable, drawknob console for the instrument, a decision was made for the present time to maintain the existing console. It was certainly showing its age, but we decided to add new stopkeys in situ for the new voices. This approach would allow us to use more available funds for tonal work as a first step. It would seem that God had other thoughts. Within a month of signing the contract for the tonal work, the church was hit by an electrical storm that disabled the console, along with the church’s sound system. We removed the console to the factory, and installed a new multiplexed console and organ control system, featuring a fiber-optic connection between the console and the organ’s Universal Air Chest. While back “home” in the factory, the manual and pedal claviers were refurbished, all new wiring and stop controls were installed, and the elegant black walnut casework finish was also restored. 

 

Tonal matters

The first matter to address was the wind pressure. To achieve the aural presence we collectively desired, we recognized that the pressure needed to be increased. To that end, we chose to increase the wind pressure to 4′′ water column for the entire instrument. Next, we needed to make a decision regarding the disposition of the Great Organ’s 16′ Quintaton, which had been partly replaced (from 8′ C) several years earlier with Bourdon pipes. The breakpoint from the 8′ to the 16′ octave was abominable, and the effect of the Quintaton in general was counterproductive to our desired ensemble. The Great Mixture was overwhelming and the rest of the chorus was anemic. Our sweeping decision was to remove the entire Quintaton from the specification, and to achieve a manual 16′ voice, install a new Austin Internal Borrow action in the chest that would play the Pedal 16′ Spitz Flute as a Great stop. Previously, this stop was only available in the manual at 8′ pitch, and 16′ in the Pedal. Austin’s voicer Dan Kingman revoiced these pipes to create an excellent Viole de Gamba. Being mildly conical (1/2 taper), we adjusted the nomenclature to reflect that construction, calling it a Spitz Viole. As a manual 16′ and 8′ borrow, it has proven to be extremely successful. While we were sweeping through the organ, we chose to “wash” the 1960s voicing out of the Great Bourdon, which resulted in a flute with more warmth and fundamental. The Diapason and Principal were rescaled, and the Spitz Fifteenth replaced with a new set of Principal pipes that work well with this new chorus. The existing Fourniture was also replaced with new pipes, scaled and voiced to fit perfectly with the new scheme. The final element was the inclusion of a new reed stop for the Great. After much discussion, the choice was made to install an English Horn. Rather than yet another Trumpet, or something from the Clarinet family, we concluded that an English Horn would serve equally well as either a gentle solo or ensemble voice. 

In the Swell, we regret that we were unable to add a new Diapason, as space would not allow it. However, the large scale Viola and Flute are rather successful, evoking “synthetic Diapason” tone, to quote the late G. Donald Harrison. A vintage 4′ Wald Flute was installed to replace the original, which was removed several years ago, having been replaced with the Koppelflute from the Positiv, where it was subsequently returned. The 8′ octave of the Rohrflute was moved off the main chest, and in its place we located the 12 lowest pipes of the 16′ Waldhorn (full-length). The rather pleasant 8′ (French) Trumpet was revoiced to blend well in the ensemble, and a new 8′ (English) Oboe was installed. As a compromise to allow the installation of the Oboe, we removed the 4′ Clarion, (which was rather thin) and extended the Waldhorn to 4′ pitch to complete the chorus. Also added to the organ was a vintage Austin Vox Humana. This particular type is affectionately known as a “Vox-in-a-Box,” as the pipes are entirely placed within an encased chest that hangs directly in front of the Swell expression shades and can be adjusted for dynamic by opening or closing the top cover of said box. The effect of the Vox Humana in this church is extremely successful—it shimmers like a “chorus of voices in the distance!” Finally, the high-pitched mixture was removed and replaced with a new IV–V Plein Jeu, starting at 22⁄3′ pitch. It provides a measure of gravitas to the ensemble, whether flues or reeds. 

In the Choir, we removed the thin, baroque Krummhorn, and replaced it with an 8′ Cremona, which is a hybrid stop that is constructed as a Clarinet in the lower registers, then it morphs into our Cromorne scale in the treble. This treatment delivers the color of a rich Clarinet in the tenor range and the brightness of a French Cromorne in the right hand. As a matter of course, the existing high-pressure Trumpet was reconstructed (new tuning inserts, etc.) and revoiced.

The changes to the Pedal division were rather dramatic. We were able to redesign the offset chests at the sides of the main organ to allow the installation of a 32′ and 16′ Bourdon. More dramatic yet, we chose to extend the Swell 16′ Waldhorn (a time-honored tradition) to become the 32′ Pedal reed. Organist Brian-Paul Thomas was very clear in his vision for this voice: he did not want a jackhammer or clatter, but smooth dark tone. Using this thought as a guideline, we scaled this stop moderately, and consequently, the 12 full-length resonators fit nicely in the space occupied by the former Quintaton, located in a split arrangement on either side of the Great chest.

The other two voices added to the organ were a set of Deagan Class A chimes, and a vintage Austin Harp. These two percussions also work very nicely in this space.

 

Conclusion

We find the new instrument is exciting, rich, and versatile. It has a delicious, smooth crescendo from pianissimo to fortissimo, never missing a step! These changes were made possible because of the amazing flexibility of the Austin Universal Airchest design. Having been at the helm of Austin since 2005, I am still constantly in awe of the versatility of the Austin system. 

In a future article, we would like to discuss the transformation of a few Austin organs. These instruments were built in the same time period (the mid-1960s). The tonal disposition of each organ was very similar, and they were stereotypical of the period, and desperate for change! The study of the resulting specifications will serve as empirical evidence for any church with an organ, especially an Austin, thinking that there is no hope for a rather bland tonal ensemble. The transformation of each organ was completed with remarkable success—each one unique. We are also embarking on a plan to make a collective recording of these instruments.

While history furnishes a wealth of motivation, we are confident that new avenues and designs are only just around the corner that may enhance earlier efforts. As surely as we are inspired by the triumphs of the past, we face the challenges of today by building organs that will continue to inspire interest beyond today, beyond tomorrow, and into the next generation. Art is only art when it represents the best efforts of the Creator, with both eyes open to even greater possibilities. We aim to create something significant for worship and the performance of great music, and in the greater sphere, to offer our own illumination of how music might be made.

—Michael B. Fazio

Austin Organs, Inc.

President and Tonal Director

 

 

 

 

C. B. Fisk, Inc., Gloucester, Massachusetts, Opus 146

Chapel of the Holy Spirit, 

Christ Church, Glendale, Ohio

Glendale, Ohio, incorporated in 1855, is an enchanting, historic village of 2,200 inhabitants located 15 miles north of Cincinnati. One of the earliest planned communities in the state, Glendale was positioned next to a railroad that originally provided transportation to local industries and to downtown Cincinnati. These rails now carry only freight but are still part of Glendale’s unique ambiance. Its winding streets and charming Village Square are surrounded by many parks and large Greenbelt preserves. It is the only village in Ohio designated a National Historic Landmark.

