New Organs

Quimby Pipe Organs, Warrensburg, Missouri

Dunwoody United Methodist Church, Dunwoody, Georgia

Quimby Pipe Organs Opus 76, recently installed at Dunwoody United Methodist Church, comprises 100 ranks distributed over five manual divisions, playable from a four-manual and pedal console. The completion of this instrument represents the culmination of an idea and process that began in 2007. After many attempts to make an organ project “go,” either as a stand-alone project, or paired with other proposed major capital work on campus, it wasn’t until the need for a major renovation of the sanctuary occurred that a new organ, installed in a different location, became a necessity and, eventually, a reality.

This was a particularly challenging and yet ultimately rewarding sanctuary and chancel renovation project, the genesis of which was to adapt the space so that the church’s contemporary worship service could relocate from a social hall to meet in the sanctuary, where a traditional service and music program were making good use of the traditionally styled space and generous acoustics. The emergent projects goals were many, among which: 1) to relocate the choir and organ from the rear gallery to the chancel; 2) to somehow create organ chambers in a space where they didn’t exist and where there didn’t appear to be room for them; 3) to acoustically deaden and otherwise transform the room for the successful accommodation of the contemporary worship service; 4) but to do this without permanently changing the acoustics of the space for traditional worship.

The spacious sanctuary, which had been constructed new in the year 2000, had excellent acoustics, and even though the former organ, which had been relocated from a much smaller sanctuary, was undersized for the room, the acoustics of the space enabled the organ to remain in use for nearly twenty years following its temporary location. It was well constructed and a good example of its type; it simply didn’t go far enough in its scope to support the music program.  As director of music Sonny Walden and organist Mary Ruth Solem will immediately tell you, it not only wasn’t loud enough, it also wasn’t soft enough, and there were too few opportunities for smoothly graded dynamic levels in between the two.

The renovation solution was costly, but effective. Space for organ chambers was created, encroaching on unused above-ceiling space outside the existing chancel, the footprint of the original chancel, and a mechanical mezzanine behind the chancel. A choir loft with built-in risers was constructed in front of the new organ chambers. For contemporary worship, retractable acoustical banners lower down from the attic, covering the choir loft, Chancel organ, Antiphonal organ, and all windows at the push of the button. The result is a space acoustically and visually suitable for amplified music, electronic projection, and colored LED lighting effects; it has had a net-zero impact on the intrinsic acoustical quality of the space.

From an early point in the dialogue, the church voiced an interest in exploring the possible use of high-quality vintage American pipework for incorporation into a new instrument. Given our experience in working with vintage pipework for new organ projects that are not restoration-focused, we enthusiastically agreed, and began the search for an instrument that would fit the bill—something that would allow artistic latitude and freedom in the creation of a new, unified identity, but which would also contribute a unique tonal provenance and material advantage to the project.

What we eventually found, in fact, were two organs, which the church ultimately bought and placed into storage until the project could be realized. The first, Ernest M. Skinner Co. Opus 195 (four manuals, 66 ranks), dating from 1913, was originally installed in Grace Chapin Hall at Williams College, Williamstown, Massachusetts, where it was used until it was vandalized in 1959. As the story goes, which is now almost as apocryphal as it is difficult to document, an organ student, following his end of semester juries, entered the organ chamber, and destroyed nearly everything he could access. From that time until the organ was removed in 2011, the organ was mothballed at Williams College and never played again. A careful cataloguing of the surviving pipes following the organ’s removal from the college revealed a surprising picture: perhaps a third of the organ’s ranks either missing or damaged beyond any cost effective repair; another third showing some damage but imminently repairable under skilled hands; and a final third, perhaps, completely untouched and as good as the day the organ was installed.   

Surviving examples of pipes from the Great Diapason chorus, which was nearly entirely destroyed, exist from all pitch levels of that ensemble—from a 16′ Double Open Diapason through a three-rank chorus mixture—and provide an interesting insight into Skinner’s tonal work for a large organ in the early 1910s. These are scaled and voiced to be heroic while also harmonically developed and bright—not at all dull. The ensemble has much more in common with highly developed diapason chorus work at the culmination of the nineteenth-century American building tradition—before organ ensembles devolved into a tonal center around the unison pitch, with little-to-no upperwork—than it does the Skinner sound we have come to know and appreciate from the 1920s. It stands in complete contrast to his work from later periods, and it is a shame that this chorus work was destroyed.

In addition to the usual very fine diapasons, flutes, strings, and reeds, Opus 195 is the first Skinner organ to have one of the now-famous Skinner French Horns, and also is where the Skinner Corno di Bassetto first made its appearance. A review of the tonal specification for the new organ demonstrates that this defunct organ, constructed by one of the foremost early twentieth-century American organbuilders, has made a significant contribution to the new organ at Dunwoody, including the very fine Pedal 32′ Contra Bourdon, which produces some of the deepest tones in the instrument, and the Solo 8′ Tuba, which is the loudest stop in the organ.

The second organ procured for use in the new instrument was constructed in 1939 by Casavant Frères, Ltd. (three manuals, 42 ranks) for the now defunct Chapel of the Immaculate Conception Seminary in Darlington, New Jersey. Like most Casavant organs dating from the 1930s, this organ was constructed and voiced according to English Romantic ideals, brought to Casavant by tonal director Stephen Stoot, and included diapason chorus work of remarkably heavy construction, superbly constructed wood flutes, and English-style reeds. Our own assessment is that the flues were never voiced up to scale, and, as we found them, were rather lackluster and dull as individual voices. The reeds seem to have suffered an unfortunate fate following a haphazard revoicing prior to the closing of the seminary. After the seminary was closed in the early 1980s, the organ was repeatedly flooded due to serious roof leaks over the organ cases. Nevertheless, in terms of substantial, beautifully constructed pipework, suitable for revoicing, Casavant Opus 1600 presented a wealth of material. Most of the water damage was sustained by the 32′ Contra Posaune, which because of its miters, held the water in the miter knuckles, where, completely undetectable from the outside, the zinc corroded from the inside out. These pipes have been substantially reconstructed and revoiced and form the bass of the Pedal 32′ Contra Trombone at Dunwoody.

It may seem strange to conceptualize the combination of pipework from two very different instruments, constructed nearly thirty years apart, and with widely divergent tonal ideals in mind, in an attempt to create any kind of instrument that has a cohesive tonal identity. And it’s true that this is probably not a good idea, at least if it is approached with a restoration-conservation mindset, where the ranks from each respective organ are to retain their original voices, balance, and relationship to one another. That approach is on its own extremely valid, and certainly equally satisfying, and should certainly have been undertaken if, say, this were a project where the Skinner pipework (were it all intact) and mechanics were to be restored as an entity and installed in an environment that demanded a 1913 organ sound. However, because of the vandalism the 1913 Skinner all but disappeared in the 1950s, and the 1939 Casavant, with beautifully and substantially constructed pipes, was, as we found it, unevenly and under voiced, possessing a disappointing ensemble. Neither organ, as we encountered them, was playable or usable, and neither organ stood much prospect of restoration and reuse elsewhere. More importantly, we were not tasked with a restoration project by the church, but rather, to create something new using to advantage the accumulated material at hand.

Looking beyond this, however, it’s helpful to place the 1913 Skinner and 1939 Casavant organs, while different, both as a part of an organbuilding continuum that continued uninterrupted in development and refinement from its fifteenth-century origins right up until the middle twentieth century. Organs from later in this continuum are markedly different from earlier instruments, but each builder in this centuries-long procession built upon what had been given by the previous generation, at least until this succession was interrupted by the Organ Reform Movement. For the first time in organbuilding history, the work of the immediate past was swept away, intentionally and deliberately, in an effort to recapture ideals—sometimes real, and sometimes supposed—that marked organbuilding in an earlier age.

While it’s certainly true that the Organ Reform Movement has left a mostly-positive legacy (and some noteworthy landmarks of twentieth-century organbuilding) on the contemporary American organbuilding landscape—even though most contemporary organbuilders have moved beyond the strictures of its dictums—at QPO, we like to regard our own work as very much a return to the continuum and succession that existed prior to World War II. What would it be like, we ask ourselves, if organbuilding had continued uninterrupted, and the work of each new generation an expansion of what had gone before, rather than a violent reaction against it? We like to think that Opus 76 at Dunwoody United Methodist, along with a number of other recent projects, has given us a chance to explore this in detail.

As to the ensemble, Opus 76 has the hallmark of any QPO ensemble from the past twenty-five years or so: highly characteristic, individually beautiful colors or voices that are simultaneously extremely effective and flexible ensemble players. These individualist voices are each strong, characteristic examples of their class and type, and are the sort of voice you want to hear played alone—full of intrinsic beauty and interest. However, beautiful, characteristic voices alone are not enough, for we’ve all heard and played organs where the colors individually are beautiful, but combine intractably into loose ensembles, mixing like oil and water, where the ear can pick apart all the constituent parts. On the other hand, we’ve all heard and played organs where decent or even very good ensembles are given, but a review, one by one, of the individual voices reveals bland, uninteresting color and voicing. One of the measures of any great organ—whatever the period, style, or timbre—is that the individual voices pass this litmus test: to be highly characteristic, colorful, and intrinsically beautiful, and yet nevertheless combine with others to form a wide array of flexible and dynamic ensembles of all types.

