New Organs

Berghaus Pipe Organ Builders, 

Bellwood, Illinois

Pilgrim Lutheran Church, 

St. Paul, Minnesota

The 31-rank organ at Pilgrim Lutheran, St. Paul, Minnesota, originally began its life as Schantz Organ Company Opus 1828 for Community Reformed Church, Zeeland, Michigan. In 2011, Berghaus Pipe Organ Builders transplanted the organ to Pilgrim Lutheran, and reconfigured it to fit within its new home.  

The Great and parts of the Pedal are located at the front of the chancel, which contains the Pedal 16′ Principal as façade pipes. Newly appointed casework, designed to enhance the chancel furnishings, was custom-built by Berghaus. The Swell division and remaining stops of the Great and Pedal are located in left chamber speaking into the chancel. Existing Schantz chests were repaired and combined with a new winding system to accommodate the new configuration. 

Given the new unencumbered tonal placement of the Great principal chorus, the pipes were revoiced utilizing lower pressures and a moderately open-toe style to yield a sound that is full, singing, and unforced. Warm flutes at 8′ and 4′ pitch, as well as a pair of Gemshorns, round out this division. The Swell, voiced on 4 inches wind pressure, remained unchanged, except for the addition of a III-rank Scharf to crown the minor principal chorus and reeds. The refurbished console was created by refinishing the existing Schantz shell and outfitting it with new solid-state components, including a Peterson Duo-Set combination action with 128 levels of memory and twelve-stage transposer.  

Scott Riedel of Riedel and Associates in Milwaukee, Wisconsin, served as the consultant, and the organ was formally dedicated in December 2011.

 

 

Berghaus Pipe Organ Builders

 

Berghaus Pipe Organ Builders, Bellwood, Illinois

Zion Lutheran Church (WELS), Columbus, Wisconsin

Located about twenty miles northeast of Madison, Zion Lutheran Church (WELS) is home to a rejuvenated instrument that originated from a blend of old and new ideas and materials. Consultant Wayne Wagner, director of music Matt Kanzenbach, and the builder agreed to retain as much of the Wangerin organ from the old church as possible, while expanding the stoplist in order to include new tonal possibilities that the instrument was missing. 

Selected Wangearin pipework, along with vintage ranks from Berghaus’s collection and new pipes, yielded a stoplist of 34 stops, 24 ranks, and 1,727 pipes over two manuals and pedal. Selected chests from the Wangerin organ were retained, restored, and integrated with new chestwork. The well-crafted and durable Wangerin pipework was cleaned, repaired, and revoiced. Certain ranks were relocated to better suit the stoplist and to allow for new pipes to take their place.

The entire instrument speaks directly across the sanctuary from its position above the choir. The main central division is the Swell, with a set of hardwood expression shutters, controlled by a 16-stage electric motor. It contains most of the original Wangerin diapason chorus, along with strings, flutes, and reeds. New flue additions include a 2′ metal flute, a 11⁄3′ Larigot, and a brilliant Scharf mixture. An English Oboe and French Clarion are new reed additions that provide additional color and brilliance. 

Divided on either side of the Swell box, the newly enhanced Great is founded on an entirely new chorus, complete with mutations and mixture. Retained wood flutes (both stopped and open) and dulcianas allow for softer accompaniments and solo textures. A new 8′ Principal leads the division with natural, singing sound, and its polished pipes form part of the façade. 

The Pedal division is a combination of Wangerin stops along with a new 8′ Principal stop that is extended to 4′ pitch. The large-scale Trumpet in the Swell is also extended 12 notes to 16′ pitch for tutti textures. The Pedal has variety of voices that can effectively balance any manual combination.

All new chests and winding were constructed of poplar, and the handsome custom casework is of rift-cut red oak. A new blower encased in the organ gives quiet, steady, and dependable wind to the entire instrument. 

A new combination action by Peterson Electro-Musical Products is installed in the original console, which was completely stripped and refinished. The ICS-4000 control system gives the organist multiple memory levels, piston sequencing, and record/playback settings. 