In 1865, only 10 years after Glendale’s incorporation, Christ Church, Episcopal, was founded, and soon thereafter an elegant Victorian era stone church with surrounding campus was built. Nearly 150 years later, in the spring of 2014, Christ Church completed an exciting new addition to their campus—the Chapel of the Holy Spirit. Attractive, modern in design, and filled with light, the chapel was designed by City Studios Architecture of Cincinnati. Acoustically, the new space is reverberant, well balanced, and nicely supportive of both organ and choral sound. It is outfitted with movable furnishings, allowing for great flexibility and multiple configurations for various types of worship and performance. 

Discussions focusing on a new tracker organ for the chapel began with Bryan Mock, organist and director of music at Christ Church, in the summer of 2011, and by May of 2014, C. B. Fisk was chosen to be the builder of a two-manual, 25-stop instrument. A contract was signed in July of the same year. Dr. Mock, a past president of the Association of Anglican Musicians, presides over a comprehensive music ministry that involves numerous volunteer musicians and encompasses four choirs. From the beginning, he insisted that the primary function of the new organ be to provide fitting, sympathetic accompaniment of his multiple choirs. Naturally, liturgy and literature were central considerations as well, but our charge was to strike just the right balance, with choral accompaniment being the top priority.

Constructed in our Gloucester workshop during the winter and spring of 2015, Opus 146 was delivered to the Chapel of the Holy Spirit in early August. On October 25, one week after the tonal finishing was completed, the organ was dedicated in a service of Evensong, with the Holy Spirit as the theological motif. Dr. Mock presided at the organ, presenting Veni Creator-based music of Nicolas de Grigny, Maurice Duruflé, and J. S. Bach. Christ Church’s 30-voice Adult Choir, accompanied by the new organ, also participated in the liturgy, singing Thomas Attwood Walmisley’s Service in D Minor and Michael McCarthy’s choral arrangement of O Love of God, How Strong and True.

Charles Nazarian’s striking case design for Opus 146 was accomplished in a 1:16-scale physical 3D model, a process that has been the norm in the Fisk workshop for over five decades. As the photos show, the instrument occupies one corner of the chapel space. In plan, the shape of the façade is the result of two intersecting planes tailored to this corner location. The interior layout of the organ reflects this shaping, with the Great and Swell divisions placed behind the hammered spotted metal Principal 8′ in the three right-hand façade compartments (the Great is at impost level, with the Swell just above, oriented back-to-front), and the Pedal division located behind the wooden Violone 16′ in the two left-hand towers. With regard to the development of the visual design, Charles Nazarian has written:

 

One of the most interesting features of the room architecture is the way intersecting wall planes and wood paneling form dynamic triangular and polygonal shapes. Those interesting shapes provided the angular design language that helps the organ to feel at home in the Chapel’s architectural context. On first view, the most striking example of this shaping may be the organ’s roof. It is deliberately allowed to “fly” above the square ends of the casework with exciting polygonal angles that give the entire organ a sense of being ready to lift off into flight. . . . Since the Chapel is named for the Holy Spirit whose traditional symbol is the Dove, the theme of flight is represented in abstract forms of the pierced pipe-shades over the pipe arrays. The composition of the five shades is
identical, but each one is different in scale and angle, tailored to the pipe tops below. In this case we saw a wonderful opportunity to represent the Dove and to give a signature design element to the organ. The pierced panels also provide a variegated screen for tonal egress.

The request to display the Tetragrammaton was answered by creating three indented panels above the console, just under the three metal pipe arrays. The lettering appears in the center panel. The organ console features vertical stop jambs that add sculptural interest to the casework and afford easy access for registration changes by the musician who is often conducting the Choir. The intended Choir location, in the large room indentation to the right of the organ, provides good lines of sight for the singers to watch the music director at the organ console.

In overview, the design of Opus 146 has taken us down some anticipated as well as some exciting unexpected paths. In every aspect of the organ’s development we have asked the question, “What will make this instrument mechanically, tonally, and visually a perfect match for its home with a personality like no other?”

 

Reflecting on the presence of the Tetragrammaton on the organ case, music director Bryan Mock wrote in the dedication leaflet, “Christ Church Glendale is dedicated to the second person of the Trinity, our new Chapel to the third person, and the Fisk organ bears the Tetragrammaton (), that is, the Hebrew letters for the unpronounceable and ineffable Name of God, thus bringing us around full circle to the symbolic abiding presence of the Holy Trinity within our community.”

Tonal finishing of Opus 146’s 1,420 pipes took place from early September through mid-October and was under the direction of Fisk voicer Nami Hamada. Nami had visited the chapel the previous September in order to get a first-hand look at the space and to listen to music being made by instrumentalists and singers performing from various points in the room. An acoustical profile was created in imagination, thus beginning the tonal design process. What Nami learned informed countless decisions as we scaled the pipework, computed mouth widths, chose pipe materials, and settled on wind pressures. Recently reflecting on her experiences working in the chapel, Nami Hamada wrote:

 

When we start to voice an organ, the first thing we need to do is to learn what the characteristics of the room’s acoustics are. As we began voicing the Principal 8′ of the Great for the Chapel of the Holy Spirit, we did a lot of analysis of the room by experimenting with changing the tone and volume of the pipes. One thing that became clear was that the space was very sensitive to the number of chairs present (and, by extension, to the amount of floor area that was exposed), as well as the number of people in the Chapel. The space had a pleasant reverberation and good bass support. The treble range, while not overpowering, sustained its clarity.

Once we learned about the room, we continued with the voicing of each pipe, carefully keeping in mind the changes to the acoustic when the room was in use for various occasions. One of the specific challenges to the voicing of Opus 146 was to achieve the proper volume level of each stop without forfeiting the expressive qualities and distinctive colors of each voice. Another challenge was to find just the right balance between the principal and flute choruses. 

The light and responsive key action of Opus 146 allowed the pipes’ speech to be voiced freely and expressively, which in turn offers the organist the ability to
control the pipes’ speech. The ability to have “flexible” wind, by disengaging the largest winker, enables expression through emphasis or accent not unlike the human lungs, especially in earlier music and hymn playing. For me, this means that the organ can perform a wider range of repertoire very convincingly, and its capacity to lead hymn singing is enhanced.  