In Opus 76, there are, in fact, individual voices that may be recognizable as early “Skinner,” pre-WWII “Casavant,” or even modern “Quimby,” but in each and every case, the emphasis in terms of voicing has not been to maintain the original voice, but to expand upon it, changing it as required so that a new identity is revealed: an organ that speaks with one voice, a cohesive ensemble, and a truly musical instrument.

A review of the accompanying tonal specification will reveal where Skinner or Casavant ranks were used in the new disposition, but the basic concept is as follows. The choruswork for Great, Swell, and Choir-Positive is all Casavant, which has been revoiced and in some cases rescaled to achieve the bold, colorful, heroic-yet-transparent, and clear organ ensemble we strive for. Skinner diapasons from the Swell of 195 were repurposed in the Antiphonal organ chorus. Throughout the organ, colorful flutes and strings were used from both organs. The Casavant Swell reed chorus has been revoiced and resides in the Great. The Skinner reed chorus, at least in part, after substantial reconstruction and revoicing, is in the Swell. The Casavant 32′ Contra Posaune, 16′ Trombone, and 8′ Tromba have been combined to provide a reed that plays at 32′, 16′, 8′, and 4′ in the Pedal and at 8′ in the Solo. One rank of the pipes from the church’s former instrument, along with the Zimbelstern and Chimes, was reused in the new organ: a very fine 8′ Trompette-en-Chamade, now installed vertically, in the Antiphonal organ, and called “8′ Harmonic Trumpet.”

Because of its favorable placement and lack of enclosure, the Antiphonal diapason chorus functions more like a Grand Choeur, rather than a secondary, lesser Great. It is a spectacular effect, at once foundational, colorful, and heroic that must be experienced to be fully appreciated.

Most all of the mechanics and internal structure of the organ, including the windchests, façade pipes, console, and winding system, are completely new. Manual windchests for all straight manual ranks are electro-pneumatic slider windchests, constructed according to the Quimby-Blackinton design, with square drop pallets that allow for copious winding of heroically voiced pipes on a common channel. Also importantly, the chests are constructed without slider seals, which means that the organ won’t have to be de-piped and disassembled to replace the slider seals in a few decades, when they are bound to fail.

Our standard electro-pneumatic unit-action windchests have been used for most pedal ranks and manual unit ranks; the exception here exists in a few instances, where 1913 Skinner unit action windchests were restored for reuse with original ranks, such as the Solo 8′ Tuba and the Pedal 32′ Contra Bourdon and 4′ Solo Flute.

The winding system includes a 10-H.P. vintage Spencer blower, which provides 6-inch wind pressure for most manual and pedal flues, and 10-inch wind pressure for all reeds and Solo flues. The Solo 8′ Tuba is on 20-inch wind pressure, with its own step-up blower. New cone-valve reservoirs, according to our custom design, which is an adaptation of the Skinner reservoir, have been constructed for regulation of wind in the Chancel organ. The Antiphonal organ makes use of a blower and static wind system that was retained from the previous organ.

All manual divisions, except the Antiphonal, are individually enclosed by 2-inch-thick expression shutters and solid wood walls, which enable the heroically voiced ensembles to be brought down to a surprising diminuendo, and the soft voices to fade to nearly a whisper. A new four-manual and pedal console was constructed to a custom design and finished to match the renovated interior of the church, with solid oak exterior cabinetry and solid walnut interior.

During the first choral rehearsal with the new organ, director of music Sonny Walden told Mary Ruth Solem, “I know I’ve never said this before in this room, but the organ is too soft. Isn’t it wonderful to be able to say that?!” And he burst out into joyful laughter. Later, as she has continued to rehearse and perform with Opus 76, Mary Ruth said, “I am starting a long friendship with this instrument!  It’s beautiful, and I am immensely grateful . . . . This is a rare gem.”

We hope that the assessment will over time continue to be as equally enthusiastic and kind, as Opus 76 finds its place in the heart of traditional worship at Dunwoody United Methodist Church, and also in the greater organ world beyond. For our own part, at QPO we have found that working with the vintage fabric, as represented by the many ranks of pipes, originally constructed and voiced by some of the most reputable of our organbuilding forebears, has taught us many lessons, and will continue to yield an impact on the development of our organs into the future.

Because the organ is substantially new mechanically, and because the sound of the new organ is completely unlike a 1910s Skinner or a 1930s Casavant, we have given this instrument an opus number in our body of work. To be sure, the completed instrument does, in certain instances, reveal its parentage, but the overall ensemble has as much in common with all-new organs constructed by Quimby Pipe Organs as it does either Casavant or Skinner. This is no mere restoration of an artifact or the assemblage of collected parts; rather, this organ has been conceptualized to be musically communicative, inspiring, and above all, to support the music ministry and worship cycles of Dunwoody United Methodist Church in the broadest, most flexible way possible; an instrument that offers options, rather than limitations. In this regard, Opus 76 is an original creation—a testimony of our own time; one that we hope will remain timelessly relevant for generations to come.

—T. Daniel Hancock, A.I.A., President

Quimby Pipe Organs, Inc.

GREAT (Manual II, enclosed, 17 ranks, flues 6″ w. p., reeds 10″ w. p.)

16′ Violone (a & b) 73 pipes

16′ Bourdon (Ped)

8′ Open Diapason (b) 61 pipes

8′ Harmonic Flute (a) 49 pipes, 1–12 fr 8′ Stopped Diapason

8′ Stopped Diapason 61 pipes

8′ Violoncello (ext 16′)

51⁄3′ Quint (MC) (b) 37 pipes

4′ Octave (b) 61 pipes

4′ Wald Flute (a) 61 pipes

2-2⁄3′ Twelfth (b) 61 pipes

2′ Fifteenth (b) 61 pipes

1-3⁄5′ Seventeenth (b) 61 pipes

1-1⁄3′ Mixture IV (b) 244 pipes

16′ Double Trumpet (b) 61 pipes

8′ Trumpet (b) 61 pipes

4′ Clarion (b) 61 pipes

8′ Tuba (Solo)

8′ Harmonic Trumpet (Ant)

Chimes (d) 25 tubes

Tremolo

Great to Great 16

Great Unison Off

Great to Great 4

SWELL (Manual III, enclosed, 24 ranks, flues 6″ w. p., reeds 10″ w. p.)

16′ Spitz Flute (b) 73 pipes

8′ Open Diapason (b) 61 pipes

8′ Chimney Flute 61 pipes

8′ Spitz Flute (ext 16′)

8′ Gamba (b) 61 pipes

8′ Voix Celeste (b) 61 pipes

8′ Flauto Dolce (b) 61 pipes

8′ Flute Celeste (TC) (b) 49 pipes

4′ Octave (b) 61 pipes

4′ Night Horn 61 pipes

4′ Salicet 61 pipes

2-2⁄3′ Nazard 61 pipes

2′ Fifteenth 61 pipes

2′ Flautina 61 pipes

1-3⁄5′ Tierce 61 pipes

2-2⁄3′ Mixture IV–V 281 pipes

16′ Contra Trumpet 61 pipes

16′ Contra Oboe (a & b) 73 pipes

8′ Trumpet (a) 61 pipes

8′ Oboe (ext 16′)

8′ Vox Humana (a) 61 pipes

4′ Clarion (a) 61 pipes

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

CHOIR-POSITIVE (Manual I, enclosed, 20 ranks, 6″ w. p.)

16′ Contra Dulciana (a & c) 73 pipes

8′ Geigen Diapason 61 pipes

8′ Claribel Flute (b) 61 pipes

8′ Gedeckt (c)  61 pipes

8′ Erzähler (b)  61 pipes

8′ Erzähler Celeste (GG) (b) 54 pipes

8′ Dulciana (ext 16′)

8′ Unda Maris (TC) (c) 49 pipes

4′ Geigen Octave (b) 61 pipes

4′ Traverse Flute (b) 61 pipes

2-2⁄3′ Nazard (b) 61 pipes

2′ Harmonic Piccolo (a) 61 pipes

1-3⁄5′ Tierce (a) 61 pipes

1-1⁄7′ Septieme (a) 61 pipes

1-1⁄3′ Larigot 61 pipes

1′ Sifflute 61 pipes

1-1⁄3′ Mixture III–IV 190 pipes

8′ Clarinet (b) 61 pipes Tremolo

8′ Tuba (Solo)

8′ Harmonic Trumpet (Ant)       

8′ French Horn (Solo)    

8′ English Horn (Solo)    

Chimes (Great)      

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

SOLO (Manual IV, enclosed, 12 ranks, 6″ w. p., Tuba 20″ w. p.)

8′ Stentorphone 49 pipes, 1–12 fr Pedal 16′ Diapason

8′ Doppel Flute 49 pipes, 1–12 fr Pedal 32′ Bourdon

8′ Gross Gamba (a) 61 pipes

8′ Gross Gamba Celeste (a) 61 pipes

8′ Dulcet II (a) 122 pipes

4′ Orchestral Flute 61 pipes

4′ Violin 61 pipes

8′ French Horn (b) 61 pipes

8′ English Horn (c) 61 pipes

8′ Orchestral Oboe (c) 61 pipes

Tremolo

16′ Ophicleide (ext 8′, 1–12 Ped Tbone)

8′ Tuba (a)   73 pipes

8′ Harmonic Trumpet (Ant)    

8′ Tromba (Ped)

4′ Tuba Clarion (ext 8′)

Solo to Solo 16

Solo Unison Off

Solo to Solo 4

PEDAL (unenclosed, 10 ranks, flues 6″ w. p., reeds 10″ w. p.)