Completed in October 2015, the finished instrument makes a bold visual and musical statement, and it is capable of leading hymns and liturgy of the church as well as performing various schools of repertoire. On October 25, the organ was dedicated and first used in worship. A recital featuring Wayne Wagner and various Zion musicians was performed that afternoon.

—Jonathan Oblander, Tonal Director

 

Messiah Lutheran Church, 

Seattle, Washington

Marceau Pipe Organ Builders, Ltd., Seattle, Washington

Opus 32, 2014

Marceau Pipe Organ Builders has completed their Opus 32, a two-manual and pedal organ for Messiah Lutheran Church in the Wedgewood neighborhood of Seattle, Washington. This instrument is the first pipe organ for the church, replacing an ailing electronic substitute. The speakers were housed in what is now the Swell chamber. In order to accommodate the unenclosed Great and Pedal, a steel beam was installed, supported by the ceiling beams. In addition, a back wall was installed to help reflect the sounds of both the organ and choir into the nave. The existing carpeting in the balcony was also removed and replaced with hardwood flooring. These two significant changes help to improve the sound projection into the room quite successfully.

The tonal design of the organ is influenced by the Lutheran liturgy and the need for strong congregational participation in the singing of the hymns and service music. Both Principal choruses are based on 8′ pitch and when coupled deliver a most energetic result. The flutes are varied and colorful; the Swell Cornet II adds its own uniqueness and when the 4′ and 2′ flutes are added, takes on a much more French classic timbre. The Great 8′ Gemshorn was revoiced to add a much-needed accompaniment. This enhances the 8′ Gedeckt and is also a dynamic and color foil to the Swell strings. The reeds add richness to the Principal choruses; when the Swell reeds are combined, they provide a successful contrast to the Great Trumpet. The addition of a 16′ extension (Posaune) caps off the full ensemble. One of the unique elements of the tonal design is that all of the pipes were chosen from the pipe inventory of Marceau Pipe Organs. Given the variety of pipe makers, much time was given into proper scaling, voicing, and on-site regulation to achieve a unified musical ensemble.

All of the new windchests are of direct valve design and were built in the Marceau shop. The console was originally built by a reputable supply house, with an exterior of red oak. A new exterior of white oak was laminated onto the old surface with very successful results. The new stop rail and keycheeks are bubinga, providing a nice contrast to the white oak.

Projects of this nature cannot succeed without the efforts of many individuals. I wish to thank Noel Channon, organist at Messiah Lutheran, for his encouragement and trust in the project and his willingness to help out whenever needed. James Leary was instrumental in the installation of the support beam and providing exceptional help whenever needed. I am grateful to my staff for their efforts, especially Sean Haley, Tom Krisinski, Jim Van Horn, Gerrit Duys, Rusty Knorr, and Derek Curtis-Tilton. The completed organ was heard for the first time with a members recital presented by the Seattle AGO chapter.

—René A. Marceau

President and Tonal Director

 

GREAT

16′ Bourdon (ext Sw 8 St Diap) 12 pipes 

8′ Principal 61 pipes (1–11, 13–18 in façade) 

8′ Gedeckt 61 pipes (1–12 wood, 13–61 planed lead)

8′ Gemshorn 61 pipes (1–12 zinc, 13–61 50% tin)

8′ Harmonic Flute (1–12 from 8′ Viola and St. Diap, 13–61 from Sw. 4′ Fl)

4′ Octave (70% polished tin) 61 pipes 

4′ Koppelflute (50% tin) 61 pipes 

2′ Super Octave (from Mixture IV)

2′ Mixture IV (50% tin) 244 pipes 

8′ Trumpet 61 pipes  (1–12 zinc, 13–61 50% tin)

8′ Krummhorn (Sw)

SWELL

8′ Geigen (ext 4′ Principal) 12 pipes 

8′ Stopped Diapason (wood) 61 pipes 

8′ Viola 61 pipes (1–12 zinc, 13–61 50% tin)

