New Organs

Schoenstein & Co., Benicia, California; The Church of the Redeemer, Chestnut Hill, Massachusetts

Two perspectives

Sterling Anglican music program, perfect acoustics, an engaged parish—heaven-on-earth for an organbuilder, but only if the right people are on board to help. Many of our projects have been aided by excellent professional consultants, but this one might not have happened at all without the steady hand of Sean O’Donnell. He was mentor, organizer, and problem solver. In addition to all the usual issues such as navigating the changing of the fabric of a beloved architectural gem to accommodate the organ, his diplomatic skill was an immense help to the rector in convincing the parish of the need for change even though the existing instrument was relatively new. We were very pleased when the parish extended Sean’s engagement to supervise all of the architectural, electrical, and mechanical preparations for our installation. A highly experienced and skilled organ technician, he knew exactly what we needed. He also followed the time-honored practice of the best organ consultants—leaving the musical decisions entirely to musician and builder.

—JMB

The consultant’s role

Next to the church building itself, a pipe organ is usually the most valuable and longest-lived asset a church will have. Acquiring or restoring one is a daunting task that has not likely been undertaken in recent memory, or even within living memory. There are a great many goals to discern, details to attend, and challenges to meet—to help with this process, the community will often hire a consultant. The consultant’s role is not to do this work for the community, but to provide the education, information, and tools the community needs to create an instrument that will serve their needs far into the future. The overall process is iterative: defining project goals will be followed by exploring instruments that meet those goals, but that exploration will inform, refine, and even change those goals.

As the project comes into tighter focus, the consultant recruits qualified firms to submit proposals, ensuring that the firms understand the unique needs and goals of the church. As the proposals are evaluated, the consultant guides the committee by providing resources to clarify concepts that may be unfamiliar, and by making sure that all aspects of the project have been clearly addressed. There are many musical options available, and many talented organbuilders. With the right information and a little guidance, a community can easily acquire a fine pipe organ well suited to their current and future needs, and even enjoy the process.

It was a great joy to work with Church of the Redeemer. They embraced the challenges and myriad details with enthusiasm and dedication as they worked through whether to restore or rebuild their existing instrument, acquire a vintage instrument, or, as they ultimately decided, commission a new instrument.

There was much to learn, and the first part of the process was a series of listening exercises, starting in their own church so that folks who sit in the same seats every Sunday (like so many of us) could listen from the organist’s perspective, from the choir’s perspective, and from various places in the nave. We even had a set of test pipes that we were able to install in two different instruments to hear how much the room affected their sound. From there we branched out, listening to organs in a variety of styles by current and historic builders. After each listening session, the organist and the committee spent a few minutes listing words or short phrases describing the instrument: words like clarity, mystery, clean, flexible, warm, etc. As they developed a vocabulary, we began to discuss which of those attributes they wanted in their pipe organ, and focused on those options. Through all of this the organs were demonstrated by the same organist, using the same set of pieces drawn from Redeemer’s repertoire.

Choosing from among the organbuilders who so eagerly shared their knowledge and creativity was the next challenge, and the committee ultimately commissioned the instrument from Schoenstein & Co. From start to finish it was important to ensure that potential builders understood both the possibilities and the limitations of the project, and that the organ committee had mastered the architectural and structural issues, scheduling and budgets, subcontracts and side jobs, and the many, many other details comprising a project of this magnitude.

With the solid support of the rector, Fr. Michael Dangelo, organist Michael Murray, and the church staff, and with the hard work and dedication of the organ committee chaired by the indefatigable Leslie Horst, The Church of the Redeemer has acquired a beautiful new pipe organ, supremely well suited to their style of worship. More importantly, it was a project they entered into with confidence and excitement and completed with pride, looking forward to generations of worship enhancing music.

­—Sean O’Donnell, Consultant

A great voicer is very much in the same musical plane as a first chair member of the woodwind section in one of the Big Five symphony orchestras. A great conductor in a great concert hall is nothing without great players. Just like artistic musicianship, voicing requires skill, practice, experience, and, most of all, good musical taste. Timothy Fink, an all-round skilled organbuilder, heads our pipe shop and shares voicing duties with Mark Hotsenpiller, our head voicer.

—JMB

A voicer’s vision

The Church of the Redeemer possesses a fabulous room for church music. The nave’s acoustic properties enhance sound in a way that leaves the listener overwhelmed, overjoyed, and ultimately sonically satisfied. What a treat for an organbuilder’s commission.

The room into which any organ sounds is its resonator. A guitar has a body, a piano has a soundboard, but the organ needs a room. The qualities that make this one so lovely are: cubic volume, proportions, materials of construction, and shape of reflecting surfaces. The room is of modest size allowing an organ of modest size to fill it with sound. The proportions are classic (the architecture is based on English Gothic), meaning they are not exaggerated in one dimension. Heavy masonry construction assures that the entire frequency spectrum is reflected and the variability of the reflecting surfaces breaks up these reflections, delighting our ears.

The result of these properties is a room with an ideal reverberation period—not a long reverberation period. The musical magic happens in the milliseconds immediately after the sound is produced. The length of time the high energy lingers is Early Decay Time. This is the portion of the reflected sound to which our musical minds respond. The nave at Church of the Redeemer reflects sound at nearly the full frequency spectrum for a generous portion of the total reverberation time.

The projection of sound into the room is important, too. The organ chamber is a modestly proportioned room in an elevated position at the nave’s crossing. The short side of its rectangular shape is open to the chancel with the long side open to the nave. It too is constructed of substantial masonry materials assuring all sound frequencies are reflected out of the chamber. Here we located the Great, Swell, and some of the Pedal organs. Below the chamber and in a space between the chancel and a side chapel, we located the Choir organ. The console resides on the opposite side of this arrangement giving the organist some hearing distance from the organ. Between these two the choir’s singers are arranged in the traditional academic style. Finally, 32′ and 16′ octaves of the Pedal Open Wood are located at the back wall of the nave and the south transept. This was done out of necessity since there was no room in the chamber for these large pipes. Much care was taken to harmonize these beauties with their surroundings. Sonically, they provide a thrilling musical “push” to the organ’s ensemble.

Tonally, the organ was commissioned to function in the Anglican tradition. Mr. Murray’s love of English Victorian and Edwardian tone provided focus to this scheme. It is in our tradition to provide new organs with plenty of foundation, but the multiple diapasons in the scheme might appear to be excessive. The idea here was to use a variety of Diapason tone for musical subtlety, not power. The acoustical environment highlights the subtle difference in timbres.

To make sense of this list of Diapasons consider the following: the Great Open Diapason No. 1 is the tonal center of the organ. It possesses the largest scale and mouth width and easily supports the chorus set above. Numbers 2 and 3 progress smaller in scale and mouth width providing subtlety of musical variation. This gives the musician exacting control over the tonal center of the organ. Choruses can be thinned or fattened, stop combinations adjusted for power, or the Diapasons can simply be appreciated for their sublime solo qualities. The No. 3 is also available at 16′ and 4′, further extending the possible combinations. Sitting above these stops is a proper Principal 4′ and Mixture 2′. These reduce in scale as the pitch rises assuring that these higher pitches are suggestions of the fundamental.

The Swell Horn Diapason “No. 4” is similar in scale to the Great No. 2, but with narrow tuning slots and higher wind pressure. These attributes give it a distinct quality that bends musically to the closing of the Swell shades. It supports a Gemshorn 4′, a tapered principal. Its hybrid tone quality allows chameleon-like abilities when combined with other Swell stops. Finishing the chorus is a Mixture 2′, small in scale and carefully pitched such that it will be properly subdued with the shades closed.