32′ Contra Bourdon (a) 73 pipes

16′ Open Metal Diapason 56 pipes

16′ Bourdon (ext 32′)

16′ Violone (Great)

16′ Spitz Flute (Swell)

16′ Contra Dulciana (Ch-Pos)

10-2⁄3′ Gross Quint (ext 16′ Open Diap)

8′ Octave (ext 16′)    

8′ Bourdon (ext 32′)

8′ Violoncello (Great)

8′ Spitz Flute (Swell)

6-2⁄5′ Gross Tierce (a) 44 pipes

5-1⁄3′ Quint (ext 16′ Open Diap)

4-4⁄7′ Septieme (b) 32 pipes

4′ Super Octave (ext 16′)

4′ Solo Flute (a) 32 pipes

3-1⁄5′ Tierce (ext 62⁄5′ Gross Tierce)

2-2⁄3′ Mixture IV 124 pipes

32′ Contra Trombone (b) 85 pipes (enclosed with Great)

16′ Trombone (ext 32′)

16′ Double Trumpet (Great)

16′ Contra Trumpet (Swell)

16′ Contra Oboe (Swell)

8′ Tromba (ext 32′)

8′ Trumpet (Swell)  

8′ Oboe (Swell)

4′ Tromba Clarion (ext 32′)

4′ Oboe (Swell)

8′ Tuba (Solo)

ANTIPHONAL (Manual IV, unenclosed in rear gallery, 15 ranks, 6″ w. p., Harmonic Trumpet 10″ w. p.)

8′ Open Diapason (a) 49 pipes, 1–12 fr Ant. Pedal 8′ Octave

8′ Concert Flute (a) 49 pipes, 1–12 fr 8′ Bourdon

8′ Bourdon (c) 61 pipes

8′ Gamba 61 pipes

8′ Voix Celeste (TC) 49 pipes

4′ Octave (a)   61 pipes

4′ Harmonic Flute (c)   61 pipes

2′ Fifteenth (a) 61 pipes

2′ Mixture III–V 244 pipes

8′ Trumpet     73 pipes

8′ Harmonic Trumpet (d) 61 pipes

Zimbelstern (d)

Antiphonal to Antiphonal 16

Antiphonal Unison Off

Antiphonal to Antiphonal 4

ANTIPHONAL PEDAL (unenclosed in gallery, 2 ranks, 6″ w. p.)

16′ Bourdon 44 pipes

8′ Octave (c) 44 pipes

8′ Bourdon (ext 16′)

4′ Super Octave (ext 8′)

16′ Posaune (ext Ant 8′ Trumpet)

8′ Trumpet (Ant)

8′ Harmonic Trumpet (Ant)    

ORIGIN KEY

(a) ranks from 1913 Ernest M. Skinner Company Opus 195, formerly in Grace Chapin Hall, Williams College, Williamstown, Massachusetts.

(b) ranks from 1939 Casavant Frères Opus 1600, formerly in Immaculate Conception Seminary Chapel, Darlington, New Jersey.

(c) vintage Skinner ranks from QPO inventory.

(d) ranks and tuned percussions from 1972 Schantz Opus 1125, formerly in Dunwoody United Methodist Church, Dunwoody, Georgia.

All other ranks are either new by Quimby Pipe Organs, Inc., or from QPO inventory.

CONSOLE ACCESSORIES

INTER-MANUAL COUPLERS

Great to Pedal 8′, 4′

Swell to Pedal 8′, 4′

Choir-Positive to Pedal 8′, 4′

Solo to Pedal 8′, 4′

Antiphonal on Pedal 8′, 4′

Swell to Great16′, 8′, 4′

Choir-Positive to Great 16′, 8′, 4′

Solo on Great

Antiphonal on Great

Swell to Choir-Positive 16′, 8′, 4′

Solo on Choir-Positive

Great to Choir-Positive 8′

Pedal to Choir-Positive 8′

Manual Transfer

COMBINATION ACTION

General pistons 1–20 (thumb) and 1–10 (toe)

Great divisional pistons 1–8

Swell divisional pistons 1–8

Choir-Positive divisional pistons 1–8

Solo divisional pistons 1–8

Antiphonal divisional pistons 1–5

Pedal divisional pistons 1–5 (thumb), 1–8 (toe)

General Cancel Piston

Set Piston

Memory Level Up and Down pistons

Previous and Next pistons (5 each, thumb) and toe studs (1 each)

Transposer Up and Down pistons

General Crescendo pedal 60 positions, three adjustable and one standard

REVERSIBLES

Great to Pedal piston & toe paddle

Swell to Pedal piston & toe paddle

Choir-Positive to Pedal piston & toe paddle

Solo to Pedal piston & toe paddle

Swell to Great piston

Choir-Positive to Great piston

Swell to Choir piston

Antiphonal on Great piston

Antiphonal on Swell piston

Antiphonal on Choir piston

Antiphonal on Solo piston

Antiphonal on Pedal toe paddle

Pedal on Divisionals piston

32′ Contra Bourdon piston & toe paddle

32′ Contra Trombone piston & toe paddle

Sforzando I and II pistons & toe studs

Manual Transfer—piston & indicator light

Crescendo on Solo Expression piston & indicator light

EXPRESSION & CRESCENDO

Great Expression Pedal

Swell Expression Pedal

Choir-Positive & Solo Expression Pedal

Solo Expression & Crescendo Pedal

SUMMARY

Great 17

Swell 24

Choir-Positive 20

Solo 12

Antiphonal 15

Antiphonal Pedal   2

Pedal 10

Total 100 ranks

Photo credits, including cover (except where noted): Sandra Jausch, Vitamamans-Pictures

The First Church, UCC, Nashua, New Hampshire

Austin Organs, Inc., Hartford, Connecticut, Opus 1406

From the Minister of Music and Consultant

When I was appointed Minister of Music in 2008, the organ was to be on the docket for a long-anticipated restoration early in my tenure. Upon learning about the vision for this instrument that was started under Dr. Robin Dinda, FAGO, in the early 1990s, two things were clear: the Young Memorial Console built by Austin in 1996 prepared the organ for significant expansion, and a new floating Solo division was to be part of this vision.

Over the years, attempts were made to undo tonal changes from the 1970s and 1980s (primarily light upperwork in the Great), which sacrificed some of the instrument’s most beautiful original softer stops. At some point in the past two decades, the original enclosed Great 8′ Gemshorn (once stored inside the organ casework) disappeared, as well as the original 8′ Harmonic Tuba. A significant, but somewhat misguided change to the entire Great division in the early 2000s continued to take the instrument away from its original symphonic roots. The “return” to these 1926 roots ultimately became the basis for our church’s $2.3 million Capital Campaign for Ministry, Music, and Mission in 2014.

This vision would be to restore the organ to its 1926 tonal specification and nomenclature and add new upperwork, scaled and voiced in typical 1920s Austin character. The original tonal design had no mixtures or mutations and only one 2′ stop (in the Swell). The existing stewardship of our 1996 three-manual console guided us in adding the prepared floating Solo division, with an eye toward more liturgical function rather than tonal tradition. In effect, we now have a III/47 versatile main instrument, with a 13-rank Solo (with two composite stops) bringing the total rank count to 60—an instrument easily suited for four manuals, but keeping former stewardship and sightline considerations in check for a three-manual console, with many options.

The Solo was designed with double-sided nave and chancel sets of swell shades. This allows use of the Solo division not only as a powerful solo voice (or part of the greater organ ensemble) but also adds the possibility of accompanying a choir from that area of the sanctuary with closed shades and Pedal stop additions. Consequently, the new division also assists our 5-octave bell choir, through a tonal reference closer to their placement in the church.

Austin concentrated on securing Austin (or similar) pipework from the original era, and where vintage pipes could not be sourced, Austin provided new pipework made to patterns Austin used in the 1920s. As a result, we have a thrilling instrument with a 21st-century eye towards its 1926 heritage—an impressive, warm sound over six divisions, and one of the most flexible accompanying instruments in Northern New England. Four celestes (three string and one flute) add wonderful warmth. Original color stops like the Vox Humana and vintage Harp (and classic fan tremulants) deliver sounds of yesteryear. The organ features complete string, flute, and diapason ensembles, with reeds (some independent and some unit treatments), and has retained the original two full-length 16′ reeds under expression! The versatility of the instrument is astounding, especially when one utilizes sub/super-coupling and unisons off. The return of 23 ranks of extension octaves (73 notes) provides a thrilling shimmer that can compete with the best of Boston’s local craze with Skinner and Aeolian-Skinner.

Two of the organ’s returned softest stops, the Swell 8′ Echo Salicional, (1930 Midmer-Losh) and the Enclosed Great 8′ Gemshorn  (1925 Austin) have added sensitive softer dynamics, which now allow the instrument to offer every variation from ppp to ffff. Masterful tonal finishing led by Daniel Kingman, Austin’s senior voicer and associate tonal director, truly kept everything warm, lush, and never shrill. Full organ never “screams.” Additions to the instrument include the three-rank Solo Vox Seraphique (15th, 17th, 19th), a 1924-vintage harmonics stop that is designed to pair with the Major Gamba and Celeste to create a unique shimmer and color combination; this is a rare effect found in perhaps only a very small handful of instruments. The large-scaled Mounted Cornet IV in the Solo is designed to pair with the Solo’s Doppelflute, and also pairs with the new linen-lead pattern, leather-lipped Grand Diapason on the Open Great. This near-Stentorphone color alone fills the room with a sound long forgotten (and greatly misunderstood) in the days of American Classic and Neo-Baroque revival.