While the various flue choruses make available a wide variety of tonal colors, the Hautbois 8′ on the Swell provides a quiet reed color, under expression. The Trumpet 8′ on the Great and the Trombone 16′ on the Pedal add a wonderful strength and support to create a full and exciting tutti sound in the chapel.

All of us at C. B. Fisk are grateful for having had the opportunity to build Opus 146 for Christ Church Glendale. It has recently come to light that this instrument will be made available to organ students of Professor Michael Unger at the Cincinnati College-Conservatory of Music. Thus, in addition to its many important sacred roles in the chapel, the organ will take on an additional role of great consequence—that of teacher. We couldn’t be more pleased.

—David C. Pike

Senior Vice President & Tonal Director

C. B. Fisk, Inc.

 

From the organist and director of music

Christ Church Glendale, an Episcopal Church in suburban Cincinnati, Ohio, was founded in 1865. Three years later the parish built a worship space in Victorian Gothic style, complete with Connick windows and a Hilborne Roosevelt organ, Opus 25. The parish built a new education building between this church and the adjacent parish house in the mid-twentieth century. This new construction included a small chapel designed in scale to be primarily used by children. Over time, adults also chose to use this space, and attendance quickly outstripped the chapel’s capacity. This mid-century building was demolished and a new education building was built in 2014, including a large chapel with seating capacity for over 200 congregants. This chapel was carefully engineered and designed for optimal resonant acoustics for clear and beautiful production of music and speech.

Initially there was little planning for a new organ in the new Chapel of the Holy Spirit, as discussions centered on alternative musical expressions within the worship life of the church. Eventually the parish decided that a new organ, of the best quality available, should be built for the space. This organ should, within the constraints of space and resources, be as flexible as possible in accompanying corporate worship within current and foreseeable trends in Episcopal liturgy and the needs of the community. The C. B. Fisk organ company of Gloucester, Massachusetts, was ultimately chosen for its proposed sensitivity to the 21st-century design of the room visually and the superior musical quality of their extant instruments.

Our Fisk, Opus 146, continues to amaze and charm listeners with its beauty as a solo and accompanimental instrument in its acoustical and visual space. It has a warm and inviting sound that aids and supports both congregational and choral singing. It also renders beautifully singing solo stops and powerful pleno for a very wide spectrum of musical production, and I am certain that this instrument will continue to inspire many generations to come at Christ Church Glendale.

—Bryan K. Mock, DMA

Organist and Director of Music

Christ Church, Glendale, Ohio

 

GREAT – Manual I – 61 notes

16′ Bourdon 

8′ Principal 

8′ Spire Flute 

4′ Octave 

4′ Chimney Flute 

22⁄3′ Quinte 

2′ Superoctave 

Mixture IV–V

8′ Trumpet 

 

Taylor and Boody Organbuilders Staunton, Virginia

Opus 70, 2015

Virginia Theological Seminary Alexandria, Virginia

 

Virginia Theological Seminary and the Organ

It is often said, “No one ever leaves a church humming the words of the sermon.” Music in congregational worship is vitally important. The experience of worship is for many people linked with their experience of the music. So when Virginia Theological Seminary lost its 1881 chapel to fire in 2010, the board gave the administration a clear instruction—to build a new chapel that was perfect for music.

For the new Immanuel Chapel, Robert A. M. Stern Architects and acoustician Jaffe Holden (with acoustics reviewed by Robert Mahoney) produced a worship space that has a rich, vibrant acoustic. From the thick walls, heavy doors, and a heating and cooling system that is silent, the seminary made experience of sound a priority. Now we needed an organ to fit this perfect space for music. 

Although we made sure that this chapel can work for informal music and for unaccompanied singing, we always knew we needed an organ. The organ remains the most dependable instrument to accompany congregational singing; even the nine-foot grand piano is drowned out when you have a seminary congregation of people who know the hymns and love to sing. And we were not even tempted by the electronic alternative. We wanted a traditional pipe organ in this chapel.

Taylor and Boody both appreciate the majesty of the pipe organ and its flexibility. They were ready to work with a demanding client. And the result is exceptional. The case is made from the two great white oaks that had to be cut down to allow the chapel to emerge. It is visually striking in its simplicity. And Taylor and Boody worked hard to create an instrument that can play the full spectrum of music needed in the Anglican tradition. The result is extraordinary. One cannot help but have one’s heart lifted by the sound of an instrument so beautiful, so resonant, and so powerful.

There is nothing ephemeral about this chapel. The last organ served the seminary over a century; this organ will—God willing—be serving the seminary for centuries to come. 

—The Very Reverend Ian S. Markham, Ph.D.

Dean and President, 

Virginia Theological Seminary

 

The Mission of Liturgical Music and the Virginia Theological Seminary

When Virginia Theological Seminary (Episcopal) lost its 1881 chapel in a tragic fire in October of 2010, the tracker organ was also destroyed. In addition to the seminary community, the chapel and organ were also used by a neighboring Episcopal parish, Immanuel Church on the Hill, with whom the seminary has a long and intimate connection. One parishioner had worshipped in this chapel for over seventy years. Both communities felt keenly the loss of the chapel, if not the organ. 

Built by Adam Stein of Baltimore in 1900, this organ might be described as serviceable but not beloved. It was small, difficult to manage, and offered a limited tonal palette. Nonetheless, during its 110 years the Adam Stein led thousands of services, faithfully ushering people into prayer. I asked our director of buildings and grounds if there was any other piece of equipment of any kind on the campus that was still in daily use after 110 years. He could think of none. And so, while we didn’t mourn the loss of this organ in the same way we did the small, charming Victorian chapel, still we gave thanks for its extraordinary length of service. 

It is a rare opportunity to commission an organ for a new building, giving architect and organbuilders a chance to meet, to gain respect for each other, and to develop synergy. Though I have been involved in three new organ commissions in my career, this is the first for a new worship space. While the concerns of architects and organbuilders intersect, even overlap, they come to the drawing board from completely different perspectives. A working relationship needed to develop over time, and there were some surprises. The project managers, for example, were continually alarmed at the time, attention, and expense we devoted to acoustics. They soon perceived that music is a core value for this community.

Singing is at the heart of Anglican worship. We therefore needed an instrument that supports and encourages the human voice. Seminarians are passionate about their faith, and this is heard in their robust singing, thus we also required an instrument that could sing. While we looked at a number of superb builders, we were impressed by the impeccable craft of Taylor and Boody, who, not unlike medieval artisans, begin with the raw, basic materials, and build an instrument slowly, individually, and by hand. The result is visually and tonally an impressive work of art.