The Choir Dulciana 8′ “No. 5” is the smallest of the Diapasons but with a wider mouth. Its subdued yet singing quality coupled with its expressive location next to the singers begs them to sing along. Add the 4′ Dulcet and a mini chorus is formed.

The Pedal Open Wood 32′ serves as two stops. The 8′ portion is named Grand Open Diapason 8′ “No. 6” and is comparable in scale to the Great No. 1 but on higher wind pressure. Its noble solo demeanor demands independent appearance on the Great and Choir manuals. The 32′ and 16′ portions form the Pedal Open Wood producing a stunningly solid foundation for the entire organ.

With space diminishing, the organ’s flute stops are at a minimum but still well represented. Two harmonic flutes are provided. The Great Harmonic Flute 8′ soars down the nave to listener’s delight. The Swell Flageolet 2′ has harmonic trebles imparting its sound with both blending and power qualities expected of English full Swell effects. Three stopped flutes are available: one on the Great at 8′, one on the Swell at 16′ and 8′, and one on the Choir at 8′, 4′, and 22⁄3′. They find their distinction by varying the scale and construction. The Great Bourdon 8′ is the largest scale but made of metal. The next smaller scale is in the Swell and is made of wood with pierced stoppers. The Choir Leiblich Gedeckt is smallest in scale and made of metal with narrow chimneys.

Of course, space was left for the very necessary strings and celestes. The bite and warmth of the Swell Gamba 8′ combines seamlessly its neighbor stops. Add the complementary full compass Celeste 8′ (maybe a coupler or two), and heaven is in sight. Just for contrast, the expressive Choir Unda-Maris 8′ gives an added sonic dimension to the organ’s palate. While bringing the organ to a decrescendo another color can be receded to delighting the listener with unexpected beauty.

Six ranks of reeds were somehow incorporated into this organ. Three types of trumpets, a tuba, and two color reeds provide an extensive color palate. The Great Trumpet 8′ leans toward a French quality, assuring it will stand up with all those Diapasons. The Swell Posaune and Cornopean represent a time-tested Schoenstein combination. This uses a bright, larger Cornopean at 8′ with the smaller, darker Posaune at 16′ and 8′. (The 16′ octave and a 32′ extension, all under expression, are available in the Pedal.) The musical possibilities with this arrangement are endless. The final bit to sweeten the organist’s orchestrations, both stops can be drawn together on the Choir manual as the Tuben 8′. Countering this effect is a proper Tuba 8′—unenclosed. Its 16′ extension in the Pedal employs wood resonators of powerful full and dark character.

The Oboe and Corno di Bassetto are the color reeds. The Swell Oboe Horn 8′ combines with the flue stops yet retains the piquant treble quality necessary for solo passages. The Corno di Bassetto 8′ features well in its ability to render chordal effects along with piano solo melodies.

Rounding out the tonal palate is the Schoenstein action system. Each pipe is controlled by its own valve. This allows the transmission of entire ranks to another division without the use of couplers. Each division is designed to stand for its purpose. However, by carefully selecting stops to be playable on another division or extending beyond their assigned range opens a huge door to new tonal possibilities. It unlocks the musical value already built into the organ.

­—Timothy Fink, Schoenstein & Co.

—Jack M. Bethards, Schoenstein & Co.

Photo credit: Louis Patterson

 

GREAT (Manual II)

16′ Double Diapason 61 pipes

8′ Grand Diapason (Ch)

8′ Open Diapason No. 1 61 pipes

8′ Open Diapason No. 2 61 pipes

8′ Open Diapason No. 3 12 pipes (ext 16′)

8′ Harmonic Flute 49 pipes (Sw Horn Diapason bass)

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Octave (ext 16′) 12 pipes

2′ Fifteenth 61 pipes

2′ Mixture (III–IV) 187 pipes

8′ Trumpet 61 pipes

8′ Corno di Bassetto (Ch)

Cymbelstern

SWELL (Manual III, enclosed)

16′ Lieblich Bourdon (ext 8′) 12 pipes (unenclosed)

8′ Horn Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Echo Gamba 61 pipes

8′ Vox Celeste 61 pipes

4′ Gemshorn 61 pipes

2′ Flageolet 61 pipes

2′ Mixture (III–IV) 192 pipes

16′ Contra Posaune 61 pipes

8′ Cornopean 61 pipes

8′ Posaune (ext 16′) 12 pipes

8′ Oboe Horn 61 pipes

Tremulant

Swell Sub Octave

Swell Unison Off

Swell Super Octave

CHOIR (Manual I, enclosed)

8′ Dulciana 61 pipes

8′ Unda-Maris (TC) 49 pipes

8′ Lieblich Gedeckt 61 pipes

4′ Dulcet (ext 8′) 12 pipes

4′ Lieblich Flute (ext 8′) 12 pipes

2-2⁄3′ Nazard (fr Lieb Ged)

8′ Corno di Bassetto 61 pipes

Tremulant

8′ Grand Diapason 29 pipes (unenclosed, ext Ped 16′ Open)

8′ Tuba (unenclosed) 61 pipes

8′ Tuben II (Swell)†

8′ Trumpet (Great)

Choir Sub Octave

Choir Unison Off

Choir Super Octave

† Draws Sw Cornopean and Posaune

PEDAL

32′ Double Open Wood† 12 pipes

16′ Open Wood 32 pipes

16′ Open Diapason (Gt)

16′ Lieblich Bourdon (Sw)

8′ Open Bass (ext 16′ Open) 12 pipes

8′ Dulciana (Ch)

8′ Stopped Diapason (Sw)

4′ Harmonic Flute (Gt)

32′ Contra Posaune 12 pipes (ext Sw 16′)

16′ Ophicleide 12 pipes (ext Ch 8′ Tuba)

16′ Posaune (Sw)

8′ Tuba (Ch)

Gt & Ped Combinations Coupled

†Stopped quint pipes 1–5, open pipes 6–12. Resultant 1–5

Intermanual couplers

Swell to Great

Swell to Choir

Choir to Great

Great to Pedal

Swell to Pedal

Choir to Pedal

Notes

Intramanual couplers read through Intermanual couplers; for example thus: when the Swell Super Octave coupler is drawn, Swell stops will sound at Unison and Super Octave pitch on the Great if Swell to Great is drawn.

Manual Sub Octaves do not couple to the Pedal.

Mechanicals

Solid state capture combination action:

100 memories

52 pistons and toe studs

5 reversibles

Programmable piston range

Record/playback system

TONAL ANALYSIS

PITCH SUMMARY

16′ and below 3 12%

  8′ 16 64%

  4′ and above 6 24%

25 100%

TONAL FAMILIES

Diapasons 12 48%

Open flutes 2 8%

Stopped flutes 3 12%

Strings 2 8%

Chorus reeds 4 16%

Color reeds 2 8%

25 100%

Three manuals, 25 voices, 31 ranks

Electric-pneumatic action

Builder’s website: https://schoenstein.com

Church website: www.redeemerchestnuthill.org

Schoenstein & Co. Pipe Organ Builders, Benicia, California; Bishop Gadsden Episcopal Retirement Community, Charleston, South Carolina

The masked organ man

After installing more than seventy new pipe organs and dozens of rebuilds and renovations in almost every condition and environment I could think of, a new challenge was thrown into the mix, Covid! Installing a pipe organ at its best is a logistics challenge. Finding a time when we can take over a church six days a week for a month or more, being sure the organ (in a huge 18-wheeler), our crew, and hoisting equipment all arrive at the same hour, arranging for transportation and good lodging of our men who work a 63-1⁄2-hour week can be a coordination nightmare.