Complex “borrows” of stops, either as new divisional extensions, or in the Pedal, add amazing variations to registration. Cross-coupling of the Enclosed Great and Choir (to the Choir and Swell respectively) allows a flexibility unparalleled for an organ of this size. The mechanics are truly an engineering marvel, and every ounce of possibility was brought out of this instrument’s re-design, thanks to collaboration with the Austin staff.

I am privileged to sit at this console every week and was truly honored to serve as the principal consultant for this important and historic work. Thanks are due in particular to Charles Morris who acted as the church’s representative. The team at Austin was accommodating of nearly anything asked of them. The extension of the case and grillework for the new Solo division truly looks like it has always been in the sanctuary. The resulting instrument thrills congregation, recitalists, and audiences alike. By offering a minimum of seven public programs featuring the Anderson Memorial Organ annually on our First Music Concert Series, the organ’s voice is widely heard in this region and has garnered much regional attention, in print and on television—as the most significant organ project in the state of New Hampshire in a decade. It is an honor to be at the helm of this historic ministry, now with an instrument that will continue to praise God for generations to come. Soli Deo Gloria.

—Joseph R. Olefirowicz, CAGO

Minister of Music

Principal Organ Consultant

From the Builder

On our preliminary visit to the church, we were introduced to an instrument built by Austin some 90 years previous that was barely an echo of what had been installed. The contract was signed on December 19, 1925, with promised completion by September 1, 1926. By today’s standards, this timeframe would be unheard of, since a 3-manual, 42-stop instrument would surely require a minimum of 16 to 24 months. In 1925, however, the company was in the epoch of its greatest production, shipping nearly two organs per week. This contract was signed on behalf of Austin by Elisha Fowler of Boston, formerly of the Hutchings Company, but since 1919 served as New England (and later Midwest) sales representative for Austin. Also a seasoned tonal designer, Mr. Fowler likely had strong influence in drawing up the tonal specification for this organ. One interesting element in the contract stated that:

The Austin Organ Company hereby guarantees tonal satisfaction to Mrs. Frank Anderson, donor; Earl F. Nauss, minister; and Maurice Hoffman, organist; and agrees to exchange any and all pipes which do not satisfy and to continue to do so until results satisfactory to the committee named have been attained.

Perusing the files, no pipes appeared to have been returned by order of the committee; a happy circumstance that must have caused sighs of great relief in Hartford!

The organ was initially scaled rather heroically on wind pressure of seven inches water column. The Great Principal Diapason was 40 scale (nearly 6¾ inches diameter at bottom C). There was an accompanying “Small Diapason” of 46 scale, which is a scale that would be typical of instruments built in the late 1960s to 1970s. A revision in March of 1926 shows that the Principal Diapason bass was changed to 43 scale and the Small Diapason to 49 scale. This would be more in keeping with other similar instruments of the time in typical rooms. In today’s thinking, the 43 scale/17th ratio is typical of German Normalmensur, while the 49-scale Diapason (with a narrow mouth) is typical of a Violin Diapason and would be a bit more incisive. Likewise, the Swell Diapason bass was changed from 40 scale to 43. This provided the power and color in the manual range, without excessive heaviness in the pedal; it also consumed less windchest real estate.

The tonal palette of this instrument was certainly typical for the era and boasted a plethora of fundamental stops; absent were mixtures or mutations. Similar organs of the period—for example, Opus 1409 at St. John’s Episcopal Church in Bridgeport, Connecticut, an instrument of 75 stops—boasted upperwork and a full set of independent mutations in the Swell, including a Nazard, Flautina, Tierce, Septieme, and Twenty Second. (An interesting side note, this organ appears to be the first instance found of an Austin with double expression—a box within a box—in the Swell department.) Mixtures were found in several instruments of the period, but usually confined to the Swell Organ. A notable exception is Austin Opus 1416, for the Sesquicentennial Exposition, built in 1926. At 162 ranks—it was for many generations the largest pipe organ built by Austin under a single contract. Each of the principal divisions has multiple ranks of mixtures; and of course, reed choruses, flute choruses, strings, mutations, etc.

Armed with this history, we surveyed the condition of this venerable instrument in Nashua. The organ had been a victim of several attempts at “tonal modernization” over the years. Diapasons had been removed and replaced with lighter-scaled pipework; a rather large mixture was added to the Great; and the Tuba was removed and replaced with a poorly recycled supply-house Trumpet. Also, the enclosed divisions had several stops removed, altered, or replaced entirely with random pipework. Many hours of discussion were spent attempting to recreate, or frankly create a new tonal specification that would echo the vision for this instrument, as if a time machine had transported us back to 1926, but with greater resources available, such as were reserved for larger instruments as mentioned above.

The result of fraternal collaboration between Joseph Olefirowicz and the Austin staff was to create a tonal design that could have been lifted from Austin’s archives. The overall limit of the “new” specification was perhaps a bit exhaustive, but the result is an extremely versatile instrument with amazing tonal variety and possibilities.

In our grand scheme, a significant addition was the inclusion of a new Solo division. There was space allowed on the 1996 console, and we were offered the possibility of utilizing a pass-through storage area located on the far right of the organ case. To transform this space into an organ chamber would require the construction of some new casework with additional tone openings. The existing organ has some unique carving that resembles vines within its openings. We scanned images of this casework and created a CAD file that was turned into magnificent scaled panels identical to the original. The Solo was voiced to speak on 10 inches wind pressure, typical of the era, which required the installation of an additional blower. To accommodate this requirement, we pulled a vintage Spencer blower from our inventory and sent it back to the factory for refurbishment and a new motor equipped with a variable frequency drive controller.

Upon completing the design phase, reality struck a severe chord when the actual challenge of building this instrument necessitated sourcing the required pipes to achieve the desired result. In some cases, it was as simple as making (or finding) an octave or a few pipes to restore scaling; many of the 73-note extension octaves had been lost to time, but happily we were able to source replacements for all of those lost from vintage inventory. In other cases we required complete stops; many were procured from Austin’s inventory. Some stops were new manufactured pipes made to vintage Austin patterns. An example is the 8′ Bassoon in the Great.  While perhaps not typical of the time, there was a desire and need for a lighter chorus reed in the exposed division. This particular pattern was originally used in Opus 1010 (c. 1921 in the Eastman Theatre, Rochester New York) and also in Opus 1109 (1922, at the Cincinnati Music Hall). The original patterns were located in our archive and used for this instrument. Likewise, vintage patterns likely used for the original pipes in 1926 were used for the replacement Tuba in the Great. Conversely, we chose a vintage E. M. Skinner pattern for the Solo Tuba—for variety of dynamic and color. The Solo English Horn was sourced from vintage inventory, a 1924 Austin instrument.

We feel that this instrument embodies not only the 1920s tonal concepts, as detailed herein, but Austin’s design paradigm—a concept we refer to as Symphonic-Liturgical Tonal Design

It is arguable that the most advanced form of musical expression we celebrate today is the symphony orchestra. It is a comprehensive and versatile entity. Evidence of this fact is provided by reviewing any concert program. On any given evening, one can encounter a most sublime movement from Ravel; just a moment later, the terrific thunder crash of a powerful Wagnerian overture! These variations in repertoire, dynamic, and emotion are all delivered by the same performers and the same instruments. In much the same way, a well-designed tonal palette in an organ capable of supporting these timbres and styles gives an organist the ability to perform with similar flexibility.

Why do we consider this ability to be important?

The pipe organ in church today must bridge the gap between traditional solo organ literature, liturgical accompaniment, choral support, and yet have the ability to perform contemporary accompaniment and literature. One can only imagine where the next trend might lead! The tone of the instrument must be pleasing—but not that alone—for the instrument must be capable of fulfilling its role in the liturgy. In summation: the organ must be extremely versatile and able to be play almost any literature, and the organ’s tonality also has to be outstanding in its conceptualization, voicing, and disposition.

We feel that the Austin organ is built of the most solid construction to support the extra demands placed on a symphonic organ. Our design (the famed Austin Universal Airchest System) assures the church of steady wind, ease of maintenance, and maximum utilization of available space. We strive to build the most comfortable organ consoles with the finest control systems available.

The sound of an Austin organ plenum (tonal ensemble) is unique. To achieve our desired level of warmth and simultaneous transparency requires not only our specific style of voicing, but very close attention to pipe scaling, regulation, and of great importance, explicit confidence in our Austin Universal Airchest System.

Celebrating 125 years of pipe organ building experience, and our dedicated staff comprising one of the oldest pipe organ factories in the country; we are ready to build one of the finest instruments possible, and then provide ongoing support and service.

—Michael Fazio

President & Tonal Director

Austin Organs, Inc.

