New Organs: Schoenstein & Co. Opus 181

Schoenstein & Co., Benicia, California

First United Methodist Church, Montgomery, Alabama

When an organ builder approaches a new project there are many challenges, and acoustical environment is generally the most difficult. A good deal of credit for a beautiful musical instrument must go to the room that shapes its sound; likewise, a poor acoustic can limit the potential of even the best-designed organ.

We were delighted by the grand proportions of First United Methodist Church, Montgomery, Alabama, but its acoustical effect was disappointing. The church engaged Paul Scarbrough of Akustiks, Norwalk, Connecticut, to improve the acoustic profile. A detailed and lengthy study resulted in recommendations that were practical—achieving maximum result for time and money spent.

A great deal of credit for the success of our instrument goes to the organ committee and musicians for insisting on implementing the improvements. The key was to improve the reflection of the nave side walls. This created a more even, warm acoustic for the organ and for all music by increasing the reflection of sound during and immediately after it is produced. These considerations are far more important than long reverberation time. The room is now balanced acoustically, looks appealing, and serves myriad uses.

The musicians of First United Methodist Church were supportive clients who trusted our vision for the organ. The church’s long history of great music includes lots of organ-accompanied choral repertoire, and the congregation carries on the Methodist tradition of robust hymn singing. We designed the organ around these two primary musical needs. The Great division contains multiple diapasons to support the congregation, and a large Swell division with double-enclosure gives more expressive control for accompanying. The Choir division is housed in a shallow, tall chamber, requiring a two-level design with pipes arranged carefully for tuning stability and easy maintenance. This is also where the 16′ Bourdon of the organ resides, allowing the bass tone to be brought down to ppp under the whisper stops across the chancel in the Swell.

The team at First Church—music director James Seay, assistant director and organist Joshua Coble, and consultant Andrew Risinger—recognized that the best way to achieve a truly wonderful organ sound is excellent acoustics. We hope the new organ and resonant church serve this congregation for generations to come.

—Bryan Dunnewald
Schoenstein & Co.

Photo credit: Louis Patterson

GREAT (Manual II)

16′ Double Open Diapason 61 pipes

8′ First Open Diapason 61 pipes

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

8′ Harmonic Flute 61 pipes

8′ Salicional (Choir)

8′ Lieblich Gedeckt (Choir)

4′ Principal 61 pipes

4′ Lieblich Gedeckt (Choir)

2-2⁄3′ Sesquialtera II 115 pipes

2′ Fifteenth 61 pipes

2′ Mixture IV 201 pipes

16′ Ophicleide (Choir)

8′ Tuba (Choir)

8′ Solo Trumpet (Choir)

Chimes (digital)

Great Unison Off

SWELL (Manual III, enclosed)

16′ Contra Gamba (ext 8′) 12 pipes

8′ Open Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Echo Gamba 61 pipes

8′ Vox Celeste 61 pipes

8′ Cor Seraphique† 61 pipes

8′ Voix Angelique (TC)† 49 pipes

4′ Gemshorn 61 pipes

4′ Harmonic Flute 61 pipes

2′ Octavin 61 pipes

2′ Mixture III–V† 236 pipes

16′ Posaune† 61 pipes

8′ Trumpet† 61 pipes

8′ Posaune (ext 16′)† 12 pipes

8′ Oboe 61 pipes

4′ Clarion† (ext 16′) 12 pipes

Tremulant

Swell 16′

Swell Unison Off

Swell 4′

†On high pressure under double expression

CHOIR (Manual I, enclosed)

16′ Bourdon 24 pipes

8′ Salicional (Bourdon bass) 49 pipes

8′ Unda-Maris (TC ) 49 pipes

8′ Lieblich Gedeckt 49 pipes (Bourdon Bass)

4′ Salicet (ext 8′) 12 pipes

4′ Lieblich Gedeckt (ext 8′) 12 pipes

2-2⁄3′ Twelfth (TC, fr Nineteenth)

2-2⁄3′ Nazard (fr Lieblich Gedeckt)

2′ Fifteenth (ext 4′ Salicet) 12 pipes

1-3⁄5′ Tierce (TC) 42 pipes

1-1⁄3′ Nineteenth 54 pipes

16′ Ophicleide† (ext 8′) 12 pipes

8′ Tuba† 61 pipes

8′ Solo Trumpet†† 61 pipes

8′ Corno di Bassetto 61 pipes

8′ Oboe (Swell)

Tremulant

Choir 16′

Choir Unison Off

Choir 4′

Cymbelstern

†High pressure

††Retained from previous organ, unenclosed with Great

GALLERY (floating)

8′ Open Diapason 49 pipes (Chimney Flute bass)

8′ Chimney Flute 61 pipes

8′ Dulciana 49 pipes (Chimney Flute bass)

4′ Principal 61 pipes

4′ Chimney Flute (ext 8′) 12 pipes

PEDAL

32′ Resultant

16′ Open Metal 32 pipes

16′ Diapason (Great)

16′ Gamba (Swell)

16′ Bourdon (Choir)

8′ Principal 12 pipes

8′ Flute (Great)

8′ Stopped Diapason (Swell)

4′ Fifteenth 12 pipes

4′ Flute (Great)

32′ Contra Posaune (ext Sw) 12 pipes

16′ Ophicleide (Choir)

16′ Posaune (Swell)

8′ Tuba (Choir)

8′ Posaune (Swell)

4′ Corno di Bassetto (Swell)

8′ Solo Trumpet (Choir)

Chimes (Great)