We were supposed to begin the installation of Opus 179 in the chapel of Bishop Gadsden Episcopal Retirement Community in May 2020, but with Covid’s emergence and the fact we were working with an obviously vulnerable population, we were forced to postpone the installation to give the client and us time to prepare for the new Covid challenges. Finally all agreed we could begin in August 2020, and we set out to take every precaution we could to protect ourselves and the Bishop Gadsden community. We had facemasks, hand sanitizer, and implemented our own temperature monitoring system each morning before even departing the hotel.

Bishop Gadsden also instituted many layers of safety, beginning with mandatory masking and daily temperature checks at the parking lot gate. We would have to return to the hotel if we failed to pass. We were given color-coded stickers for our name badges to let others know we had been cleared to work. Management installed an electronic automated temperature station inside the chapel that we could use to monitor ourselves during the day. We were even not allowed to use the existing restrooms and instead had a porta-potty and a garden hose with dish soap. The portable restroom outside in the summer was one of the most unpleasant parts of the job for obvious reasons, but in addition to the hot and humid conditions, each time we would go out, we would come back in with dozens of mosquito bites! The hotel had its own set of policies in place, such as masking in common areas, the gym was closed, and even the complimentary breakfast was changed to just a simple paper bag with an apple, a muffin, and a carton of milk. Hard to imagine but I sure did miss the mystery meat and reconstituted eggs that we regularly get.

Just traveling from California to Charleston was challenging with Covid screening and facemask mandates in the airport and on the plane. In some ways, however, travel was a bit easier as there was almost no one traveling! There is a silver lining in everything if you look for it.

Even with the logistical challenges and the inconveniences that Covid thrust upon us, the installation was a total success. However, Covid still wasn’t done with Opus 179. The dedication of the organ was put off indefinitely! Nigel Potts kindly offered to give a preview concert on October 22, 2020, for those who could safely attend. The formal dedication and blessing of the Fei Family Organ took place on November 18, 2021. On the next day Jeffrey Smith, music director of St. Paul’s Parish K Street in Washington, D.C., played a recital covering a wide range of repertoire plus exuberant hymn singing by the happy audience.

—Chris Hansford

Schoenstein Installation Foreman

Design for versatility

When one thinks of a chapel at a retirement community, even a very nice one, what first comes to mind is a small, heavily carpeted room on the first floor with a piano and, possibly, a digital instrument played by a local keyboardist. The chapel at Bishop Gadsden in Charleston, South Carolina, could not be any more different. On the other end of the spectrum, their Southern-Colonial-style chapel is of generous size (approximately 50 by 70 feet and 25 feet tall), with tile floor, traditional padded pews, tall windows, an elevated pulpit, gold leaf engravings of The Lord’s Prayer, Credo, and Ten Commandments, and a painting of “The Presentation in the Temple” behind the altar. In the back of the room, an elevated gallery serves as the home for a free-standing instrument.

The challenge ahead of us lay in designing an instrument within limited space and height while also providing an array of color that will fulfill the needs of this community chapel and occasional visiting recitalists. The room, while sizable for the typical retirement home, has the quality of intimacy without feeling claustrophobic. The organ needs to fit the same bill: colorful intimacy without overpowering the space.

The result is Schoenstein & Co. Opus 179, a three-manual, fourteen-voice instrument. On paper, one may notice similarities to the color palette of Opus 153 at Christ & Saint Stephen’s in New York City (See Nigel Potts’s tonal demonstration on YouTube @ tinyurl.com/4eumtt3c). However, Opus 179 stands apart in how it is adapted to the room’s acoustic and tonal properties. The Bishop Gadsden Chapel accentuates the high-middle frequencies above 1⁄2′ (think page turns, clapping, and human speech), with an adequate distribution of bass tone; reverberation time around 1-1⁄2–2 seconds. Christ & Saint Stephen’s is a wide, low ceiling room with very little reverberation.

Were Opus 153 transplanted to the home of Opus 179, it would not be successful. After all, the room is as much the instrument as the pipes. Especially with the chapel at Bishop Gadsden, care was taken when pre-voicing this organ in the shop. A conservative approach allowed us to more easily bring the ranks up to their final mark instead of having to reign them in.

Another aspect of Opus 179 that we have found successful in previous instruments is the use of a third keyboard as, in essence, a coupling manual. Instead of relying on a plethora of couplers, however, they have dedicated drawknobs. Here one will find solo, accompaniment, and ensemble voices. Employing this technique makes the organ more versatile and enables the organist’s registrational creativity to shine. The third manual paired with double expression stops also gives the aural illusion of a third division! Sixteen ranks become that much more flexible.

Limited vertical height dictated a single-level instrument with a greater length than height. With the main chests lowered as much as possible into the mechanical level, the remaining space is not much more than six feet. The expressive Great division on the left houses the expected principal chorus of 8′, 4′, and 2′ Mixture III in addition to a softer 8′/4′ Corno Dolce/8′ Flute Celeste pairing, 8′ Harmonic Flute (Corno Dolce bass to tenor G), and Clarinet. Other than being hyper-conscious of Harmonic Flute windiness accentuation in the room, these ranks are consistent with previous instruments.

The Swell division, on the right side of the organ, has most of the instrument’s unification. The Bourdon serves as the Pedal Bourdon at 16′ (available in the Swell also) and continues as a Chimney Flute at 4′ C. The 8′/4′/2′ Salicional is the division’s unit echo diapason with a slight string edge as ample counterparts to both the Great chorus and Swell Gamba. The Oboe Horn serves as another color reed, a counterpart to the Great Clarinet, and also represents the softer 16′ reed available in the Pedal adding support without too much power. Inner shades regulate the 8′ Gamba, its Celeste (full compass), and the 16′/8′ Tuba Minor. Rounding out the instrument is an independent Pedal Violoncello and Contrabass unit sitting in front of the Great shades. Metal down to 16′ C, it provides independent foundational support for the entire instrument.

Typically, with instruments of a modest size of sixteen ranks, organists are often “stuck” with ordinary combinations of a principal here, a flute there, and maybe a couple of reeds. They may resort to hand acrobatics to achieve a different sound or color they want. Flutes may sound the same—the reeds too close in character. At Bishop Gadsden, each of the fourteen voices is unique. They evolve as they move from low C to high C. No two ranks sound the same. The Solo (third) manual opens the door for organists to more easily achieve the sound they are looking for, and double expression adds another dimension of creativity for the organist. The result is an organ that sounds as though it has ten more ranks than it actually has. Each one plays a vital and equal role in its success.

—David H. Anderson

Schoenstein Service Manager & Voicer

Success = People who get things done!

In 2006 Bishop Gadsden Episcopal Retirement Community celebrated completion of its beautiful chapel modeled in the traditions customary to eighteenth-century South Carolina Anglican churches. The architect was Dan Beaman of the firm Cummings & McCrady. An organist with a custom digital instrument in his home, he would not leave the project without provision for a future pipe organ. The stout foundations for an organ gallery were key points on the first day of construction.

In fall of 2017, the dynamic and much beloved President/CEO of Bishop Gadsden, Bill Trawick, set about completing the chapel with the long-awaited pipe organ. He asked Nigel Potts, then canon organist and director of music at Grace Church Cathedral in Charleston, to work along with Dan Beaman as consultants on musical and architectural matters. Bishop Gadsden resident Patty Fei stepped forward to make the dream a reality by funding what was to become known as the Fei Family Organ in memory of her husband James and their daughter Christina.