8′ Viola Celeste, TC (50% tin) 49 pipes 

4′ Principal (60% lead) 61 pipes 

4′ Harmonic Flute (50% tin) 61 pipes 

22⁄3′ Cornet II (50% tin) 122 pipes 

2′ Octavin (50% tin) 61 pipes 

11⁄3′ Plein Jeu IV (50% tin) 244 pipes 

8′ Hautbois (50% tin) 61 pipes 

8′ Krummhorn (copper) 61 pipes 

PEDAL

16′ Subbass 32 pipes (3-8 in façade)

16′ Bourdon (from Sw 16′ Bourdon)

8′ Principal (from Gt 8′ Principal)

8′ Gedeckt (from Gt 8′ Gedeckt)

8′ Viola (from Sw 8′ Viola)

4′ Principal (from Gt 8′ Principal)

4′ Gedeckt (from Gt 8′ Gedeckt)

16′ Posaune (ext Gt 8′ Trumpet) 12 pipes 

8′ Trumpet (from Gt 8′ Trumpet)

4′ Clarion (from Gt 8′ Trumpet)

 

25 ranks 

1,520 pipes

Buzard Pipe Organ Builders, Champaign, Illinois: 

Opus 41, Trinity Lutheran Church, Sheboygan, Wisconsin

Buzard Pipe Organ Builders,

Champaign, Illinois

Opus 41, Trinity Lutheran Church, 

Sheboygan, Wisconsin

 

From the artistic director

Sometimes great new organs result when materials from older instruments are recrafted and repurposed. Many of the best builders throughout history have reused former instruments to varying degrees in their new work. Our Opus 41 began life as a Möller organ, rebuilt and enlarged several times during its history. We happily agreed to reuse the best of the existing materials, all the while considering this project a commission to build a new organ. The façade’s casework, for example, is the original Möller woodwork, redesigned and renewed, now including speaking pipes of the Great and Pedal 8′ Principals.

We respect our clients’ musical and liturgical needs, and the good work of those builders who preceded us. In this case, Trinity Lutheran Church wanted us to build them an organ that would meet the rich musical and liturgical needs of traditional Lutheran worship, honor the gifts of past donors of the existing organ, and respect the deep German heritage of the congregation and the wider community. They loved the tonal depth of our organs, but wondered if we could perhaps stretch our “Anglo-American” style and thereby create a unique work of art—just for them. 

My organ-playing roots go deep into the performance of the great works of Bach, and the exciting “turning of the tables” that the Organ Reform Movement brought to our profession at the time I was just beginning organ study. My love for romantic textures and symphonic registrational colors developed as a synthesis of these colors into the well-precedented framework of classic organbuilding, not from a rejection of the lessons the Organ Reform Movement taught. An organ for Lutheran worship must be classically conceived, with a hierarchical ordering of the divisions and the choruses within those divisions. (Oh . . .  but that’s also how we go about designing an Anglican organ as well . . .) 

The greatest artists throughout history are those who have taken existing styles and stretched them to make their own new style. So it is with styles of organbuilding. It is the classic discipline that we follow (which extends from the pipe scaling and voicing through the use of slider and pallet windchests), which allows us to craft our sound to meet a wide variety of contexts. For example, an organ for Lutheran worship should not be exclusively thin, top-heavy, and screechy (as are many examples of Organ Reform organs); on the other hand, its Principals probably shouldn’t be Diapasons because its music places a greater importance on transparency of tone. A successful organ—style, denomination, and musical use notwithstanding—needs to be able to text-paint the words being sung or the mood being communicated by the composition. A significant part of Lutheran hymnody expresses profound darkness alongside the joyous light of redemption. Therefore, ought not its organ also be able to portray darkness as well as light? Shouldn’t the organ be able to thunder and shake the floor—even when playing softly?

We were blessed to receive a strong endorsement of our work by Kantor Rev. Richard Resch from Concordia Theological Seminary in Fort Wayne, Indiana, and gratefully accepted an invitation to build this organ from Trinity Lutheran Church’s director of music, Brian Heinlein. We were asked to create the quintessential “Lutheran organ” for Trinity parish’s expansive and impressive music program, combining the overall effect of our own “house style” with the specific items that differentiate the two. The result of the full organ, and the ability to make seamless crescendos and diminuendos, is that of a Buzard organ—one simply gets to full organ a bit differently!  Principals are light in nature, flutes transparent. Strings are typically rich and warm, and in one instance explore colors created by tapered pipes. Reeds, while quite similar to those found in our other new work, are slightly adjusted to the nature of what was wanted.