Austin team members involved with Opus 1406 renovation:

Raymond Albright

Michael Chiradia

Bruce Coderre

Colin Coderre

Jacob Dowgewicz

Michael Hart

Curt Hawkes

Victor Hoyt

Dan Kingman

Rafael Ramos

David Secour

Stewart Skates +

Richard Taylor

Tony Valdez

Anne Wysocki

Mike Fazio

GREAT ORGAN (* = enclosed Great)

16′ Major Diapason 73 pipes

8′ Grand Diapason 73 pipes

8′ Principal Diapason 73 pipes

8′ Small Diapason (ext) 12 pipes

8′ Flauto Major (Ped 16′ Dia) 41 pipes

8′ Violoncello * 73 pipes

8′ Gemshorn * 73 pipes

8′ Bourdon * 73 pipes

8′ Flute Celeste (Ch)

8′ Unda Maris (Ch)

4′ Octave 73 pipes

4′ Principal * 73 pipes

4′ Harmonic Flute * 73 pipes

22⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

IV Fourniture (19-22-26-29) 244 pipes

16′ Tuba * (ext) 12 pipes

8′ Harmonic Tuba * 61 pipes

8′ Bassoon 73 pipes

4′ Clarion * (ext) 12 pipes

Harp (Ch)

Chimes 25 tubes

Tremulant *

SWELL ORGAN

16′ Bourdon 73 pipes

8′ Open Diapason 73 pipes

8′ Rohr Flute 73 pipes

8′ Viole D’Orchestre 73 pipes

8′ Viole Celeste (TC) 61 pipes

8′ Echo Salicional 73 pipes

4′ Fugara 73 pipes

4′ Flauto Traverso 73 pipes

4′ Violina (ext)

22⁄3′ Nasard 61 pipes

2′ Flageolet 61 pipes

13⁄5′ Tierce 61 pipes

III Mixture (15-19-22) 183 pipes

16′ Contra Posaune 73 pipes

8′ Tuba Mirabilis (Solo)

8′ Cornopean 73 pipes

8′ Oboe 73 pipes

8′ Vox Humana 61 pipes

Tremulant

CHOIR ORGAN

16′ Quintade (ext) 12 pipes

8′ Geigen Principal 73 pipes

8′ Concert Flute 73 pipes

8′ Flute Celeste (TC) 61 pipes

8′ Dulciana 73 pipes

8′ Unda Maris (TC) 61 pipes

8′ Quintadena 73 pipes

4′ Geigen Octave (ext)

4′ Flute D’Amour 73 pipes

2′ Piccolo 61 pipes

11⁄3′ Larigot 61 pipes

16′ Tuba (Gt)

8′ Harmonic Tuba (Gt)

8′ Clarinet 73 pipes

4′ Tuba Clarion (Gt)

Harp (Austin) 61 bars

Chimes (Gt)

Tremulant

SOLO ORGAN

8′ Doppelflute 73 pipes

8′ Major Gamba 73 pipes

8′ Gamba Celeste 73 pipes

4′ Flute Ouverte 73 pipes

4′ Gambette (ext) 12 pipes

4′ Gambette Celeste (ext) 12 pipes

III Vox Seraphique (15-17-19) 183 pipes

IV Mounted Cornet (TC) (8-12-15-17) 196 pipes

8′ Cor Anglais 73 pipes

8′ Tuba Mirabilis 73 pipes

Tremulant

Nave Shades Off

Chancel Shades Off

PEDAL ORGAN

32′ Diapason (Resultant)

32′ Bourdon (Resultant)

32′ Lieblich Gedeckt (Resultant, Sw)

16′ Open Diapason 32 pipes

16′ Violone (Gt)

16′ Bourdon 32 pipes

16′ Flute Bass (ext, Solo) 12 pipes

16′ Quintaten (Ch)

16′ Lieblich (Sw)

8′ Octave (Gt)

8′ Major Flute (Solo)

8′ Gross Flute (ext 16′ Diap) 12 pipes

8′ Flauto Dolce (ext 16′ Bdn) 12 pipes

4′ Super Octave (Gt)

4′ Flute (Sw)

32′ Grand Cornet (Resultant)

16′ Tuba (Gt)

16′ Posaune (Sw)

8′ Tuba Mirabilis (Solo)

8′ Harmonic Tuba (Gt)

4′ Clarion (Gt)

Chimes (Gt)

Pedal to Pedal 4

EXPRESSION PEDALS

Choir/Enclosed Great

Swell

Solo

Register Crescendo

CONTROLS

999-levels of memory

Bridal signal (HCTB)

Clock

Continuo

“Go-to” function

Manual Transfer

Piston sequencer

Playback

Transposer

Ventil (mixtures)

Ventil (reeds)

Builder’s website: http://austinorgans.com

Church’s website: tfcucc.org

Photo credit: Len Levasseur

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

David E. Wallace & Company, LLC, Gorham, Maine

Saint Rose of Lima Catholic Church, Jay, Maine

It is always an exciting moment when the music director of a parish church contacts our shop in search of a pipe organ for their worship space. Whether it is for a new organ or the restoration of an existing instrument, it is an opportunity to be creative and discover what will work best to fill the musical needs of the church. Such was the case with Saint Rose of Lima Catholic Church in Jay, Maine. The church building dates from the 1950s and was not designed to house a pipe organ, a situation that offered many challenges to the process of acquiring one.

It was decided that the 1868 Lathrop Tilton organ in storage at Wallace & Co. had the most potential for the gallery at Saint Rose. With minor alterations, the organ would fit in the shallow rear gallery and sit just under a low hanging structural beam. The one-manual organ, which was originally built in the neighboring town of East Livermore, was determined to have pipework of the correct scale and character to be appropriate for the Saint Rose nave.

Lathrop C. Tilton was a Maine-based organ builder born in 1830 in Livermore. It is not known where he got his training as an organ builder, though local newspapers noted that he provided wooden organ pipes to other builders. His shop was located in East Livermore when his four known pipe organs were built.

Given that the 1868 organ is one of three Tilton organs remaining, we wanted to be sensitive to its unique historical context. However, if the organ was to be rescued from eternal storage and to be used regularly in a church setting, some changes to its playability were absolutely necessary.

Though the pipes were in rough condition due to decades of improper maintenance, it was determined that it would be possible to successfully restore them. Two tonal changes were planned in order to assure the success of the organ. To make the best use of space, the 2′ Fifteenth would become a double-draw stop. When the stop is drawn half way, the Fifteenth will play. When drawn fully, a quint rank is added to the Fifteenth. The quint starts at 2⁄3′ pitch, breaks to 1-1⁄3′ at C13, and breaks to 2-2⁄3′ at G32, continuing to G56. A third rank at 4′ pitch is also added on the second draw and runs from G44 to G56, making a two- to three-rank Mixture. The second change was to replace the unusable original Pedal 16′ Subbass with a new set of pipes.

The placement of the organ against a wall necessitated constructing a new expression box with roof-top access and a walkboard above the manual chest for tuning. The striking solid walnut Romanesque casework is a prime example of mid-nineteenth-century craftsmanship. To accommodate the narrow depth of the gallery, the Pedal was divided on each side of the organ. New casework matching the original was constructed to house the new Pedal windchests and action.

The structurally insufficient original framework of the organ was reengineered to improve both stability and ease of access for maintenance. The key action for both manual and pedal was redesigned to allow for better feel and easy adjustment. The original wind system had suffered from poor quality lumber and a botched releathering effort in the 1970s. A new double-rise reservoir was constructed that includes the original feeder bellows, allowing the organ to be manually powered.

David E. Wallace & Company is delighted that Saint Rose of Lima parish chose the Lathrop Tilton organ to provide the musical support for Mass and other activities. The restored Tilton pipework, now controlled by a refined and sensitive touch, features a bright and bold principal chorus topped by the new mixture. The organ sports a wide dynamic range with four 8′ voices that are all under expression. We can now play and hear an instrument that depicts the sounds of organ building practices in Maine during the 1860s.

The renovation project team included Nick Wallace, Rebecca Schnell, Gwen Rowland, and David Wallace.

—Nick Wallace

All photos credit Nick Wallace

Manual (56 notes, enclosed)

8′ Open Diapason

8′ Dulciana Treble (TG)

8′ Dulciana Bass (1–19)

8′ Keraulophon

8′ Clarabella (TG)

8′ Stopped Diapason Bass (1–19)

4′ Principal

4′ Flute

2′ Fifteenth/II–III Mixture (double draw)

Pedal (30 notes)

16′ Bourdon

One manual, nine stops, ten ranks, 488 pipes

 

Builder’s website: wallacepipeorgans.com.

Church website: stroseandstjosephmaine.org.

Richards, Fowkes & Co., Ooltewah, Tennessee; Christ Church Cathedral, Cincinnati, Ohio

Background

While some organ projects come together quickly, most usually take longer. And some, such as our recently completed Opus 24 for Christ Church Cathedral in Cincinnati, seem to require almost a micro-generation to fulfill. For those who are patient, this duration can pay dividends. After all, relationships take time to build, not merely between people or groups, but also between the creative act itself and the space in which it has been asked to flourish. Christ Church is a complicated space with an involved history; our becoming part of it was never likely to be straightforward.

Christ Church was founded in 1817 and soon settled into an 1835 building that would last through World War II. The Gothic revival Centennial Chapel, added in 1917, has its own organ history, which has culminated in C. B. Fisk’s Opus 148 in an Italian style, completed in 2018 (see The Diapason August 2018 cover feature). Although by the 1930s the main church was thought to be in need of replacement, World War II paused any rebuilding effort. After a proposed design by Eliel and Eero Saarinen was rejected, Ohio architect David Briggs Maxfield’s modern design was chosen, and the new building was dedicated in 1957. In 1993, Christ Church was consecrated as Cathedral of the Diocese of Southern Ohio.