While the organ was being built in California, Bill Trawick retired, and vice president, Sarah E. H. Tipton, became president/CEO. She and a fine staff supervised all the preparation for the organ’s installation. The architect in charge of designing the organ gallery and the organ casework was Ben Whitener of Cummings & McCrady. Our design director Glen Brasel worked closely with Ben and with Brett Gerbracht of JMO Woodworks, Charleston, in merging the organ’s inner works with the case. For steadfast support during the installation and continuing, we are ever grateful for the excellent help of Mike Anderson, facilities, and Catie Murphy, administration.

The continuing program of the chapel is under the direction of the Rev. Charles Jenkins. The chapel organist is Clara Godsell.

—Jack M. Bethards

Schoenstein & Co.

Builder’s website: schoenstein.com

Retirement community website: www.bishopgadsden.org

Photo credits: Louis Patterson and Bishop Gadsden Archive

GREAT (II - Expressive)

8′ Open Diapason 61 pipes

8′ Harmonic Flute  42 pipes (Corno Dolce bass)

8′ Corno Dolce 61 pipes

8′ Flute Celeste (TC) 49 pipes

8′ Vox Celeste II (Swell)

4′ Principal 61 pipes

4′ Corno Dolce (ext) 12 pipes

2′ Mixture III† 166 pipes

8′ Tuba Minor (Swell)

8′ Clarinet 61 pipes

Tremulant

Great Unison Off

Great 4′

†Mixture does not octave couple

SWELL (III - Expressive)

16′ Bourdon (wood, ext) 12 pipes

8′ Salicional 61 pipes

8′ Chimney Flute 61 pipes

8′ Gamba† 61 pipes

8′ Vox Celeste† 61 pipes

8′ Flute Celeste II (Great)

4′ Salicet (ext) 12 pipes

4′ Chimney Flute (ext) 12 pipes

4′ Flute Celeste II (Great)

2-2⁄3′ Nazard (from Chimney Flute)

2′ Fifteenth (ext) 12 pipes

16′ Bass Tuba† (ext) 12 pipes

16′ Contra Oboe (ext) 12 pipes

8′ Tuba Minor† 61 pipes

8′ Oboe Horn 61 pipes

Tremulant

Swell 16′

Swell Unison Off

Swell 4′

†In separate box inside Swell

SOLO (I)

SOLO STOPS

8′ Open Diapason (Great)

8′ Harmonic Flute (Great)

8′ Oboe Horn (Swell)

8′ Clarinet (Great)

16′ Bass Tuba (Swell)

8′ Tuba Minor (Swell)

ACCOMPANIMENT STOPS

8′ Corno Dolce (Great)

8′ Flute Celeste (Great)

8′ Gamba (Swell)

8′ Vox Celeste (Swell)

ENSEMBLE STOPS

8′ Salicional (Swell)

8′ Chimney Flute (Swell)

4′ Salicet (Swell)

4′ Chimney Flute (Swell)

2-2⁄3′ Nazard (Swell)

2′ Fifteenth (Swell)

Solo 16′

Solo Unison Off

Solo 4′

PEDAL

32′ Resultant

16′ Contrabass 32 pipes

16′ Bourdon (Swell)

8′ Open Diapason (Great)

8′ Violoncello (ext) 12 pipes

8′ Salicional (Swell)

8′ Chimney Flute (Swell)

4′ Octave (Great Open Diapason)

4′ Flute (Great Harmonic Flute)

16′ Bass Tuba (Swell)

16′ Contra Oboe (Swell)

8′ Tuba Minor (Swell)

4′ Clarinet (Great)

COUPLERS

Great to Pedal

Great to Pedal 4′

Swell to Pedal

Swell to Pedal 4′

Solo to Pedal

Solo to Pedal 4′

Swell to Great 16′

Swell to Great

Swell to Great 4′

Solo to Great

Great to Solo

Swell to Solo

MECHANICALS

Solid State Capture Combination Action:

5,000 memories

48 pistons and toe studs

3 reversibles

Programmable piston range

Piston sequencer

Record/Playback system

 

14 voices, 16 ranks, 995 pipes

Electric-pneumatic action

Jack Bethards

Schoenstein & Co., Benicia, California; Basilica of the National Shrine of Mary, Queen of the Universe,  Orlando, Florida

This modern basilica is based on the size and shape of the fourth-century Saint Peter’s Basilica in Rome. It seats 2,000 and is a place of pilgrimage for the millions of international tourists who visit Orlando each year. The extensive music program with professional choir is directed by William F. Picher. The shrine has a busy calendar of Masses, numerous special celebrations, and regular concerts. Dr. Picher envisioned an instrument of extremely broad tonal flexibility, something like the one we built for the Conference Center in Salt Lake City.

The organ had to be large enough to match the acoustic of this huge building. Its size is illustrated by the 32′ pipes in display. Behind the pipes on the left are the Great, Swell, and Choir divisions. On the right are Solo and Pedal. The console and singers are to the left of the sanctuary along with a small Positive division to provide an intimate sense of pitch and rhythm. The Gallery division is at the west end. Casework was designed in cooperation with Cameron Bird of Jackson & Ryan Architects and built by New Holland Church Furniture.

The acoustic of the Basilica maintains clarity throughout the space and is especially sensitive to subtle tonal color differences among the stops. This, along with five divisions under expression plus double expression in the Swell allows a kaleidoscopic color and dynamic range. Among the special features is a string division in the Gallery, which is designed to create a celestial atmosphere as worshippers enter for Mass. There are two powerful solo reeds, both under expression—Tuba Magna in the main organ and Grand Harmonic Trumpet in the Gallery. The Solo includes six genuine Wurlitzer stops. As in our Salt Lake City organ, these were selected to broaden the tonal palette. Each of these six stops is used in the ensemble the same way any other attractive tone would be.

This grand organ is the largest we have built for a Roman Catholic church in our 143-year history. It has very special meaning for our firm and our founding family. Surely our founder, Felix F. Schoenstein, a devout Catholic who dedicated two children and two grandchildren to Catholic religious orders and built his very first organ for a Marian church, would be pleased. Having emigrated from Germany, he would be especially honored to know the organ will be serving an international assembly from among the 75 million who visit Orlando yearly.

Four manuals, 70 voices, 86 ranks

Electric-pneumatic action

GREAT (II) 5′′ wind

32′ Lieblich Gedeckt (TC – Sw)

16′ Double Open Diapason 61 pipes

8′ Phonon Diapason (Solo)

8′ Open Diapason 61 pipes

8′ Small Open Diapason (ext) 12 pipes

8′ Gallery Diapasons (II)

8′ Harmonic Flute 61 pipes

8′ Gallery Strings (VIII)

8′ Aeoline (Choir)

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Spire Flute 61 pipes

2′ Fifteenth 61 pipes

2′ Mixture mf (III) 167 pipes

2′ Mixture f (IV) 201 pipes

8′ Trumpet 61 pipes

8′ Tuba Magna (Solo)

8′ Tuba Chorus †

8′ Grand Harmonic Trumpet (Gallery)

Gallery on Great

Positive on Great

† Tuba Magna at 16′, 8′, 4′

SWELL (III–enclosed) 5½′′ wind

16′ Lieblich Bourdon 12 pipes (ext Stopped Diapason)

8′ Open Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Viole de gambe 61 pipes