Musicians often say of Taylor and Boody Opus 70 that each individual voice has its own discrete character, and that the voices combine to create ensemble sounds of rare beauty. What could be better? We are delighted with the results of our collaboration, and our dedication to these builders is even stronger now than when we selected them. 

The consecration of the chapel and the organ on October 13 will be led by the Archbishop of Canterbury and the Presiding Bishop of the Episcopal Church. We look forward to many years with this magnificent instrument, continually discovering its many qualities, but, more important for our purposes, being powerfully led by the organ into prayer, as new leaders are formed for the future Church. Soli Deo Gloria.

—The Reverend William Bradley Roberts, D.M.A., Professor of Church Music and Director of Chapel Music

 

The Building of Taylor and Boody Opus 70 for the Virginia Theological Seminary

Psalm 11:6. Fire and hail, snow and mist, stormy wind fulfilling his word!

Two powerful events at the Virginia Theological Seminary conspired to bring to life a new chapel and a new pipe organ: the tragic destruction of the 1881 seminary chapel by an accidental fire in October of 2010 and the destruction wrought in the mid-Atlantic region by a freak summer derecho windstorm on June 29, 2012. The fire spurred the creation and building of a new, elegant, and powerful worship space that bears witness to the dedication of the Virginia Theological Seminary to worship arts and liturgy. The windstorm felled over 20 of the old-growth white oak trees that graced the seminary campus, some of which were eventually incorporated into a new organ for the chapel. 

Prior to the fire, Taylor and Boody had already met with a renovation committee to see what could be done to update and improve the 110-year-old Adam Stein organ. We were already acquainted with the Virginia Theological Seminary leadership and had been talking about a new organ for the chapel. Following the fire, an organ committee was formed, composed of Jason Abel, musician at Christ Church, Alexandria, and assistant chapel musician at VTS; Scott Dettra, consultant, organist at Washington National Cathedral [now at Church of the Incarnation, Dallas]; Ray Glover, consultant, professor of church music emeritus, editor of The Hymnal 1982; Barney Hawkins, professor of pastoral theology and associate dean; Lloyd A. (Tony) Lewis, professor of New Testament [now emeritus] (and assisting clergy at St. Paul’s, K Street); William Bradley Roberts, professor of church music, director of chapel music, committee chair; Thomas Smith, musician at Redeemer, Bethesda [now musician at Christ Church, Georgetown, Washington], and assistant chapel musician at VTS; and Heather Zdancewicz, vice president for administration and finance. This committee worked diligently, considering several builders and visiting many instruments. We were pleased to have been chosen to build the organ for this important and influential Episcopal seminary. The connections seem to fit together. We are a Virginia organbuilder who could take on this important commission. There was also an historic connection between Staunton, Virginia, and the seminary. After the fall of Alexandria at the beginning of the Civil War, the seminary moved for a time to Trinity Episcopal Church in Staunton, Virginia, home church of George Taylor and John Boody.

Over the years, Taylor and Boody have worked together with many architects and acousticians to design and build worship spaces and concert halls. This is one of the things that we do best, but our experience at the Virginia Theological Seminary was unique. We were teamed with Robert A. M. Stern Architects (RAMSA) of New York, New York, a 300-person giant of a firm with hundreds of projects to their credit, including: 15 Central Park West, New York City; Tour Carpe Diem, Paris, France; the George W. Bush Presidential Library; the Comcast Center, Philadelphia, Pennsylvania; and the Disney Beach Club Resort, Orlando, Florida. They had, however, relatively little experience in liturgical buildings. Fortunately, the chapel building committee at VTS, led by the Very Reverend Dean Ian S. Markham and the Reverend J. Barney Hawkins IV, assisted by a well-informed committee from the seminary faculty and staff, had a very clear idea of what they wanted. The creative power of the RAMSA team led by Robert A. M. Stern and Grant Marani was harnessed to bring those concepts to life in a refined building plan. There were times when the organbuilders and musicians had to state their requirements clearly, but the end result is a unique and wonderful space that is emblematic of the seminary’s purpose, emphasizing the importance of worship, music, and liturgy in the education of Episcopal priests.

The Immanuel Chapel is a beautifully crafted building. The red brick exterior is not a copy of any building on the VTS campus, but a new creation that harmonizes with the existing historic campus architecture. The RAMSA architects and the builders, Whiting-Turner Contracting of Greenbelt, Maryland, have already won awards for craftsmanship in the chapel’s construction. The building gives the impression of refinement, solidity, and grace that will be enduring. The worship space is in the form of an equal-armed Greek cross with the center defined by a large, circular, black aluminum chandelier. All the furnishings are uniquely designed by the architects and are moveable should the seminary ever want to modify the arrangement. The ceiling is divided into coffers for good sound dispersion. The floor is slate and the walls are hard plaster on concrete block. The acoustic is brilliant in the empty space, toning down to a comfortable and discernible reverberation with full congregation. The air handling is remarkably silent. Mark Holden of Jaffe-Holden was the acoustician, with a peer review done by Bob Mahoney.

The new Opus 70 organ stands 8.3 meters (27 feet) tall at the end of one of the arms of the cross. The case is solid quarter-sawn white oak finished with a clear matte-finish water-based lacquer. The 80% burnished tin Open Diapason 16′ from low F is en façade. The shape of the case is classical but restrained in complexity of moldings and decoration, allowing the organ to be at home in this clean, contemporary space. The effect is powerful and compelling, letting the worshiper know that music is important to the seminary. 

The Great organ is at the impost level. The Swell box, made of heavy wood, is in the center, above the Great. The Swell pipes are in major thirds, with the treble pipes in the front. The Swell reeds are placed at both ends of the channels so that tuning can be done from both sides of the box. The Swell shutters are mechanically operated and are on three sides of the box. This makes for a dramatic crescendo and refined control of the Swell sound. The Pedal is on two chests at floor level behind the organ. It speaks directly through tracery grilles on both sides of the lower case and also into the ambulatory that is connected to the chapel acoustic. 

The key action is mechanical tracker with the tracker runs done in rectangular carbon fiber 4mm x .6mm. Of all the modern materials that have been used for trackers, carbon fiber is, by far, the best. The carbon fibers are extruded through a die and embedded in epoxy. It comes on a roll a mile long. When the material is taken off the roll, it is perfectly straight and extremely rigid. This reduces the number of guides and hence friction. It is nearly impossible to break and impervious to moisture. The roller boards are made of 3/8-inch square solid aluminum rollers with black walnut bearings. The key levers are thermally treated poplar, which has great stability. All these things together make for a key action that is crisp, precise, and responsive. We do like some mass in the key action, so we make the pallet valves out of white oak. The key coverings are polished cow bone and the sharps are Gabon ebony. The stop action control is by electric solenoids with a combination action by Solid State Organ Systems using Harris drawstops with engraved knobs.