The most recent previous rebuild had been undertaken by the former Schlicker Organ Company. A significant amount of the pipework added during this rebuilding was new. The Schlicker organ used low wind pressures and therefore low cut-ups in the flue pipes. Thus it was economically and artistically responsible to reuse them, altering the scales as appropriate, and cutting the mouths higher to meet the new tonal context. The original Pedal 16′ open wood Diapason was retained, modified with new beards and proper tuning panels. The original Swell/Pedal 16′ Lieblich Gedeckt was too small of scale to do its job, so we made four new pipes, which are mitered and bolted to the ceiling of the Swell expression box. 

Our tonal director, Brian Davis, created this magical synthesis. Even before tonal finishing began, we could all tell that this was going to be a very special organ for everyone concerned. Each of our organs is a custom-designed and custom-built musical instrument, because we draw upon an intimate knowledge of many styles and schools of voicing, as well as aspects of tonal design, for the particular musical contexts at hand. Add to that sensitivity for one’s individual style and you have the making of art.

Ours is one of few modern commercial organbuilding firms that dares to believe it can create a unique place in the profession and its history by developing an individual artistic style. All of our visual and tonal designs, the engineering and execution, are accomplished in-house by our own artists and craftsmen. True, our style is inspired at its core by what some specific instruments have had to say to me. But it is the timeless concepts of classic organbuilding that provide the perfect framework to allow our style to thrive on its own, or be molded, shaped, and finessed to satisfy other contexts. When an organ bears the Buzard name, you know that the Art is never “outsourced!”

—John-Paul Buzard, President & Artistic Director

 

From the tonal director

The project for Trinity Lutheran Church in Sheboygan was full of tonal challenges from the very beginning. We were commissioned to build an organ for the parish that would meet the needs of the Lutheran liturgy as well as perform the huge treasury of music written for the church. On top of that, this instrument also needed to be able to convincingly play more modern and romantic repertoire. The old instrument had been redone several times by various firms and was leaning in the direction of bright and thin. Some stops individually sounded pretty, but had nothing else in the organ with which to blend. Herein was the largest problem of the old instrument. It did not meet the first and foremost requirement in organs that I voice, which is that the stops must blend, blend, blend! A copy of a set of pipes from “Saint So and So” doesn’t automatically mean that it will be successful in a coherent instrument! You can scale things properly so that they will blend, and still capture the essence of the sound you are seeking.

And so we set forth on conceiving a tonal design that would blend well, fill the sanctuary with sound, and satisfy the musical needs of the congregation. Scales needed for the job were drawn up. When old pipes could be fit into the scheme they were reused. Several were liberally rescaled to make them work in the new sound scheme. Where there were gaps in the scaling concept, new pipes were ordered to fill these in. In this way, a pool of properly scaled pipework was ready to be voiced, with the intention of having a bit brighter sound than what we would do otherwise. Nicking is light, and the pipes have a light speech to them, which is charming but never dominates the tone itself. The result is an organ in which the flues are warm and singing and crowned by upperwork that is bright, but does not overshadow the lower pitches. It is very much a concept from the Organ Reform Movement. Many organs in Europe that inspired the Organ Reform Movement are like this and perform as such in their own environment. That is the key! We do not copy what we see and hear in older organs but rather strive to recreate the essence of this sound in our rooms, changing what is necessary about pipe construction in order to achieve this.