8′ Voix céleste 61 pipes

8′ Gallery Strings (VIII)

4′ Principal 61 pipes

4′ Harmonic Flute 61 pipes

2′ Harmonic Piccolo 61 pipes

2-2⁄3′ Cornet (III) 176 pipes

8′ Oboe 61 pipes

Tremulant

Stops under double expression, 10′′ wind

8′ Erzähler 61 pipes

8′ Erzähler Celeste (TC) 49 pipes

2′ Mixture ff (IV) 215 pipes

16′ Posaune 61 pipes

8′ Cornopean 61 pipes

4′ Clarion 61 pipes

8′ Vox Humana (Solo)

Swell 16′

Swell Unison Off

Swell 4′

Gallery on Swell

Positive on Swell

CHOIR (I – enclosed) 5½′′ wind

16′ Aeoline (ext) 12 pipes

8′ Open Diapason 61 pipes

8′ Chimney Flute 61 pipes

8′ Gallery Strings (VIII)

8′ Aeoline 61 pipes

8′ Unda Maris (TC) 49 pipes

4′ Fugara 61 pipes

4′ Silver Flute 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Blockflöte 61 pipes

1-3⁄5′ Tierce 54 pipes

2′ Mixture mf (IV–V) 285 pipes

16′ Bass Horn (ext Fl Horn) 12 pipes

8′ Trumpet 61 pipes

8′ Flügel Horn 61 pipes

8′ English Horn 61 pipes

8′ Clarinet 61 pipes

Tremulant

Choir 16′

Choir Unison Off

Choir 4′

8′ Tuba Magna (Solo)

Gallery on Choir

Positive on Choir

SOLO (IV–enclosed) 10′′ wind

16′ Tibia Clausa 85 pipes (1–12 Pedal Bourdon)

8′ Phonon Diapason 73 pipes

8′ Symphonic Flute 61 pipes

8′ Tibia Clausa (ext)

8′ Concert Flute 73 pipes

8′ Gamba 85 pipes

8′ Gamba Celeste 61 pipes

8′ Viol d’Orchestre 73 pipes

8′ Viol Celeste 73 pipes

8′ Gallery Strings (VIII)

4′ Octave (ext 8′ Phonon Diapason)

4′ Piccolo (ext Tibia)

4′ Flute (ext Concert Flute)

4′ Gambette (ext Gamba)

4′ Viol Celeste (II – Violes)

2-2⁄3′ Twelfth (ext Tibia)

2′ Fifteenth (ext Gamba)

2′ Piccolo (ext Tibia)

1-3⁄5′ Tierce (ext Tibia)

16′ Corno di Bassetto 73 pipes

8′ Tuba Horn 61 pipes

8′ French Horn 61 pipes

8′ Corno di Bassetto (ext)

8′ Vox Humana † 61 pipes

8′ Tuben (III – Swell)

Tremulant

Variable Tremulant

Solo 16′

Solo Unison Off

Solo 4′

8′ Tuba Magna (15′′ wind) 61 pipes

8′ Grand Harmonic Trumpet (Gallery)

Gallery on Solo

Positive on Solo

† Separate Tremulant – slow p/fast f

POSITIVE (unenclosed–floating) 4′′ wind

8′ Salicional 61 pipes

8′ Lieblich Gedeckt 61 pipes

4′ Salicet (ext) 12 pipes

4′ Lieblich Flute (ext) 12 pipes

2′ Fifteenth (ext) 12 pipes

GALLERY (floating) 5′′ wind

Unenclosed Stops

16′ Double Diapason 12 pipes (ext Diapason No.2)

8′ Open Diapason No.1 61 pipes

8′ Open Diapason No.2 61 pipes

4′ Octave (ext Diap No.2) 12 pipes

Enclosed Stops 

16′ Bass Viol (ext Viola Pomp) 12 pipes

8′ Viola Pomposa 73 pipes

8′ Viola Celeste 73 pipes

8′ Gamba Celeste (II) † 129 pipes

8′ Violin 73 pipes

8′ Violin Celeste 68 pipes

8′ Voix Serénissime (II) † 129 pipes

4′ Violina (ext Viola Pomposa)

8′ Grand Harmonic Trumpet †† 61 pipes

  † Unison 73, Celeste (TC) 56

†† 10′′ wind

PEDAL (enclosed) 5′′–15′′ wind

32′ Open Metal (unenclosed) 32 pipes

32′ Resultant

16′ Open Wood 32 pipes

16′ Open Metal (ext 32′) 12 pipes

16′ Double Open Diapason (Great)

16′ Diaphone (Solo) 12 pipes (ext Phonon Diapason)

16′ Diapason (Gallery)

16′ Violone 32 pipes

16′ Bourdon 32 pipes

16′ Aeoline (Choir)

16′ Bass Viol (Gallery)

16′ Lieblich Bourdon (Sw)

8′ Principal 32 pipes

8′ Bourdon (ext 16′) 12 pipes

8′ Tibia Clausa (Solo)

8′ Violone (ext 16′) 12 pipes

8′ Flute (Great)

8′ Stopped Diapason (Swell)

4′ Fifteenth 32 pipes

4′ Flute (Great)

2′ Mixture mf (IV–V Choir)

32′ Cornet (derived)

32′ Contra Trombone (ext) 12 pipes

16′ Trombone 32 pipes

16′ Posaune (Swell)

16′ Bass Horn (Choir)

8′ Tuba Magna (Solo)

8′ Tromba (ext 16′) 12 pipes

8′ Posaune (Swell)

4′ Octave Tromba (ext 16′) 12 pipes

4′ Corno di Bassetto (Solo)

8′ Pizzicato Bass 

Gallery on Pedal

Positive on Pedal

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—Parsons Organ Builders

Cover photo: Mark Murry (Evansville Aerial)

GALLERY

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

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

16′ Sub Principal (on façade) 61 pipes

16′ Gemshorn* (Choir)

8′ Open Diapason 61 pipes

8′ Principal (ext 16′) 12 pipes

8′ Harmonic Flute* 61 pipes

8′ Gamba* 61 pipes

8′ Gamba Celeste* 61 pipes

4′ Octave 61 pipes

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

2-2/3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

1-3/5′ Seventeenth 54 pipes

Mixture IV 244 pipes

Full Mixture IV* 244 pipes

16′ Trombone* 61 pipes

8′ Trumpet* 61 pipes

4′ Clarion* (ext 16′) 24 pipes

8′ Tuba* (Choir)

8′ Bombarde (ext Ped Bomb) 17 pipes

Chimes (digital)

SWELL (Manual III,  expressive)

16′ Lieblich Gedeckt 61 pipes

8′ Open Diapason 61 pipes

8′ Open Flute 61 pipes

8′ Chimney Flute (ext 16′) 12 pipes

8′ Salicional 61 pipes

8′ Voix Celeste 61 pipes

8′ Flauto Dolce 61 pipes

8′ Flute Celeste 61 pipes

4′ Octave 61 pipes

4′ Traverse Flute 61 pipes

2′ Piccolo 61 pipes

Mixture III–IV 221 pipes

16′ Contra Fagotto 61 pipes

8′ Trompette 61 pipes

8′ Oboe 61 pipes

4′ Clarion 61 pipes

8′ Vox Humana 61 pipes

CHOIR (Manual I, expressive)