The slider windchests are all solid wood with yellow poplar grids, quarter-sawn yellow poplar sliders, Western red cedar tables 6 mm thick, Eastern white pine toeboards, and quartered white oak pipe racks. The pipe racking was done in a traditional manner with red-hot burning irons fitting the pipes to the racks. This leaves a ring of inert charcoal in contact with the lead-tin alloy pipes. All the pipes were made in the Taylor and Boody workshop of lead-tin alloys. All pipes were hammered with our 50-lb. pneumatic foundry hammer with the exception of the front pipes, which were hand scraped and polished.

The chance to use the 20 white oak trees downed in the derecho and acquiring the logs from the three large oak trees that were removed from the site of the chapel construction was one we could not pass up. We have always been interested in whole-tree utilization. Other Taylor and Boody instruments such as Opus 27 for St. Thomas Fifth Avenue, New York City, have been built from a group of trees harvested in one location. In commercial timbering, the very best logs go for veneer and we never see them. The middle grade are used for saw logs, but usually only for flat-cut boards cut around the outside of the logs. The top logs are used for industrial lumber building timbers and railroad ties. In historic European organs, because the labor-intensive cutting, transportation, and preparation of timber made the wood so valuable, the whole tree was used. There was a hierarchy of use so the best wood went into the pipes, keys, and windchests. Lesser quality was used for the case and carvings, and the lowest for the timbers and supports.

We took these logs, some up to 30 inches in diameter, and split them down the center with a 60-inch chainsaw. The half logs were then placed on our band sawmill at 45 degrees and most of the cutting was done in a radial fashion to produce the maximum amount of lumber with the year rings oriented in vertical or quarter-sawn direction. This lumber is the most stable, dries without defect, and in oak produces the beautiful flake grain pattern that we so cherish. We air-dried the wood on our yard for about a year and then finished off the drying in our dehumidification dry kiln. The results were well worth the effort. This also provides environmental economy and a connection to the saints of VTS who walked beneath those ancient trees.

What kind of organ is appropriate for a seminary? In many of our projects Taylor and Boody has used historic models in the North European style for our projects. Our Opus 65 project at Grace Church, New York City, was a departure from this Schnitger model. Particularly in the construction of the swell boxes and the voicing of the enclosed divisions, the Grace Church organ taught us how effective these divisions can be for choral accompaniment. In the development of the VTS organ we knew that this type of organ would serve the Episcopal seminary well. Coupled with this wide range of expression in the Swell organ, we wanted the Great and Pedal to retain the power and vocal qualities essential to good hymn singing. In the words of Aaron Reichert, who along with Christopher Bono voiced the organ:

 

Should not the organ sing with as good a vowel as one asks of their choir? The balance of the organ is based on, and in direct relationship with, the fervor with which the VTS community sings. Each division can accompany the other, a soloist, a choir, an orchestra, a congregation, or all combined; coincidentally, being so versatile in accompaniment makes the organ quite a good soloist as well.

 

The two-manual specification of 34 stops allows for a balanced chorus on each division. There are two mixtures and five manual reeds, giving the organ sufficient power to accompany the robust singing of the seminary congregation. There is also a good complement of string stops: a Salicional on the Great, and Gamba, Celeste, and 4′ Salicet in the Swell, makings for a string chorus. It is useful that both the Great and Swell have Trumpets and solo reeds, the Oboe in English style, and a sweet Clarionet on the Great. The Pedal Open Diapason 16′, which is transmitted from the Great, is quite round and full, having full-length wooden basses. A large-scaled 102⁄3′ Quint Bass gives a synthetic 32′ for a convincing pedal point for English choral music. 

This instrument has already proven to be a stimulant to the musicians at VTS. There is often a student or visiting organist learning, discussing, and enjoying the organ. As Bill Roberts said in the mission statement for the organ search: “Procuring a fine organ will enrich the worship life of the community for years to come. It will contribute to the formation of young women and men who are being trained to lead the Church, modeling the power of music to transform lives and bring worshippers into the presence of God.” We also as organ builders believe this and we are honored to have been able to contribute to this landmark project. Soli Deo Gloria.

—George K. Taylor and John H. Boody

 

Opus 70—The Builders 

George Taylor, John Boody, Larry Damico, Emerson Willard, Christopher Bono, Kelley Blanton, Robbie Lawson, Thomas Karaffa, Robert Harris, Erik Boody, Aaron Reichert, Bobbi J. Regi, Katina Lawson, Alessio Giacobone, Christopher Witmer, Jenna Dennison, Chris Peterson, Steven Jett.

Chapel design by Robert A. M. Stern Architects New York, New York.

Design Partner: Grant F. Marani. Senior Associates: Rosa Maria Colina, Charles Toothill. Associates: Esther Park, David Pearson, Leticia Wouk-Almino. Team: James Brackenhoff, Kevin Kelly, Marc Leverant, Marissa Looby, Katie Casanta Rasmussen, Frank Stevens, Mark Talbot, Jessie Turnbull, Chriska Wong.

Landscape Architect: Michael Vergason Landscape Architects. Liturgical Consultant: Terry Byrd Eason Design.

 

Inaugural Year Events 

November 6, 2015, 7:30 p.m., Scott Dettra, dedicatory organ concert  

January 10, 2016, 4 p.m., Janet Yieh

March 18, 2016, 7:30 p.m., Marilyn Keiser

April 22, 2016, 7:30 p.m., Dorothy Papadakos accompanies the silent movie, “Hunchback of Notre Dame”

 

Photo credit: Robbie Lawson

 

René A. Marceau and Sean Haley

Marceau Pipe Organ Builders,

Seattle, Washington, Opus 35

University Lutheran Church, 

Seattle, Washington 

Marceau Pipe Organ Builders has completed their Opus 35, a three-manual and pedal organ of 25 stops, 27 ranks, and 1,714 pipes for University Lutheran Church of Seattle, Washington. The first instrument for this edifice was built by the Reuter Pipe Organ Company in 1954, Opus 1097. It consisted of two manuals, 18 stops, 19 ranks, and 1,358 pipes. An Echo division was later installed by Balcom & Vaughan Organ Builders in 1957, Opus 637. This consisted of two manuals, six stops, six ranks, and 392 pipes. Two consoles were added; the Chancel unit was able to control both locations, and a separate console was placed in the rear balcony to play only the Echo division. This arrangement worked well for a number of years before mechanical and tuning issues began to affect the reliability of the organs.