Walter Holtkamp, Sr.’s three-manual, 54-stop organ was a logical fit for this new mid-century modern building. His daring unencased sculptural design fit perfectly with the building’s architectural aesthetic. Holtkamp’s clean, “classic” voicing style won many admirers, and this organ helped launch Gerre Hancock’s early career as well as being a central part of Christ Church’s annual Boar’s Head and Yule Log Festival.

While the Holtkamp was well regarded, musicians struggled with certain aspects of the organ’s personality. Over the years, consultants attempted to diagnose the situation and offer suggestions. The consensus was that the organ’s location was a key detriment. Located in a shallow open gallery on the left, the Holtkamp spoke across the chancel and engaged the acoustic in such a way as to generate a confusing flutter echo.

In the early 1980s, the church was renovated and largely stripped of decoration. The stone east-facing altar was replaced by a wooden table, and other surfaces altered to help absorb troubling reflections. Unfortunately, these alterations exacerbated rather than alleviated the acoustical issues. In less than a decade, another renovation was in the works, this time to warm up the room visually and suggest more of a traditional aesthetic. Wooden galleries were added to the organ loft, together with pilasters and wooden coffer beams to break up and articulate the walls and ceiling. The climax of this effort was a wood-and-glass chancel screen directly behind the choir. Although successful from a liturgical standpoint, the new wall tended to swallow up the organ’s modest bass (as well as that of the choir), further altering the balance of the Holtkamp.

The effect on choral singing was detrimental. While the choir was now front and center, ostensibly a good thing, the location put the singers farther than ever from the Holtkamp’s enclosed divisions. Without any nearby surfaces for early reflections, singers struggled to hear not only each other but the organ. A common accompanimental conundrum ensued: if the organist could hear the instrument, it almost always meant the organ was too loud to balance the choir. After much discussion about the merits of moving divisions, and possibly revoicing, it was concluded that any such radical changes would spoil the Holtkamp. For an organ to succeed, it needed a central placement, engaging the room not side to side, but fully down the length of the nave.

Process

The cathedral first contacted us in July 2008. James Diamond, the cathedral’s former and now late dean, had called a committee (himself, Robert Clark, Roberta Gary, Thom Miles) to assess the Holtkamp and make recommendations either for its rebuilding or replacement. In retrospect, this was merely the first of what would turn out to be this project’s three phases.

When this first committee finished its work, the assumption was that the dean would accept the committee’s recommendation, seek funding, and sign a contract. But July 2008 became September 2008. The ensuing financial crisis and Great Recession caused the project to be shelved.

When Stephan Casurella was appointed director of music in 2009, he was asked to begin the process anew with the current music committee chaired by cathedral member and Cincinnati Symphony Orchestra violinist Harold Byers. Dean Diamond did suggest, however, that Stephan visit our organs at Pinnacle Presbyterian Church in Scottsdale, Arizona, and Church of the Transfiguration in Dallas, Texas. In time, we were again selected again to build a new organ. In 2010, the new interim dean and the music committee took the project to the vestry, led by senior warden Mary Hagner, a chorister since childhood; but the timing was still not right.

In 2013, with the arrival of a new dean, Gail Greenwell, all of the factors were finally in place for a successful outcome. After five years of planning and education they were ready to sign a contract.

The case for Deco

Designing a beautiful and sensible case proved formidable. The twice-rebuilt church now had an identity issue: well thought out and tasteful, yes, but not necessarily in any strong style. Focus on both altar and cross seemed diffuse. We believed that the right organ design could tie everything together, but how?

Our first two designs were in a classic style. We soon came to see that this incongruity—which has worked for us elsewhere—would not be the answer here. Eventually, Ralph Richards and Trent Buhr started working with the arch curve at the front of the nave. Using this motif, they outlined the overall organ and its undulating cross section. The arch was then scaled, flipped, and stacked to subdivide the compartments. As the instrument began to emerge, Trent observed that the design was taking on Art Deco elements. After many hours of study, trial and error, and, to everyone’s surprise, exploring Art Deco as a style allowed us to fuse the room and the case into a single concept. In a nod to fractal theory even the decoration contains the same hockey stick motif applied to the six Hebrew letters of the word Hallelujah. An unintended consequence is an addition to the prominent legacy of Art Deco in Cincinnati.

The tonal landscape

Ralph and I started building organs in the 1970s, when the early music movement and historic tradition were just coming into bloom in the United States. Over the last thirty-three years, our team of eleven artisans has built organs using all of the knowledge that has come from the last century of organ methodology. Thus begins a litany that may seem familiar from builders of our general type but is far from a list of “features” to us. Wherever our tonal style may take us, certain fundamentals remain resolute. Our instruments are built in cases made from solid wood using traditional joinery methods and finishes. Suspended mechanical key actions provide the most intimate connection we can offer between the keys and the pipes. Wooden wind systems with large wedge bellows (in this instrument, five 4′ x 8′ bellows) and generous wind trunks allow a system that breathes as should a real wind instrument.

Pipe making is our point of pride. Our metal pipes are handmade from sheets cast using historically informed metal alloys. The sheets are then hand-planed to taper the thickness of every pipe. This allows the foot and mouth area to be made thickest, for strength, with the bodies lessening in thickness towards the top of the pipe, to ensure that the weight of pipes will not lead to collapse at mouth or toe. We make every pipe in our shop.

Most of our instruments are based in the classic North German and Dutch traditions, noted for exceptionally colorful instruments that excel at leading congregations. But, over those thirty-three years, it has become clearer to us that we live neither in Germany nor Holland, nor in some other century. We are building American organs for American churches of the twenty-first century. The people of today, even when they share our love of the old instruments and music, have ideas about singing and accompaniment that lie well away from any Germanic centrality, and which our organs cannot consider mere inconveniences if they are to succeed. Episcopalians ourselves, we are more and more wanting our organs to reflect this blended landscape.

When we were selected at St. George’s Hanover Square in London, the musician Simon Williams asked for an organ that could accompany an English choir yet still play Buxtehude authentically. Frankly, we felt we had begun to do just that in our Scottsdale instrument, not by tempering the ensemble, but rather by filling out the organ’s quiet end with open flutes and strings. At the same time, we wanted those quieter voices to have plenty of color and personality. Better expression played its part. Double paneling in the swell boxes, combined with thick shutters, provides a wider dynamic range. As time has gone on, we have made other decisions about how much articulation is appropriate, or even musically helpful. Voicing our pipes a little slower relaxes the speech and helps them blend better. London was also our first organ with two enclosed divisions. Since then we have built one other large organ with a second enclosed manual, further exploring this quiet, but hopefully alluring, sound world.

When J. S. Bach was advising Zacharias Hildebrandt for the organ at Saint Wenzel in Naumburg, he recommended that all flutes of a particular construction exist on the same keyboard, so that one could immediately tell the difference between different manuals. At Christ Church, we have done likewise. The Positive flutes are all built from open, tapered pipes, as are the quieter flutes and strings. The Great flutes are open, while the Swell flutes are stopped. (True, the Swell’s 4′ Flöht traverse lives here and is voiced to blend and act in a generally nineteenth-century manner.)

Throughout, the strings are of Germanic inspiration. Voiced with less garlic than French strings, the German type have a light, bright tone that allows them to work effectively in many styles of literature. (When voicing these strings, we are not doctrinaire and happily use modern roller beards to stabilize speech.) The Great Salicional is the largest in scale and finds its double in the Pedal Violonbaß. The Swell strings are a medium scale, voiced in the brightest manner, thinking again of how nineteenth- and twentieth-century literature expects that kind of effect in that location. The Positive’s are the smallest, tapered and of 90% tin, voiced chastely. As a result, they have an ethereal edge and lack of body that, with the 4′ Viol, make psalm accompaniment an organist’s dream.

An unusual feature is that at eighteen stops, the Positive division is the largest of the three. The 8′ Principal and Trompette-en-Chamade are unenclosed, the latter located horizontally above the Positive box for easy dialogue with Swell or Great. With this division low in the case, the Positive has proven to be the accompaniment workhorse, especially during Covid when only eight singers were allowed.

Like the strings, the reeds are mostly of German origin. The Pedal and Great reeds are patterned after Schnitger, while the Swell Trompet and Oboe are influenced by central German stops, which, like French reeds, employ cylindrical shallots. We use our own bass shallot pattern here, with tin-plated tapered forms, which helps to keep the basses from outshouting the trebles. The Chamade has French-type parallel shallots, which are wonderfully flexible and permit voicing on the round side. (After all, we wouldn’t want the French stop to feel as if it were being occupied by the Germans.) Also Germanic, in a way, is the completely independent Pedal, from 32′ to mixture. Six independent 16′ stops (four flue and two reed stops) provide variety and foundation for infinite gradations of color and volume.

Organ builders usually wince when we read in the magazines, “We were given the task to build an organ that would play all of the organ literature authentically and accompany 400 years of choral anthems seamlessly.” The unity of this organ, we hope, comes from the fact that we are, yes, historically informed about the different schools and eras of organ building. But our evolving confidence about those schools has made us freer to meld those ideas into a voice of our thoughts, our tastes, and our sensibilities—and, hopefully, of our time.

Richards, Fowkes & Co.