16′ Gemshorn 61 pipes

8′ Violin Diapason 61 pipes

8′ Bourdon 61 pipes

8′ Gemshorn (ext 16′) 12 pipes

8′ Gemshorn Celeste 61 pipes

4′ Fugara 61 pipes

4′ Gemshorn (ext 16′) 12 pipes

4′ Chimney Flute 61 pipes

2-2/3′ Nasard 61 pipes

2′ Principal 61 pipes

2′ Block Flute 61 pipes

1-3/5′ Tierce 54 pipes

1-1/3′ Larigot 61 pipes

1′ Sifflöte 61 pipes

Mixture III 183 Pipes

16′ Bass Clarinet (ext 8′) 12 pipes

8′ Tromba (Great)

8′ Clarinet 61 pipes

8′ English Horn 61 pipes

8′ Tuba 61 pipes

8′ Concert Flute (Nave)

8′ Pontifical Trumpet (Nave)

Cymbelstern (bells)

Harp (digital)

Celesta (digital)

Orchestral Bells (digital)

PEDAL (unenclosed)

32′ Contrebasse 32 pipes

32′ Bourdon (digital)

16′ Open Wood 32 pipes

16′ Principal (Great)

16′ Contrebasse (ext 32′) 12 pipes

16′ Bourdon 32 pipes

16′ Gemshorn (Choir)

16′ Lieblich Gedeckt (Swell)

8′ Octave (façade) 32 pipes

8′ Flûte (ext Open Wood) 12 pipes

8′ Bourdon (ext 16′) 12 pipes

8′ Gemshorn (Choir)

8′ Lieblich Gedeckt (Swell)

4′ Choral Bass (ext 8′) 12 pipes

4′ Flûte (ext. Open Wood) 12 pipes

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

16′ Bombarde 32 pipes

16′ Trombone (Great)

16′ Fagotto (Swell)

16′ Clarinet (Choir)

8′ Bombarde (ext 16′) 12 pipes

8′ Tromba (Great)

8′ Fagotto (Swell)

4′ Clarion (ext 16′) 12 pipes

8′ Tuba (Choir)

Chimes (digital)

NAVE

Key action: electric unit action.

Stop action: electric

 

Voice Analysis (all voices enclosed)

8 voices, 8 ranks, 560 pipes

16′ Bourdon 97 pipes

16′ Dulciana 85 pipes

8′ Diapason 73 pipes

8′ Concert Flute 61 pipes

8′ Unda Maris (TC) 61 pipes

22⁄3′ Nazard 61 pipes

8′ Flügelhorn 61 pipes

8′ Pontifical Trumpet 61 pipes

NAVE GREAT(Manual II)

8′ Diapason

8′ Concert Flute

8′ Chimney Flute

4′ Octave

4′ Chimney Flute

2′ Fifteenth

Mixture II

8′ Flügelhorn

8′ Pontifical Trumpet

NAVE SWELL (Manual III)

16′ Dulciana

8′ Chimney Flute

8′ Dulciana

8′ Unda Maris (TC)

4′ Octave

4′ Chimney Flute

4′ Dulciana

2-2/3′ Nazard

2′ Piccolo

8′ Flügelhorn

8′ Pontifical Trumpet

NAVE PEDAL

16′ Bourdon

16′ Dulciana

8′ Diapason

8′ Chimney Flute

4′ Octave

8′ Pontifical Trumpet

Accessories

General Tremulant

Nave Tremulant

Flexible Wind

Pedal Divide

All Swells to Swell

Crescendo On Nave Expression

Pedal Stops on Manual Combinations

Couplers

Intra-Manual

Gt to Gt 16

Gt Unison Off

Gt to Gt 4

Sw to Sw 16

Sw Unison Off

Sw to Sw 4

Ch to Ch 16

Ch Unison Off

Ch to Ch 4

Sw Nave Unison Off

Inter-Manual – Rocker tabs on nameboard

Sw to Gt 16

Sw to Gt 8

Sw to Gt 4

Ch to Gt 16

Ch to Gt 8

Ch to Gt 4

Nave Sw to Gt

Sw to Ch 16

Sw to Ch 8

Sw to Ch 4

Gt to Ch 8

Enc. Gt on Ch

Nave Sw on Ch

Ped to Ch

Ch to Sw 8

Sw to Ped 8

Sw to Ped 4

Gt to Ped 8

Ch to Ped 8

Ch to Ped 4

Nave Gt to Ped 8

Nave Sw to Ped 8

Ped Unison Off

Manual I-II Transfer

 

Manual compass: C–c 61 notes

Pedal compass: C–g 32 notes

 

Builder’s website: parsonsorgans.com

Cathedral website: www.saintbenedictcathedral.org

Schoenstein & Co., Benicia, California

Saint John’s Episcopal Church, Tulsa, Oklahoma

Schoenstein & Co., Benicia, California

Saint John’s Episcopal Church, Tulsa, Oklahoma

Selling the idea

A new pipe organ is, aside from the church building itself, often the most significant investment a congregation can make. When I knew I had the opportunity to see the commissioning of a new instrument for Saint John’s Episcopal Church, it was important for me that this project be a transformational experience for the parishioners. I wanted them to have an understanding of how a pipe organ works and become experienced enough listeners so that they would “know the difference” in the sound. I also believed a pipe organ project, when done right, could unite a parish community in a powerful way.

In the summer of 2015, I offered several organ demonstrations in which parishioners came to the console and had a glance into the organ chamber. They saw me “pull out all the stops,” open the swell shades, and I demonstrated different types of sound colors. In the ensuing months I would share with them some of the serious mechanical problems that made playing the 1966 M. P. Möller organ a constant challenge.

When the project took off, some lead donors and I first talked of rebuilding the existing organ. After fundraising was proving very successful, we believed a new instrument was the best use of funds. The Vestry ultimately approved a proposal from Schoenstein & Co. for a new instrument specifically designed to render music for a traditional Anglican service. Parish-wide enthusiasm culminated with a large crowd of more than 150 people on the day the new organ was delivered in July 2018. I will never forget people of all ages coming to help carry pipes and parts into the church. It was a very hot day, so the Schoenstein crew was relieved that with all the help, the truck was completely unloaded in just a few hours!

The new Schoenstein organ played for worship the first time on September 9, 2018, with a large congregation in attendance. It is no understatement to say that this instrument has completely changed the choral and congregational singing of the parish. Parishioners can clearly tell the difference, with descriptions of “pleasing sound,” “warmth,” and “clear bass.” As for me, I am falling in love with many anthems all over again. The possibilities for choral repertoire seem limitless, as my colleague Adam Pajan demonstrates every time he plays an accompaniment.

Beautiful, rich 8′ tone is essential for playing an Anglican service, and this new organ delivers. There are twelve separate 8′ foundation stops in the manuals. While each one has a distinct quality, they blend to form a sound that invites everyone to sing. Gone are the days when the 4′ Fugara, played down an octave, was the best “diapason!”

The new organ has much more solid bass that is powerful but never “tubby.” The 16′ Open Wood does much to support the congregation’s singing, and the soft 16′s, the Swell Bourdon and Choir Dulciana, still have clear fundamental tone. The upper work (2′ stops and mixtures) is restrained and adds brilliance to full ensembles.

There is so much variety in every tonal family, but I believe the biggest success is in the reed voicing. In the Swell, the 16′ Contra Fagotto has an 8′ extension that is a darker contrast to the brighter 8′ Cornopean. The Flügel Horn, sort of like a muted trumpet, makes a compelling addition to the 8′ foundations. This stop has been put to good use in “Hills of the North,” an anthem for women’s voices by Herbert Howells. Howells specifically calls for “darker” sounds in some places.