In 2013, a conversation was begun that would address the status of the existing consoles, the unplayable Echo division, and the obsolete electrical system. After exploring a number of options, University Lutheran awarded Marceau Pipe Organs a contract to build a new three-manual, terraced drawknob console and create an Antiphonal division that would be located on the floor of the balcony, as well as some modest tonal additions to enable this division to function in a variety of musical styles and to stay in tune with the Chancel organ, regardless of the season. In addition to the above details, there was a desire to transform the sounds of both organs from dull and colorless to a brighter, more energetic sound. This was achieved by introducing new pipes for the Great, Swell, and Antiphonal principal choruses along with major re-regulation of the existing reed stops. In addition, the Antiphonal received an 8′ Festival Trumpet and an 8′ Krummhorn; the existing 8′ Vox Humana was not retained in this division since the Chancel Swell already contained a stop of this character.

The new console was constructed of solid white oak with the coupler rail and stop tiers of bubinga. The simple elegance of the white oak complements the red-brown appearance of the bubinga. The keyboards feature polished bone naturals and ebony sharps. These console treatments have been an integral element of all Marceau consoles for the past 15 years.

A reading of the stoplist suggests a much more colorful and energetic tonal design. The Great principal chorus is completely new to the organ and includes a much-needed 13⁄5′ Seventeenth. The Swell 8′ Principal was a last-minute addition, replacing the original rank, which was slotted with a narrow, string-like sound. The Antiphonal is the only division with a façade; these 12 pipes are from the 8′ Principal. The Pedal 16′ Principal was extended by 17 notes to become 8′ Principal II on the Great. The luxury of having four 8′ Principals is most effective in a less than supportive acoustic.

The number of flute stops is on the lean side due to space and mechanical limitations. The intent was to finish each stop with a multitude of functions, creating a more versatile result. While it is not an ideal design to derive multiple stops of various pitches from one rank, the various derived mutations (Swell and Antiphonal) work quite well as tonal contrasts to the independent Great mutations. 

There are two sets of strings that work remarkably well and complement each other tonally. Having a set of strings in the Antiphonal again creates a unique location of sound that has a most satisfying result!

The reeds all received extensive revoicing in the shop and regulation on site. Both Swell reeds were opened up to gain color and dynamic capabilities. For greater versatility, the Trumpet is set at 16′, 8′, and 4′ pitches in the Swell, 8′ pitch in the Great, and 16′, 8′, and 4′ pitches in the Pedal. A 32′ electronic extension was added as the final dynamic element for the Pedal chorus. The Antiphonal 8′ Krummhorn is bright, and its location still works well with the Chancel organ. The Antiphonal 8′ Festival Trumpet brings a solo reed sound to the organ. Its sound is bright and very present without overwhelming the full ensemble.

The organ was dedicated on October 8, 2016, with a vespers service followed by an organ recital performed by William Bryant.

This was a challenging project in so many ways. Working with an existing pipe organ brings many surprises along the way that could not have been anticipated. We acknowledge the following for their efforts in the many details of this work: Carl Dodrill (Pipe Organ Foundation), Jim Stettner and Michael Way (Puget Sound Pipe Organs), William Bryant, organist of University Lutheran Church, and the staff of Marceau Pipe Organ Builders. These skilled craftsmen took on the many and sometimes difficult challenges of this project with energy and commitment! 

—René A. Marceau 

President/Tonal Director

—Sean Haley

Operations Manager

 

Bigelow & Co. Organ Builders, American Fork, Utah

First United Methodist Church, Salt Lake City, Utah

 

From the builder

Bigelow & Co. specializes in mechanical action instruments that are both historically informed and innovative. It was, therefore, a bit of a reach to tackle the rebuild of what had once been a tubular pneumatic instrument. In retrospect, it has been a fascinating experience, made all the more enjoyable by the enthusiasm and support of the organist and many others at First United Methodist Church, Salt Lake City.

First United Methodist Church dedicated its new building on May 22, 1906, and the organ was dedicated six months later on December 7. The oldest document in the church’s archives pertaining to the organ is a contract with the firm of “Geo. Kilgen and Son,” dated January 29, 1924, in which the first item reads: “To electrify the organ now located in their church using the most modern type action with silver contacts, brass encased magnets and paraffine [sic] cables.” That contract included several tonal changes as well, such as replacing the Great Mixture with a Flute Celeste, replacing the Dolce Cornet with a Vox Humana, and so on.

From the 1924 contract stoplist and other physical clues we made an educated guess as to the 1906 stoplist:

GREAT

16′ Dbl. Open Diapason*

8′ Open Diapason*

8′ Viol d’Gamba*

8′ Dulciana

8′ Melodia

8′ Dopple Flute [sic]*

4′ Octave*

4′ Flute d’Amour*

22⁄3′ Twelfth

2′ Fifteenth*

III Mixture

8′ Trumpet*

SWELL

16′ Bourdon (TC)*

8′ Open Diapason*

8′ Salicional

8′ Aeoline

8′ Stop Diapason*

8′ Quintadena

4′ Fugara*

4′ Flute Harmonic*

2′ Flageolet*

III Dolce Cornet

8′ Cornopean*

8′ Oboe*

PEDAL

16′ Open Diapason*

16′ Bourdon*

8′ Violincello [sic]*

 

*Ranks that survive with all or most of
their pipes

 

A photograph from 1915 reveals a handsome case with stenciled façade pipes (all speaking) covering an opening sixteen feet wide and twenty feet high.  Unfortunately, in conjunction with a 1960 “Sanctuary and Chancel Beautification Project,” the beautiful oak casework was discarded and the façade pipes hidden from view. The organ was re-leathered and modified at that time. But, alas, by the 1980s the old ventil chests and actions were failing again. A hybrid electronic instrument provided a quick and economical solution. After Scott R. Mills was hired as organist, the congregation moved toward a more comprehensive restoration of their historic instrument, including a faithful reconstruction of the original oak casework and stenciled façade.

Realizing that many of the original pipes had been discarded or seriously altered, the church purchased nearly forty ranks of Kimball and Austin pipework, including harp and chimes, from the nearby Masonic temple, where that organ had been sitting idle for over twenty years. After examining what was left of the original Kilgen organ and additions, listening to whatever was playable, reviewing the inventory acquired from the Masonic temple, and perusing old photographs, we contracted with the church to “restore” and enlarge their historic organ. Adding only two new stops (four ranks of small pipes), the current three-manual specification was developed.