The reeds in the organ are what give the instrument its special character. Overall they are brighter than what we normally would use, as the instrument as a whole is also this way. Stops more traditional to what one would find in a Lutheran organ are also employed in the instrument. The Schalmei, Dulzian, and Fagott are all present in the organ as well as a variety of trumpets. Following the concept of creating what is needed, rather than just copying what was done in an organ of the past, led to new sounds coming out of a Buzard organ. Many hours of consulting with our pipe maker, Christoph Ulmer at Killinger Pfeifen Freiberg, went into developing these reeds. He would look at the scale and shallot suggestions I proposed, shake his head and call me a crazy Texan, and then use them to create unique and truly beautiful voices for the organ, which make the instrument so versatile. Only one old reed was of use in the new instrument. The old swell Oboe 4′ had a new bottom octave made for it. The stop was originally too soft to be useful, but the scale and lengths of the pipes were good. The shallots were therefore milled open here at our shop and new tongues were cut so that the revoiced Oboe would sing at an appropriate volume.

Reusing old pipework in a rebuild of an organ is infinitely more difficult than simply starting from scratch with a totally new instrument. I am honored by the trust placed in us by Kantor Richard Resch and the music director at Trinity Lutheran, Brian Heinlein. The support of the entire congregation was wonderful! You will not find better people to work with anywhere. It is my hope that our creation will serve God and them as well for years to come!

—Brian K. Davis, Tonal Director

From the director of music

The organ at Trinity Lutheran Church was first installed by the Möller Organ Company in 1927. Over the next 85 years the instrument was rebuilt or revoiced three different times by three different organ companies. The tonal scheme changed dramatically during that time period as the organ increased in size from 20 to 39 ranks. In the late 1990s, we realized something needed to be done to break the cycle of organ alterations that were being made once every decade. Plans were made to install a completely new instrument, but the project never moved forward.

Ten years later we contacted John-Paul Buzard Pipe Organ Builders and asked them for a proposal for an extensive organ renovation that would use the best components of the old organ to craft a new instrument. We desired an instrument that was similar to the neo-baroque sound to which we were accustomed, but with more warmth and foundational pitches than were present in the existing instrument. We also wanted an organ that would last for 100 years without a need for major repairs or modifications. The Buzard Company identified exactly what we were looking for and built us an instrument that exceeded our expectations in every aspect.

Most of the principal chorus and mixtures were reused from the previous instrument. Under the skillful hand of tonal director Brian Davis, the mixtures were voiced to maintain the brilliance we desired, but without being as harsh and strident as they were previously. Many of the existing flutes were also rescaled and revoiced. Prior to renovation, the instrument contained three 8′ flutes that were almost indistinguishable from one another. Today we now have four 8′ flutes with unique timbres and varying dynamic levels. All new strings were also added to the instrument. When the Swell Salizional and flutes are played together, they blend so perfectly that one would think it was a Stopped Diapason.

The most noticeable tonal improvements were made in the reeds. Aside from a reused Oboe, all of the reeds in this instrument are new. The Swell reeds have a fiery brilliance that contrasts nicely with the darker timbre of the reeds in the Great division. Where the previous instrument had all half-length reeds, we now have new full-length 16′ reeds that provide a solid foundation to the new organ sound. While the Festliche Trompete is absolutely thrilling to hear, the new Dulzian is equally as impressive. Its tone is a cross between a Krummhorn and a Clarinet and possesses the best characteristics of each stop.

All of these improvements result in an instrument that looks and sounds as it never has before. Parishioners have commented on how much easier it is to sing with the new organ than with the previous instrument. The sound is clearer and the pitches are in the proper proportions between high and low registers. Through the skillful engineering of Chuck Eames, all 52 ranks of the instrument fit in the same space as the previous instrument, and yet the pipes are more accessible for tuning and maintenance.

As Lutherans, our weekly time together in the Divine Service is filled with sung liturgy and hymns. We have identified the pipe organ as the best instrument to lead congregational singing, as it is able to “text-paint” the hymns in meaningful and varied ways. This project has preserved the best pipework given to us by our predecessors and blended it seamlessly into a new instrument that will serve many generations in the years to come. Soli Deo Gloria.