Jakob Barger

Trent Buhr

Patrick Fischer

Bruce Fowkes

Karla Fowkes

Nathan Govig

Alex Haas

Joshua Knight

Richard Mcusic

Brian Miscio

Jesse Mozzini

Ralph Richards

Richard Schulze

Patrick Spiesser

Dean Wilson

Andy Wishart

 

Stephan Casurella, Canon Precentor & Director of Music

Shiloh Roby, Associate Director of Music

 

Organ Committee Chair: Julie Kline

Music Committee Chair: Harold Byers/Drew Abbott

 

Builder’s website:

https://www.richardsfowkes.com/

Church’s website:

https://cincinnaticathedral.com/

 

GREAT (manual II)

16′ Principal (in façade) 58 pipes

8′ Octave 58 pipes

8′ Spielflöht 58 pipes

8′ Salicional 58 pipes

4′ Octave 58 pipes

4′ Flöht 58 pipes

3′ Quint 58 pipes

2′ Octave 58 pipes

Cornet IV (Tenor A, 4′, 3′, 2′, 1-3⁄5′) 141 pipes

1-1⁄3′ Mixture 264/324 pipes

16′ Trompet 58 pipes

8′ Trompet 58 pipes

POSITIVE (manual I, enclosed)

8′ Principal (façade) 58 pipes

8′ Hohlflöht 58 pipes

8′ Quintadena 58 pipes

8′ Flöht dolce 58 pipes

8′ Flöht celeste (TC) 46 pipes

8′ Dulcet 58 pipes

8′ Dulcet celeste (TC) 46 pipes

4′ Octave 58 pipes

4′ Viol 58 pipes

4′ Spitzflöht 58 pipes

3′ Nasat 58 pipes

2′ Octave 58 pipes

Sesquialtera II 109 pipes

1-1⁄3′ Scharff 204/300 pipes

8′ Krummhorn 58 pipes

8′ Vox humana 58 pipes

4′ Schalmey 58 pipes

8′ Chamade (52–58, 8′ + 3′) 65 pipes

SWELL (manual III, enclosed)

16′ Bourdon 58 pipes

8′ Principal 58 pipes

8′ Gamba 58 pipes

8′ Celeste (TC) 46 pipes

8′ Rohrflöht 58 pipes

4′ Octave 58 pipes

4′ Traverse flöht 58 pipes

3′ Nasat 58 pipes

2′ Waldflöht 58 pipes

1-3⁄5′ Tertia (1–51) 51 pipes

Mixture 232 pipes

16′ Basson 58 pipes

8′ Trompet 58 pipes

8′ Oboe 58 pipes

PEDAL

32′ Subbaß (ext 16′) 12 pipes

16′ Principalbaß 30 pipes

16′ Subbaß 30 pipes

16′ Bourdon (Sw)

16′ Violonbaß 30 pipes

8′ Octave 30 pipes

8′ Spitzflöht 30 pipes

8′ Gedackt (Sw)

4′ Octave 30 pipes

2′ Mixture 120/150 pipes

32′ Posaune (ext 16′) 12 pipes

16′ Posaune 30 pipes

16′ Fagott 30 pipes

8′ Trompet 30 pipes

8′ Trompette (Pos Chamade)

4′ Trompet 30 pipes

Normal couplers

Tremulant to the entire organ

Stable/Flexible Wind switch

Mixture + to add additional high-pitched ranks

Cimbelstern

Vogelgesang

Temperament: Neidhardt for a small city 1732

 

59 stops

78 ranks (depends on count of compound stops)

3,806 total pipes

When each mixture stop is pulled it turns on the “normal” ranks indicated in black. When the Mixture + knob is pulled it turns on the additional ranks indicated in red in all mixtures. This allows the mixtures to function as “normal” mixtures or as North German mixtures.

 

Sebastian M. Glück, Opus 24, New York, New York; Setauket Presbyterian Church, Setauket, New York

Sebastian M. Glück

Vice, virtue, and flexibility

Among the linguistic tics bandied about the organbuilding craft for the better part of a century is “judicious unification,” apologetically implying that the practice is quantifiably evil depending upon the extent of its use and the judgment of the builder. If we dislike the builder, it is dismissed as cheap expediency; if we adore the builder, it is the methodology of a thoughtful and clever artist. Both assessments can be, and have been, accurate. Duplexing (the ability to play a stop from more than one keyboard) and unification (the ability to play a particular stop at more than one pitch) have been in use for more than three hundred years. A century after the cinema organ flourished, many are granting “unit orchestras” absolution as we try to preserve the few that we have yet to destroy, with the expectation that accompanying silent films in church will reinvigorate appreciation for the organ, even if it is not used to play organ music.

In some circles, the conservative traditionalist falls from grace when employing a rank of pipes for more than one musical purpose, although a “pass” is granted if the duplexing or extending is achieved solely with wires, rods, and levers. Regardless of action type, compromise is inevitable when space is rationed. For the staunch purist, the compromise must take the form of a smaller instrument in which each stop serves a single function, eagerly sacrificing variety, color, and scope. The establishment may believe that such a design process is additive, but in truth, pressure is applied to exclude stops from the project. The builder who designs, scales, voices, and finishes a partially unified organ must weigh and assume responsibility for the musical consequences of each compromise.

At Setauket Presbyterian Church, I set out to design an organ that could be played, despite the unification or duplexing of nine of its twenty-five ranks, as a traditionally disposed instrument while avoiding some of the perceived pitfalls of the extension principle: lack of character distinction between the manual sections, “missing note syndrome,” divisional imbalance, and an ineffective Pedal department.

The assignment

The congregation owned a pipe organ built in 1968, to which artificial orchestral voices had been added. The ailing instrument had served adequately for hymnody and life cycle events, but the tonal design did not extend consideration to the performance of the established organ literature. When developing the specifications with consultant David Enlow, we agreed that if the organ could be used to perform the noble repertoire of the past, it would be a fine church organ. No instrument can be loyal to the music of every culture and era, but we were adamant that in addition to the features common to all schools of organbuilding, specific tone colors should be placed in the correct divisions at the proper pitches to enable an organist to bring a stack of scores to the console and honor as closely as possible the composers’ intentions.

Following a period of discussion, the decision was taken to build an organ entirely under the control of expression shutters. While this firm had not, until now, built a fully enclosed instrument, this uncommon practice is experiencing a centennial revival and showed merit in this situation. The existing organ had been completely enclosed, yet its two-rank mixture and narrowly scaled, fractional-length reeds were perceived as painfully harsh by the choir members who sat in front of the organ.

The intimate sanctuary lacks any desirable reverberation. Fortunately, its proportions produce no perceptible echo, and the new organ enjoys an elevated position, speaking down the length of the room, its tone blended and preserved by the barrel vault. Made entirely of timber, the flexible building absorbs lower frequencies, so the organ would need to provide ample harmonically complex tone at 16′ and 8′ pitch without succumbing to the lingering recycled fad for the deprecation of mixtures.

The key ingredients we established for the manual divisions were a pair of contrasting principal choruses, an 8′ harmonic flute for the Great, a string and its undulant, the components of a cornet, and the three primary colors of reed tone: trumpet, clarinet, and oboe. The structural forms of the flute ranks include open cylindrical, open tapered, open harmonic (overblowing), stoppered wood, and capped metal with internal chimneys. The different flutes are voiced and finished within a bounded range of amplitude for the sake of blend, although the harmonic flute is given its characteristic treble ascendancy.

The primary function principle

When utilizing a rank at more than one pitch, it is best to establish its primary function, treat it accordingly, and then identify its potential auxiliary uses and what must be modified to accommodate them. The following are a few examples from the Setauket organ:

The Great 8′ Principal is extended to provide the 2′ Fifteenth. The independent 4′ Octave permits the designer to recalibrate the Principal’s scale progression over the course of two octaves as the unit rank approaches the treble of the 2′ extension. Is it ideal? No. Is it better than extending the 4′ rank or having no 2′ Fifteenth at all? Certainly. The chorus becomes fully independent if the 2′ is retired when the Mixture is added because a 2′ rank enters at the first break of the Mixture.

The Great Flûte Harmonique is called for at 8′ pitch in the literature, so that is its primary function. It takes its bass from the 8′ Principal to continue open tone all the way to the bottom. The 4′ Flûte Octaviante, by extension, can be used as an independent voice, played with the 8′ Holzgedeckt or the 8′ Principal. Crime averted.

The Swell 8′ Chimney Flute also is made available beyond its primary function, playable at 2′ (and 1′) pitch to create oft-debated “gap” registrations in addition to completing the solo Cornet. The 4′ Night Horn stands on its own to alleviate missing notes in the flute choir. The 2-2⁄3′ Nazard is scaled and voiced for its primary function, but is also made available at 1-1⁄3′ rather than foregoing such a stop entirely. The Nazard and Tierce must be independent ranks for the sake of tuning and balance.

The Swell 4′ Principal is the pivot point and tuning reference for that division, one of two 4′ stops that can be selected to change the vowel of the full Cornet. Keying it at 8′ pitch gives the division an 8′ Geigen Diapason where none would fit, a boon to literature, service playing, and choral accompaniment. The 8′ octave is synthesized by playing the bass octaves of the 8′ flute and 8′ string together. This is by no means a confirmation of the 1960s falsehood that “a flute plus a string equals a diapason,” but the effect is quite satisfactory in that lowest octave and the pitch does not suddenly drop out. It lends body to the full ensemble when the organ is played with orchestra.