It is easy to forget that this new Schoenstein organ has merely thirty-eight ranks. The inner swell box, when closed, gives a restrained and darker sound to the Mixture, Cornopean, and Contra Fagotto. It also means that a huge crescendo can be achieved by simply opening both sets of swell shades. A comparable effect on other instruments would usually require adding a sequence of many other stops.

In the end, it is no surprise to me that parishioners love both the sound and façade of the new organ. A most welcome surprise was the way in which this project rallied us all together. May this new organ offer praise to God and lift the hearts of worshippers for many generations to come.

—Joseph Arndt, Music Director

Saint John’s Episcopal Church

The organ’s inner beauty

When most people think about an organ, the first thing that comes to mind is the console or the organ case with display pipes. This would certainly be true of our latest organ at Saint John’s Episcopal Church in Tulsa, Oklahoma. With a handsome console and vibrantly stenciled display pipes, these visual portions certainly stand out. The casework and its display pipes offer an opportunity to utilize elements inspired by the room’s architecture to create a memorable and cohesive design. If done well, this often results in the phrase, “it looks like it’s always been there,” a compliment the builder always appreciates.

Many also believe the visible display pipes encompass the entire sound-producing portion of the organ. There is no compelling reason for them to think that forty display pipes would not suffice to produce all the beautiful tones they hear each Sunday at worship. And since organ chambers are usually off limits (for good reason), any secrets held within are kept safely guarded. After all, the display pipes are meant to conceal what is behind.

But what happens inside the organ? Although not thought of as beautiful in the traditional sense, the interior of the pipe organ is attractive in many ways. The supporting framework or chassis, the expression shades, wind lines, regulators and electrical cables all create a different kind of beauty—that of organized engineering. The care that goes into this process, starting with the design on the drawing board and following through to the end of the installation, is attended to by skilled craftsmen and artists whose work may never be seen or appreciated except by the very few.

The chassis—made up of wooden legs, bearers, and other supporting structure—are all made from the highest quality materials and finished as if they were to be viewed by the public. Tubing that conveys the wind to the display pipes is arranged not only along the most efficient path but is bundled neatly and secured, imitating exhaust tubes of a classic Duesenberg SJ. The cabling that transmits the desires of the organist to the appropriate pipes can be found meandering its way throughout the instrument in the neatest manner.

Why are all these things done with such care and pride, when no one except the organ technician will see them? The main reason is an organ that exhibits careful design and thoughtfulness for the placement of each component demonstrates the commitment and pride of the builder and wins the respect of organ technicians. An organ whose workings are accessible for easy service will be maintained well over the years because it is a joy to work on. The occasional issue that arises will be easy to resolve due to the wisely considered layout of the systems. Accessible components allow everything to be maintained at the highest level.

How does the congregation come to appreciate this unseen portion of the organ? One way is to start with the unloading of the organ on delivery day. The response will vary by church, but at Saint John’s the one-hundred-fifty-some members who assisted in that task certainly have a good idea of what makes up the total pipe organ. Helping to carry in the thousands of organ pipes and parts, they gained a hands-on knowledge. Throughout the installation, members would stop by to observe the progress and ask questions. Any naysayers to the acquisition of a new organ are often converted to strong supporters during this interval.

Another way to involve the church members is through education sessions during the installation. Music Director Joseph Arndt offered these directly after worship during the installation period to demonstrate certain aspects of the organ before the case and display pipes were put in place. Easily observed at this point is the working of the inner and outer expression shades of the Swell. A visual demonstration of an aural effect is a tremendous teaching device. Interested members also posted short videos to Facebook and other social media. The reaction to such postings continues to generate interest.

The local news media is another venue that should not be overlooked. Two crews from local news channels visited the church during the installation, first for unloading day and then later in the process when the first pipes started to play. A local viewer saw the installation on the news broadcast and came by the church for a personal visit. It turns out she was a friend of a Schoenstein family member she had been out of touch with for many years. Because we still have close ties with the Schoenstein family, we were able assist her in reuniting with her friend.

While the external portions of the pipe organ are often a work of art, there is just as much, if not more, to see behind the façade. The expert skills of the artisans who built the instrument are on full display and remain a testament to those who bring their talent to the task. As with other endeavors built for the ages, future generations will appreciate the “inner beauty” of their pipe organ.

—Louis Patterson,

Vice President and Plant Superintendent

Schoenstein & Co.

Collaboration

I had the privilege of meeting Joseph Arndt and becoming involved in the music ministry at Saint John’s Episcopal Church once the contract for the new instrument had already been signed. While some details of the specification were still open for discussion, the overall concept for the organ was clear: it needed to be a servant to the liturgy and the music that adorns it.

In the following months, Joseph and I spent many hours in discussion about which components really needed to be in place and which ones, while beneficial and meritorious in their own right, might acquiesce to those that could potentially better fulfill the vision. Our conversation continued to evolve following a visit to a recent Schoenstein organ, which helped inform what would become the final specification.

The Choir division saw the most dramatic transformation toward a division with diverse 8′ color, intended primarily for accompanying and solo effects. Mutations moved to the Great, where they now play a role as members of the principal chorus. Double expression in the Swell division allows it to function like an additional manual. The amount of color and power that can be controlled to a dynamic level appropriate for choral accompaniment makes the Schoenstein an overwhelming success. Each voice is individually beautiful, making the collective all the more so. It is an honor to support Joseph as Artist in Residence and to have acted as a kind of advisor and friend in the planning process. Making music at Saint John’s is more fulfilling than ever, and the future is bright indeed.

—­Adam Pajan, Artist in Residence

Saint John’s Episcopal Church

 

GREAT (Manual II)

16′ Double Diapason 61 pipes

8′ First Open Diapason 61 pipes

8′ Second Diapason (ext 16′) 12 pipes

8′ Harmonic Flute 61 pipes

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Silver Flute 61 pipes

22⁄3′ Twelfth (TC) 42 pipes

2′ Fifteenth 61 pipes

13⁄5′ Seventeenth (TC) 42 pipes

11⁄3′ Mixture III–IV 187 pipes

8′ Trumpet 61 pipes

SWELL (Manual III, expressive)

16′ Lieblich Bourdon (ext 8′) 12 pipes

8′ Horn Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Gamba † 61 pipes

8′ Gamba Celeste † 61 pipes

4′ Gemshorn 61 pipes

4′ Harmonic Flute 61 pipes

2′ Flageolet 61 pipes

2′ Mixture III–V † 236 pipes

16′ Contra Fagotto † 61 pipes

8′ Cornopean † 61 pipes

8′ Fagotto (ext 16′) † 12 pipes

8′ Oboe Horn 61 pipes

Tremulant

† Stops under double expression

CHOIR (Manual I, expressive)

16′ Double Dulciana (ext 8′) 12 pipes

8′ Dulciana 61 pipes

8′ Unda-Maris (TC) 49 pipes

8′ Concert Flute 61 pipes

8′ Lieblich Gedeckt 49 pipes (Concert Flute Bass)

4′ Concert Flute (ext 8′) 12 pipes

4′ Lieblich Gedeckt (ext 8′) 12 pipes

22⁄3′ Nazard (fr Lieb Ged)

16′ Ophicleide (ext 8′) 12 pipes

8′ Tuba 61 pipes

8′ Flügel Horn 61 pipes

8′ Corno di Bassetto 61 pipes

Tremulant

PEDAL

32′ Resultant

16′ Open Wood 32 pipes

16′ Double Diapason (Gt)

16′ Double Dulciana (Ch)

16′ Lieblich Bourdon (Sw)