—Brian Heinlein

Director of Music

 

Buzard Pipe Organ Builders, Opus 41 

Trinity Lutheran Church, Sheboygan, Wisconsin

 

GREAT

16′ Lieblich Gedeckt (Sw)

8′ Prinzipal (polished tin in façade)

8′ Rohrflöte

4′ Oktav

4′ Flöte

22⁄3′ Quint

2′ Oktav

Mixtur IV

16′ Englisch Horn

8′ Trompete

Tremulant

Zimbelstern (digital)

Chimes (25 notes, digital)

8′ Festliche Trompete 

    (horizontal inside case)

 

* Festliche Trompete stops are not affected by any couplers in any division, nor by couplers between divisions.

SWELL

16′ Lieblich Gedeckt (wood)

8′ Spitzflöte

8′ Holz Gedeckt (from 16′)

8′ Salizional

8′ Schwebung (TC)

4′ Prinzipal

4′ Kleinflöte

22⁄3′ Nasat

2′ Flachflöte

13⁄5′ Terz

Groß Mixtur IV

16′ Fagott

8′ Trompete

8′ Oboe

4′ Klarine (from 16′)

Tremulant

8′ Festliche Trompete (Gt)

 

POSITIV

8′ Harfenpfeife

8′ Metal Gedeckt

4′ Prinzipal

4′ Blockflöte

Kornet II

2′ Oktav

2′ Pfeife

11⁄3′ Larigot

Zimbel III

8′ Dulzian

Tremulant

16′ Festliche Trompete (Gt)

8′ Festliche Trompete (Gt)

4′ Festliche Trompete (Gt)

 

 

PEDAL

32′ Untersatz (digital)

16′ Holz Prinzipal

16′ Subbass

16′ Lieblich Gedeckt (Sw)

8′ Oktavbass (polished tin in façade)

8′ Gedeckt (ext 16′ Subbass)

8′ Lieblich Gedeckt (Sw)

4′ Choralbass (ext 8′)

4′ Nachthorn

Mixtur IV

32′ Kontra Posaune (digital)

16′ Posaune

16′ Fagott (Sw)

8′ Trompete (ext 16′)

8′ Schalmei

8′ Festliche Trompete (Gt)

 

40 independent speaking stops, 52 ranks across three manuals and pedal

Austin Organs, 

Hartford, Connecticut

Opus 2344 (1961 and 2014)

St. Mark’s Episcopal Church,

New Canaan, Connecticut

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

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

 

From the musician

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

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

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

—Brian-Paul Thomas

Organist and Choirmaster

From the builder

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

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

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

 

Tonal matters

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

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

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

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

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

 

Conclusion

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

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

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

—Michael B. Fazio

Austin Organs, Inc.

President and Tonal Director

 

 

 

 

John-Paul Buzard

Buzard Pipe Organ Builders, Champaign, Illinois, Opus 44 

Grace Episcopal Church, 

Sandusky, Ohio

Buzard Pipe Organ Builders Opus 44, a three-manual and pedal instrument, contains 47 independent registers and 61 ranks of pipes, retaining many ranks from the parish’s former instruments.

Grace Church’s culture is one of intense concern for stewardship and sustainability. They waste nothing; they cherish items of value from the past whenever possible. The need for a new organ therefore posed both a challenge and an opportunity. They asked us to save everything that was good about the previous instrument, but not at the expense of mechanical reliability or tonal cohesion. The previous organ had been rebuilt and substantially altered three times, and everyone acknowledged that it was time for the instrument to speak consistently with a single artistic voice.

The organ started its life in 1893 as Oåpus 793 of Johnson & Son of Westfield, Massachusetts. It was well-made and typical of late 19th-century mechanical-action instruments. The original façade of stenciled pipes wrapped around the case front to the side facing the congregation. In the 1960s, the Schlicker Organ Company rebuilt the organ under the guidance of Robert Noehren, retaining some of the Johnson’s pipes and the mechanical key action. However, string pipes were cut down to play at higher pitches, mixtures were added, some new reeds appeared, others were retained and made to play on significantly lower wind pressures, and the character of the organ was changed forever. In the early 1970s, the organ was rebuilt again, this time by Daniel Pilzecker. The wrap-around stenciled façade pipes were replaced with polished zinc and dark brown flamed copper Pedal Principal pipes, and the façade was given its current contemporary look utilizing simple rectangular frames. The central portion of the Pilzecker façade sported a narrow-scaled Trumpet stop. The Pilzecker rebuild also retained the organ’s mechanical key actions.