The reeds

If one is restricted to a single trumpet rank in a unit design, its treatment is unavoidably difficult because it cannot serve two masters. If it is powerful enough to stand as the Great 8′ Trumpet, it can be too forceful for its expected roles in the Swell. Conversely, if it is designed as a normal Swell stop, it may prove insufficient when drawn with the Great chorus, unsuitable for some solo functions, and too weak for the Pedal, even if its descent into the 16′ octave grows dramatically as it would in a French organ. Without a second trumpet, I chose to favor the Great and Pedal with a round and warm English quasi-Tromba that made the transition down to a rolling 16′ Trombone that sits majestically under the full organ. After a lengthy search, I located a heritage M. P. Möller rank of unusual construction, built and voiced on the needed pressure, that fit the bill. The resonators were restored and masterfully remitred by Organ Supply Industries to stand comfortably beneath the low ceiling of the chamber.

The Swell 8′ Oboe features English shallots with caps and scrolls, and is under no burden to act as anything else. If the Trumpet is too loud for a particular registration, the tone of the Oboe can be modified by one or more of the division’s flue stops, including the mutations.

The cylindrical half-length reed posed a mixed conundrum: where should it reside, what should it be, and what should it do? Any version of the American Krummhorn of a half a century ago was dismissed from the outset. A warm, round Clarinet with a bit of a bright “edge” would address anything from Clarinet soli in English choral anthems to dialogues in French Baroque suites. The extension down to a 16′ Basset Horn provides a rich reed timbre with a fully developed fundamental, giving the desirable growl and harmonic complexity of the “full Swell.” The sticking point is that it plays at 8′ pitch from the Great and 16′ from the Swell. Were the Great unenclosed, the 8′ Clarinet under expression would have been a forthright bonus, but since the Setauket organ is entirely enclosed, the Clarinet is seemingly in the “wrong” enclosure. It is assigned to the Great to chat with the Jeu de Tierce in the Swell, and the rank plays at 16′ and 4′ pitch in the Pedal, as a secondary unison reed and as a cantus firmus stop for chorale settings.

The mixtures

Why provide two generous mixtures when a single small one had been deemed too shrill? The effectiveness of mixtures is contingent upon their position, harmonic composition, scaling, mouth proportions, voicing methods, and tonal finishing. From time to time, theorists have campaigned aggressively to extirpate mixtures from the art of organbuilding, yet they inevitably return to the craft because they are too essential to the organ’s origin and design. The compositions of the Setauket mixtures favor unisons over fifths and are not terribly acute in their pitch bases, with the Great IV–V including a second 8′ Principal to add warmth and body to the right hand. They are polite but by no means weak, and weld to the ensemble rather than standing apart from it.

The Pedal

The unit pipe organ was an essential response to the growing market for artificial instruments as American postwar prosperity fostered suburban communities that built new churches and synagogues. Architects were encouraged to forgo space for a pipe organ in their modern, low-slung structures as the allure of compact, inexpensive imitations took hold. This gave birth to the twelve-pipe Pedal division, the delusion that extending the stoppered flute rank down to 16′ would provide sufficient bass to support the entire organ.

The chamber plan for Opus 24 reveals the structural obstacles that had to be skirted while granting safe and facile access. I could not provide full independence, so I had to assure that the pedal line could be heard moving against the manual textures. The dedicated 16′ Sub Bass exhibits a characteristic of many 16′ stoppered wood ranks in small, acoustically dead rooms: if the listener steps in one direction or another, or turns their head, a note can switch from booming to absent. I therefore added a 16′ extension of the Viole de Gambe, with Haskell qualifying tubes. It provides clean pitch definition and consistent acoustical reinforcement anywhere in the room, and is far more interesting to the musical ear.

The other independent Pedal rank is the 4′ Choral Bass (the twentieth-century name given to a 4′ Octave), an arrangement that prevents note robbing from the middle of the manual textures. It also is used at 8′ pitch, with the lowest octave borrowed from the Great 8′ Principal, a practice not uncommon in smaller mechanical-action work. Because of this shared bottom octave, the Pedal 8′ and 4′ principal unit is in the Great expression enclosure, and the remainder of the Pedal within the Swell.

The organ case

Setauket’s 1812 landmarked meetinghouse was not conceived for a pipe organ, and the congregation, founded in 1660, did not install their first organ, an eleven-rank tubular-pneumatic affair set partially into the tower at balcony level, until 1919. The 1968 instrument of sixteen ranks expanded that footprint at the sides and into the gallery. Pipes and speaker cabinets packed the chamber, and the organ could not be maintained effectively. There were no organ pipes to be seen, the works concealed by a metal mesh screen that covered an enormous black void. The console was placed in front, creating poor sight lines, unsafe fire egress, and irreconcilable imbalances between the choir and the organ. Those issues were completely resolved by building a mobile, elegant, unobtrusive console for the new organ and moving the choir to a side gallery.

My duty was to create an architectural solution half as tall as its width, and I arrived at a small façade centered upon a visually neutral backdrop. Initial designs were based upon Georgian chamber organs, but as I spent more time in the building, I saw that the space demanded a more restrained treatment, a contemporary interpretation of organ cases built in New York during the second quarter of the nineteenth century. It is a restfully proportioned quintipartite mahogany façade, devoid of carvings, with burnished front pipes that extend to the cornice.

Paradoxically, this visual treatment is an entirely deceptive set piece, yet respectfully complements the historic interior. The wall of painted joinery uses acoustically transparent grille cloth in place of solid panels, and the façade pipes do not speak on account of the enclosure of the entire organ. Whereas once there was no visual indication that an organ existed, there is now a correlation between what the eye sees and the ear hears, despite the grand body of tone that seems to issue from a chamber organ.

An assiduous client

The dedication and perseverance of the congregational leadership was remarkable, particularly amidst a global medical crisis fraught with uncertainty. Throughout the project’s development, they educated themselves about pipe organ building, and as the concept for the instrument grew, they twice offered to expand the space allocated for the instrument. Church and synagogue musician, international concert organist, and Juilliard faculty member David Enlow served as an informed and patient consultant, steering the proceedings toward a service, concert, and teaching instrument for future generations.

—Sebastian M. Glück

President and Artistic & Tonal Director

Glück Pipe Organs

The Glück staff

Matthew Deming

Joseph DiSalle

Sebastian M. Glück

Roderick Gomez

John Kawa, Project Manager

Chad Kranak

Nathan Siler

Matthew Yohn

 

Suppliers

Organ Supply Industries, Inc.

Peterson Electro-Musical Products, Inc.

Aug. Laukhuff GmbH & Co.

 

www.gluckpipeorgans.com/

 

25 ranks, 39 stops, 1,392 pipes

Electropneumatic action, wind pressure 4 inches throughout

 

Cover photo by John Kawa

All other photos by Sebastian M. Glück, except as noted

 

GREAT (Manual I)

16′ Violone (a) 12 pipes

8′ Principal 58 pipes

8′ Flûte Harmonique (b) 47 pipes

8′ Holz Gedeckt 58 pipes

8′ Viole de Gambe (from Swell)

8′ Voix Céleste (from Swell)

4′ Octave 58 pipes

4′ Flûte Octaviante (ext 8′ Fl) 12 pipes

2′ Fifteenth (ext 8′ Princ) 24 pipes

Fourniture IV–V 256 pipes

8′ Trumpet (from Swell)

8′ Clarinet (ext Sw 16′ Basset) 12 pipes

Tremulant

Great Silent

Swell to Great 16

Swell to Great 8

Swell to Great 4

Chimes

 

SWELL (Manual II – enclosed)

8′ Principal (fr 4′ Principal; 1–12 from 8′ Chimney Flute and 8′ Viole)

8′ Chimney Flute 58 pipes

8′ Viole de Gambe 58 pipes

8′ Voix Céleste (TC) 46 pipes

4′ Principal 58 pipes

4′ Night Horn (4/5 taper) 58 pipes

2-2⁄3′ Nazard (2/3 taper) 58 pipes

2′ Recorder (ext 8′ Chim Fl) 24 pipes

1-3⁄5′ Tierce 58 pipes

1-1⁄3′ Larigot (c) (ext 2-2⁄3′ Naz) 8 pipes

1′ Fife (d) (from 8′ Chim Fl)

Mixture III–IV 179 pipes

16′ Basset Horn 58 pipes

8′ Trumpet 58 pipes

8′ Oboe 58 pipes

Tremulant

Swell to Great 16

Swell Silent

Swell to Great 4

PEDAL

16′ Violone (from Great)

16′ Sub Bass (wood) 32 pipes

8′ Principal (e)

8′ Viole de Gambe (from Swell)

8′ Gedeckt (from Gt Holz Gedeckt)

4′ Choral Bass 32 pipes

4′ Flute (from Gt Holz Gedeckt)

16′ Trombone (ext 8′ Trumpet) 12 pipes

16′ Basset Horn (from Swell)

8′ Trumpet (from Swell)

8′ Oboe (from Swell)

4′ Cantus Firmus (from Sw 16′ Basset)

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Chimes

(a) with Haskell qualifying tubes; extension of Swell 8′ Viole de Gambe

(b) C1–A#11 from 8′ Principal

(c) F#55–A58 repeat

(d) top octave repeats

(e) 1–12 from Great 8′ Principal, 13–32 from 4′ Choral Bass

 

Great Fourniture IV–V

C1 19 22 26 29

C13 15 19 22 26

C25 08 12 15 19 22

C37 01 08 12 15 19

C49 01 08 12 15

 

Swell Mixture III–IV

C1 15 19 22

C37 12 15 22

G44 08 12 15

C#50 01 08 12 15

F#55 01 08 15