Most pipes of the Great, Swell, and Pedal divisions stand on their original ventil or unit chests, re-leathered and re-electrified by Bigelow. It is interesting that the ventil chests are in the style of Roosevelt, and may have come from an earlier Farrand & Votey instrument. That firm had been active in Utah in the 1890s, when they had recently acquired Roosevelt’s patents. One wonders: did the previous Methodist church, located about a block away, have a Farrand & Votey organ that Kilgen subsequently moved and adapted to the new space? The discovery of very old modifications to those chests and to the swell box make such a scenario seem likely.

The main Choir chest is a new Blackington-style slider chest by Organ Supply Industries. That firm also supplied electro-pneumatic unit and offset chests used variously throughout the organ and several single-rise regulators.

A 1930s “Style A” console was acquired from the Austin factory, and Jack Nelson of Nelson Woodworking re-surfaced the old worn-out ivory keys with new unbleached bone. The new stop-action magnets and control system are from Syndyne.

With the completion of this instrument, Bigelow is pleased and proud to claim responsibility for all three of Salt Lake City’s most recent three-manual organs, all very different from each other, and each one uniquely beautiful.

—Michael Bigelow

 

From the organist and 

choir director

The vital ministry of First United Methodist Church (FUMC) of Salt Lake City, Utah, began just a few short months after the completion of the transcontinental railroad in 1869 when the Central Pacific and Union Pacific Railroads were finally joined at Promontory Point on the north shore of the Great Salt Lake. Methodist missionaries began arriving in Utah to organize churches and schools. 

The first Methodist worship services were held in downtown Salt Lake City in an unfinished hay loft over a livery stable in May 1870. A year and a half later, the cornerstone was laid, and by December our congregation was holding services on the opposite block in the basement of our first new building. By 1905, it was determined to build a larger building (about a block away) to house the growing congregation. Frederick A. Hale, a prominent architect in the Mountain West, designed the building in the Victorian Eclectic architectural style. Although he was responsible for several church buildings in Colorado, this was his only one in Utah.

The FUMC organ has been in its original location since 1906, thus known as one of the oldest organs in the area. There are two older organs in Utah. First Congregational Church actually touts the oldest organ in the region (Farrand & Votey, 1892; renovated in 1992 by H. Ronald Poll & Assoc.), and First United Methodist Church of Ogden, Utah, possesses an organ which has been in storage for some time.

The earliest photo we have of our sanctuary is dated “Easter 1915.” The pipes were stenciled and were various shades of green in color. The organ console sat near the pipes so that the organist had a view of the congregation. The stage area was open. To get to the choir loft below the stained glass windows, members had to pass through the organ chamber—the door can be seen in the middle of the photo. We have members who have recalled as little children “running through the pipes” to get to the choir loft.

In the 1930s, the front façade pipes received the first of three paint-overs that occurred over the years with a dull gold color. The organ console was moved down to the main floor of the sanctuary during the tenure of organist and music director Dr. Frank W. Asper, who served from 1924–1939. He conducted a 30-voice choir and gave weekly organ recitals before worship. Dr. Asper was also a Mormon Tabernacle organist, serving from 1924–1965.  

In 1960, at the time of the sanctuary and chancel beautification project, the organ façade pipes were moved back and a translucent screen placed behind a wooden grille. A set of crosses were placed in front of the screen and lights installed behind the screen. The pipes were no longer visible. Permanent pulpits were added with flower boxes and a new seating arrangement with benches for the choir loft. Since then, there have been several remodeling and renovation efforts, the last major one in 1989. The organist at the time requested that the church have the organ fixed so that it would be reliable. One can be grateful that they did not discard the historic pipes or chests. Due to financial restraints at the time, the church augmented the working components of the organ with an electronic Rodgers organ. The façade pipes were brought back out to be seen in the sanctuary with new woodwork framing the pipes. The inaugural concert was given by American concert organist and principal organist of the Wanamaker Organ, Keith Chapman, about three months before his untimely death.

When I was hired as the organist in 2008, I could tell that the organ was in need of significant repair. So we embarked on that possibility. The pipes were tuned and amid the ciphers, we could hear the potential warmth and beauty that the organ had to offer.

In November 2009, we launched a fundraising campaign to raise money to restore the organ and sanctuary back as close as possible to its original roots, keeping with its integrity, period, and design. The organ project included re-establishing the organ’s unique 1900s tonal style, its organ case from the 1915 photo, a vintage console, and augmenting its character with other vintage components. After looking around the country for vintage components, we found what we needed in our own backyard at the Salt Lake Masonic Temple. The organ at the Masonic Temple was originally in the American Theatre, a 3,000-seat silent movie theatre and the largest in Utah at the time, which was located on Main Street in downtown Salt Lake City. The instrument was originally built by the W. W. Kimball Company. The Austin Organ Company enlarged the organ in 1915 (Opus 609). In 1917, Alexander Schreiner, later a Mormon Tabernacle organist for 53 years, was playing on this organ as a high school student purportedly making more money than his teachers. Near the end of the silent movie era, local organists had the vision to preserve the organ and move it from the American Theatre to the new Masonic Temple building that had been finished in 1927.

By 2014, with donors attending and supporting organ recitals by community organists, grant writing, and a very successful crowd-funding campaign, we had raised sufficient funds to hire Bigelow & Co. of American Fork, Utah. We removed the Rodgers console and purchased a console that had been built in about 1930 that had previously been part Austin Opus 1702 in the Old St. Mary’s Catholic Church of Cincinnati, Ohio. Bigelow restored the original finish of the console and replaced the insides with state-of-the-art controls. We hired Tony Devroude of Artisan Organ to stencil the pipes. With his experience and expertise, Tony was able to recreate the original paint colors and stenciling designs, returning the original façade pipes back to their majestic beauty. He established the colors and designs by carefully peeling away layers of paint. Tony also turned the beautiful round middle tower base, crafted much of the case ornament including the four pineapples on top and the wooden dummy “stubby” pipes in the two arched openings. Finally, we removed the carpet in the front of the sanctuary and the 1960s paneling and opened up the chancel area. Thus, we have brought back the “look and feel” of the original sanctuary space with the tremendous sound of the organ now known as the Wesleyan Heritage Organ, Bigelow Opus 38 (2015).

“Methodism was born in song.” The music and liturgy of the worship at First United Methodist Church of SLC will return to its former glory. This was a true church and community effort. We are grateful to the members of FUMC, the many, many donors in the community, to the many workers with the remodeling of the sanctuary, and especially to the remarkable craftsmanship of Bigelow & Co. and for their meticulous care and expertise in preserving this historical organ. Our hearts are full of gratitude for their tireless efforts in making our dream become a reality.

Preserving these instruments (First Methodist and the Masonic Temple) with their treasured history provides a significant connection with our past and provides a sustaining commitment to who we are as a people in our worship to God.