This was not a happy organ. Its thin and bright sounds did not carry into the church. Pipes originally voiced on 5″ of wind pressure were tasked to play on pressures less than half of that. The mechanical action was clumsy, heavy, and the cause of increasing frustration. In the 1980s the congregation addressed the musical deficiencies by building a ten-stop Antiphonal organ in twin C-and-C# cases on either side of a window in the rear gallery. Although this assisted in musically supporting congregational singing, its electrical connection to a failing mechanical system spelled further doom for the Johnson/Schlicker/Pilzecker organ in the chancel.

Grace Church’s organist, Randall Ruthsatz, a long-standing veteran of the old instrument, knew that the only real way for an organ to succeed at Grace was to start over. But, the parish’s culture of placing high value on its past efforts posed a potential problem. Several current parishioners were part of the 1970s rebuilding project; the parish had just said good-bye to a much-loved priest; the interim rector was both holding the church together and finding ways to widen the parish’s ministry to the people of Sandusky. This would be a difficult time to undertake a large project.

In order to determine what could be possible, we thoroughly researched the existing instrument. Chief engineer Charles Eames and tonal director Brian Davis found ways to re-use as much as possible from the three iterations of previous organs—and yet be able to create a Buzard organ. The instrument had to be considered new; but the parishioners needed to be able to take comfort in that a great amount of their old instrument would be represented in it, and that by doing so they would be extraordinarily better stewards of the church’s history and finances than if they had rebuilt the organ yet again. Keith Williams and I met with then interim rector Jan Smith Wood (who later became Grace Church’s permanent rector) and communicated the most important benefit that a properly designed, scaled, voiced, and built organ could provide: inspired worship and deepened connection with God. 

Knowing that this was likely the last opportunity that Grace Church would have to undertake an organ project, we recommended that they retain consultant Scott Riedel to guide them through the process and provide them with a comfort factor in view of the project’s cost. He confirmed the wisdom of our approach and communicated to the vestry our high reputation for respect of original builders’ work in other projects in which we had previously collaborated —and our reasonable pricing. 

We kept the beautiful Johnson wooden flutes, although Brian rescaled them a few notes larger; the Great and Positiv mixtures from the 1960s were re-composed and revoiced for the new context and to be compatible with our style; the dark flamed copper 16′ Pedal Open Diapason pipes were cut up higher and winded properly; the Pedal Principal and Mixture using original Johnson pipes were retained, as was the original Vox Humana. The Vox was most unhappy, having been originally voiced on 5″ wind, but being made to play on 2¼″. Brian re-tongued the pipes, shortened their resonators, and modified the caps to produce a colorful, more Continental sound. It can be as Romantic as you like, but without the tremulant it colors the Swell flues quite convincingly for Baroque literature.

Because so much of the original pipework was previously altered to appeal to an “Organ Reform” sensibility, we felt the need to keep the tonal leaning of the organ to the classic side. However, we created our signature warmth and tonal vitality with both the revoicing techniques Brian employed on the old pipes and the new flues and colorful reeds we added. Since we retained the 16′ Pedal Diapason pipes in the façade, we also reused the façade’s toeboards and their pipe spacing to provide an overall appearance similar to the previous organ. But where the 8′ Trumpet formerly stood (or sagged!), we installed a new wooden 8′ Dulzian, which plays on the Choir. Its warm, round, and mildly throaty tone is magic with Renaissance music, but it blends and balances with any flue stop in the enclosed portion of the Choir located in the expression box behind and above it. I had fun enameling and decorating its maple resonators.

The result is a dynamic liturgical instrument, which, because of careful and informed scaling and rescaling, voicing and revoicing, will play anything thrown at it musically and energetically. Just like on the HGTV show “Fixer-Uppers,” we encountered some unexpected flaws in quality of one of the previous rebuilds, completely inconsistent with the high level of the original Johnson workmanship. This is where our commitment to excellence in the finished product was not only put to the test but confirmed by the end result.