8′ Principal 32 pipes

8′ Horn Diapason (Sw)

8′ Dulciana (Ch)

8′ Flute (Gt Harmonic)

8′ Stopped Diapason (Sw)

4′ Fifteenth (ext 8′) 12 pipes

4′ Flute (Gt Harmonic)

2′ Twentysecond (ext 8′) 12 pipes

16′ Ophicleide (Ch)

16′ Contra Fagotto (Sw)

8′ Tuba (Ch)

8′ Fagotto (Sw)

4′ Corno di Bassetto (Ch)

Normal couplers and accessories

Three manuals, 31 voices, 38 ranks

Electric-pneumatic action

Great 771 pipes

Swell 870 pipes

Choir 451 pipes

Pedal 88 pipes

Total 2,180 pipes

TONAL ANALYSIS

PITCH SUMMARY

16′ and below 5 16%

  8′ 16 52%

  4′ 4 13%

Above 4′ 6 19%

31 100%

TONAL FAMILIES

Diapasons 14 45%

Open Flutes 5 16%

Stopped Flutes 3 10%

Strings 2 6%

Chorus Reeds 4 13%

Color Reeds 3 10%

31 100%

Photo credit: Louis Patterson

Builder’s website: www.schoenstein.com

Church website: www.sjtulsa.org

Schoenstein & Co., Benicia, California

Saint Alban’s Episcopal Church, Waco, Texas

Saint Alban’s Episcopal Church in Waco, Texas, is a healthy, growing parish with three choral services every Sunday. Eugene Lavery, organist and director of music, leads a semi-professional parish choir and a chorister program in the Anglican tradition. When the time came to build a new organ for Saint Alban’s, the church entrusted us with creating an organ that would support a full-scale Anglican music program—a church organ in the symphonic style.

As with any organ project, decisions about where to focus resources were important to achieving our goal. Saint Alban’s is not a very large church, and so the organ needed to be modest in size and focused squarely on the accompaniment of the Anglican service. This meant an emphasis on 8′ tone and building a diapason chorus fit to lead congregational singing. It also meant putting the power of the organ where it is needed most: in the Swell.

When we sing a hymn, the diapasons are leading us. Like the string section of an orchestra, the diapasons make up the core and most critical part of the symphonic organ’s sound. The Saint Alban’s organ has several 8′ diapasons, three of which are in the Great/Gallery. Just as the congregation loves singing to the sound of beautiful diapasons, so too does the choir feel secure when supported by their tone. For this we have in the Swell our Horn Diapason and 4′ Gemshorn (a tapered diapason in the English tradition, not a whisper stop).

One of the most thrilling effects in organ playing is the power of the Swell behind a closed box. More than just an effect, though, the value of a powerful, versatile Swell is critical to accompanying and organ playing in general. For Saint Alban’s, we designed this division to have everything needed to carry the choir from pp to ff. There is a particular focus on various reed colors, with four 8′ reeds in this department.

The third manual, usually called the Choir, is instead called the Solo because, in addition to Choir and Gallery stops, it contains both accompaniment and solo voices from the Great and Swell. Of special note here is the small yet vital Choir division. The church did not have room for what most would call a “complete” division, yet here again we found just two stops under expression can accomplish a lot of the Choir division’s work. The set of Dulcianas (again, small diapasons) offer numerous possibilities in accompaniment and solo playing as support and contrast. The Clarinet gives the organist another color reed in a different swell box for dynamic control and flexibility. The Gallery division is used with the main organ to add support for hymn singing. It has its own one-manual console for accompaniment of occasional singing from the gallery.

The new organ at Saint Alban’s is an example of an instrument of modest proportion yet robust divisions. Much like the growing congregation, it is full of potential and possibility continuing to be discovered. We were lucky to work with a professional, hardworking team at Saint Alban’s. The Rev. Aaron M. G. Zimmerman, Eugene Lavery, and Florence Scattergood each helped guide the project to fruition. The organ was dedicated in a recital by Bradley Hunter Welch, organist for the Dallas Symphony Orchestra. Organist and Director of Music Eugene Lavery’s command of the instrument’s musical resources offers a chance to hear the organ played to its full potential every week. We hope this new organ will inspire the people of Saint Alban’s with newfound possibilities as they grow into the future.

­—Bryan Dunnewald
Schoenstein & Co.
Benicia, California

Photo credit: Louis Patterson

 

GREAT (Manual II)

16′ Double Diapason 61 pipes

8′ Grand Open Diapason 17 pipes (ext Pedal Principal)

8′ Gallery Open Diapason (Solo)

8′ First Open Diapason 61 pipes

8′ Second Open Diapason 12 pipes (ext 16′)

8′ Harmonic Flute 42 pipes (1–17 fr Sw Horn Diapason)

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Octave (ext 16′) 12 pipes

4′ Spire Flute 61 pipes

2-2⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

1-3⁄5′ Seventeenth 54 pipes

2′ Mixture III–IV 187 pipes

8′ Solo Trumpet (Solo)

SWELL (Manual III)

16′ Lieblich Bourdon (ext 8′) 12 pipes

8′ Horn Diapason 61 pipes

8′ Gamba 61 pipes

8′ Gamba Celeste 61 pipes

8′ Chimney Flute 61 pipes

4′ Gemshorn 61 pipes

4′ Chimney Flute (ext 8′) 12 pipes

2-2⁄3′ Nazard (fr 8′ Chimney Flute)

2′ Fifteenth (ext 4′ Gems) 12 pipes

2′ Mixture III 166 pipes

16′ Contra Posaune 61 pipes

8′ Cornopean 61 pipes

8′ Posaune (ext 16′) 12 pipes

8′ Oboe Horn 61 pipes

8′ Vox Humana 61 pipes

Tremulant

SOLO (Manual I)

8′ Solo Trumpet 61 pipes

Choir stops

8′ Dulciana 61 pipes

4′ Dulcet (ext 8′) 12 pipes

2′ Fifteenth (ext 8′) 12 pipes

8′ Clarinet 61 pipes

Gallery stops

8′ Gallery Open Diapason 61 pipes

8′ Salicional 49 pipes (1–12 fr Flauto Continuo)

8′ Flauto Continuo 61 pipes

4′ Salicet (ext 8′) 7 pipes

4′ Flute (ext 8′) 7 pipes

Solo stops from Great

8′ Grand Open Diapason

8′ First Open Diapason

8′ Harmonic Flute

Solo stops from Swell

8′ Horn Diapason

8′ Gamba

8′ Gamba Celeste

8′ Tuben†

8′ Oboe Horn

8′ Vox Humana

Cymbelstern

†8′ Cornopean and 8′ Posaune (does not couple)

PEDAL

32′ Resultant† 12 pipes

16′ Open Bass 32 pipes

16′ Double Diapason (Great)

16′ Bourdon (Swell)

8′ Principal (ext 16′ Open) 12 pipes

8′ Open Diapason (Great 8′ 2nd Open)

8′ Stopped Diapason (Swell)

4′ Fifteenth (ext 16′ Open) 12 pipes

4′ Flute (Great 8′ Harmonic Flute)

32′ Cornet (derived)

16′ Trombone 12 pipes (ext Solo 8′ Solo Trumpet)

16′ Contra Posaune (Swell)

8′ Cornopean (Swell)

4′ Clarinet (Choir)

†Stopped 102⁄3′ Quint pipes with 16′ Open Bass 1–12

 

Usual couplers and accessories

27 voices, 32 ranks, 1,986 pipes

Electric-pneumatic action