—Scott R. Mills, Principal Organist/Music Coordinator

 

Bigelow & Co., Opus 38

Stephen Schnurr

Stephen Schnurr is editor and publisher of The Diapason and director of music for St. Paul Catholic Church, Valparaiso, Indiana. His most recent book, Organs of Oberlin, was published in 2013 by Chauncey Park Press (www.organsofoberlin.com). He has authored several other books and journal articles, principally on pipe organ history in the Great Lakes region.

This article is a continuation of a feature in the August 2015, June 2016, and July 2017 issues of The Diapason. This essay was delivered as a lecture for the Midwinter Pipe Organ Conclave on January 19, 2015, in La Grange, Illinois. The research for this project provides a history of a number of pipe organs in the village, but not all. For instance, organs in residences and theaters are not surveyed.

 

The Convent of the Sisters of St. Joseph in La Grange Park, Illinois, is the home of the Sisters of St. Joseph, established on this site on October 9, 1899, by Mother Stanislaus Leary. Mother Leary had been superior of her order in Kansas and came to Chicago to seek medical help as her health was failing. She was accompanied by others of the order. The pastor of nearby St. Francis Xavier Church, La Grange, invited the sisters to settle in the relatively new suburb.

The sisters opened a school for girls in September 1900. Some of the students were boarders. Soon, the sisters would open another school for boys. Nazareth Academy, now co-educational, is still located on the La Grange Park motherhouse campus.

On July 14, 1900, the cornerstone of a motherhouse and chapel was laid. The chapel contained an organ built in 1929 by M. P. Möller of Hagerstown, Maryland, Opus 5555, a two-manual, eight-rank instrument. The contract was dated March 20 of that year, with a projected completion date of June 1. Cost was $3,200.00, with one-third due upon completion, one-third in two equal payments at four and eight months thereafter, without interest. The electro-pneumatic action organ had a detached console of walnut, with “Gold Bronze” façade pipes and grille. Stop control was by tablets above the upper manual. Wind pressure was 5 inches. Pitch was specified at A=440 Hz. The Chicago agent for Möller, and the installer of the organ, was Ford & Reynolds.

 

1929 M. P. MЪller Opus 5555

GREAT (Manual I)

8′ Open Diapason (scale 44, wood 

    basses, 73 pipes) 

8′ Dulciana (scale 56, metal, 73 pipes)

8′ Melodia (wood, 73 pipes) 

4′ Flute (ext, 8′ Melodia)

Chimes (prepared)

SWELL (Manual II, enclosed)

16′ Bourdon (wood and metal, 97 pipes)

8′ Stopped Diapason (ext, 16′

    Bourdon)

8′ Salicional (scale 60, metal, 73 pipes)

8′ Dolce (fr Great, 8′ Dulciana) 

8′ Voix Celeste (TC, scale 62, metal, 61 

    pipes)

4′ Flute d’Amour (ext, 16′ Bourdon)

22⁄3′ Nazard (ext, 16′ Bourdon)

2′ Flautino (ext, 16′ Bourdon)

8′ Oboe Horn (metal, 73 pipes)

1 blank tablet

PEDAL

16′ Sub Bass (“big scale”, stopped wood, 

    32 pipes)

16′ Lieblich Gedeckt (fr Swell, 16′

    Bourdon)

 

Couplers

Great to Pedal

Swell to Pedal

Great to Great 16

Great Unison Off

Great to Great 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

 

Mechanicals

Tremulant

Crescendo Indicator by light

 

Adjustable combinations

3 Great and Pedal

3 Swell and Pedal

 

Pedal movements

Great to Pedal Reversible

Balanced Swell Pedal

Grand Crescendo Pedal

 

The present chapel of strikingly modern design was built in 1967 and 1968 to the designs of John Voosen of Chicago. The motherhouse and chapel were dedicated on Sunday, September 29, 1968. Sister Mary Victoria Rokos, SSJ (later known as Sister Emily), convent organist, was charged with developing plans for a new organ. She sought the advice of persons at Northwestern University of Evanston. The Möller organ was sold and removed.

The result was a recommendation of the Noack Organ Company of Georgetown, Massachusetts, to build a new two-manual, 20-stop, 31-rank organ of mechanical key and stop action in a free-standing case in an elevated balcony at the rear of the nave. A landmark design for the neo-classical organ revival movement in the Chicago metropolitan area, the organ was to cost what was then a large sum of money, $40,000.

The convent purchased a smaller Noack organ as a temporary instrument until the larger organ was completed, at which time the smaller organ was removed to the Academy on the campus. This organ has since been relocated elsewhere. Opus 42 was inaugurated in recital by James Leland on July 14, 1968. The one-manual, mechanical-action organ was provided with a pull-down pedal. 

 

1968 Noack Organ Company
Opus 42

MANUAL

8′ Gedackt (4 stopped wood basses, 

    remainder metal, 56 pipes)

4′ Stopped Flute (12 open trebles, 

    metal, 56 pipes)

2′ Principal (metal, 56 pipes)

 

In the summer of 1969, Noack installed its Opus 44, blessed on August 15. The Positive is in Brustwerk position, with Great above and Pedal to the sides. A dedication recital was presented by Benn Gibson on November 9.

 

1969 Noack Organ Company
Opus 44

GREAT (Manual I)

8′ Principal (in façade, 56 pipes)

8′ Chimney Flute (56 pipes)

4′ Octave (56 pipes)

4′ Spielflöte (56 pipes)

2′ Nachthorn (56 pipes)

V–VI Mixture (11⁄3′, 312 pipes)

8′ Trumpet (56 pipes)

POSITIVE (Manual II)

8′ Gedackt (56 pipes)

4′ Koppelflöte (56 pipes)

2′ Principal (in façade, 56 pipes)

11⁄3′ Quinte (56 pipes)

II Sesquialtera (122 pipes)

III Cymbal (1⁄2′, 168 pipes)

8′ Krummhorn (56 pipes)

PEDAL

16′ Subbass (32 pipes)

8′ Principal (in façade, 32 pipes)

8′ Gedackt (32 pipes)

4′ Choral Bass (32 pipes)

IV Mixture (22⁄3′, 128 pipes)

16′ Bassoon (32 pipes)

 

Couplers (toe lever, hitch-down)

Great to Pedal

Positive to Pedal

Positive to Great

Accessory

Tremulant (toe lever, hitch-down)

 

Opus 44 was the first permanent installation of a modern tracker organ in a Catholic institution in the Archdiocese of Chicago. In its early years, it was a frequently used recital instrument. Performers have included Marie-Claire Alain, Christa Rakich, David Hurd, and Gustav Leonhardt.