Couplers

Great to Pedal

Great to Pedal 4′

Swell to Pedal

Swell to Pedal 4′

Choir to Pedal

Choir to Pedal 4′

Swell to Great 16′

Swell to Great

Swell to Great 4′

Choir to Great 16′

Choir to Great

Choir to Great 4′

Swell to Choir 16′

Swell to Choir

Swell to Choir 4′

Great to Choir

Choir to Swell

Gallery on Great

Gallery on Swell

Gallery on Choir

Gallery on Pedal

 

All Swells to Swell

Manual I/II Transfer

All Divisionals Become Next

 

MECHANICALS

Solid State capture combination action:

• 5,000 memories

• 56 pistons and toe studs

• 6 reversibles including Full Organ

• Programmable piston range

• Piston sequencer

Record/Playback system

Electro-pneumatic action

33 voices, 41 ranks, 2,423 pipes

Builder’s website: schoenstein.com

Church website: fumcmontgomery.org

Schoenstein & Co., Benicia, California

Grace and Saint Stephen’s Episcopal Church, Colorado Springs, Colorado

The 1928 Welte-Mignon Corporation organ at Grace and Saint Stephen’s Episcopal Church in Colorado Springs is a remarkable example of American symphonic organ building. It is filled with 8′ tone of every color and volume; it uses smart tonal design and voicing; its expressive capabilities are vast. These are all values we uphold nearly a century later, and so we were excited at the chance to complete this organ by adding an antiphonal division at the west end.

Welte’s original specification called for an antiphonal organ to draw the sound of the main organ to the back of the church. Over the years an additional musical problem emerged: bass did not carry well past the chancel. Rhythmic pulse did not come through to aid in hymn singing and processions. We wanted to design an antiphonal division that would enhance the already-expressive main organ while remaining small and practical. The space for the division was very tall and shallow, meaning there was no room for swell shades. Stops chosen had to be planned carefully for maximum color and dynamic variety. The tall space did, however, allow plenty of room for 16′ pipes.

Our antiphonal organ of electro-pneumatic action comprises three diapasons, one chimney flute, and a harmonic tuba. The three diapasons are of different tones and volumes. The 8′ Diapason is in line with our usual approach to antiphonal divisions: a softer, small-scale diapason to help congregational singing. This diapason draws the sound of a rich, sonorous registration from the main organ to the back of the church without drawing attention to itself.

For more versatility another diapason of a milder tone was added. The Echo Diapason allows the organist to bring the sound of mezzo-piano Swell registrations from the main organ to the back of the church. This stop blends perfectly with the Welte Horn Diapason. With the Echo Diapason off, the Swell sounds more distant, lighter—a fine effect. With the Echo Diapason on, that same Swell sound becomes more present and gently surrounds the listener. Extension to 16′ pitch solves the rhythmic pulse problem with a clear, fast-speaking bass.

The Principal Conique is a way to bring subtle brilliance to the rear of the church as the main organ’s registration grows in volume. With reeds drawn on the Welte organ, the three diapasons in the antiphonal give the main organ presence without sacrificing character or distracting the listener. The Chimney Flute, an English Lieblich Gedeckt, colors the other 8′ flues, expanding timbral possibility for each dynamic level. It also serves to draw the many flute voices of the front organ back, allowing for the magical “flutes all around” effect. The Harmonic Tuba fits right in with the rest of the organ, heralding the entrance of the procession or accompanying the choir in the Howells Collegium Regale service.

When listening to both organs working together, one probably thinks the antiphonal organ is enclosed—if it is noticed it at all! The new division can keep in lockstep with the main organ, from soft flutes to warm diapasons to rich reeds. Our mission to complete an organ installed nearly one hundred years ago in our shared symphonic ideal was a challenge, especially without the aid of swell shades. This project illustrated just how expressive unenclosed voices can be with the right design and voicing. Our thanks go to organist and choirmaster Simon Jacobs, acting organist and choirmaster Scott Christiansen, as well as consultants Joseph Galema and Ralph Valentine, for giving us the opportunity. This project was funded through a generous gift from Conni Eggers. We hope our antiphonal organ brings out the beauty of the Welte organ for generations to come, giving even more musical possibility to a grand old instrument.

—Bryan Dunnewald

Schoenstein & Co.

ANTIPHONAL (Floating)

16′ Echo Diapason (ext 8′) 12 pipes in display

8′ Diapason 61 pipes 12–21 in display

8′ Echo Diapason 61 pipes 1–8 in display

8′ Chimney Flute 61 pipes

4′ Principal Conique 61 pipes

4′ Echo Diapason (ext 8′) 12 pipes

4′ Chimney Flute (ext 8′) 12 pipes

8′ Harmonic Tuba (tenor A)† 42 pipes 

Existing couplers

†Hooded in display under west window

ANTIPHONAL PEDAL

16′ Echo Diapason

8′ Diapason

8′ Chimney Flute

4′ Principal Conique

This division is an addition to a magnificent Welte-Mignon Corporation symphonic organ of 1928 and is controlled from its console. An Antiphonal was planned for later addition in the original installation.

Builder’s website: schoenstein.com

Church website: gssepiscopal.org

Photo credit: Louis Patterson

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

Two perspectives

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

—JMB

The consultant’s role

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

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

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

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

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

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

­—Sean O’Donnell, Consultant

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

—JMB

A voicer’s vision

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

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

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

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

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

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

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

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

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

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

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

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

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

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

­—Timothy Fink, Schoenstein & Co.

—Jack M. Bethards, Schoenstein & Co.

Photo credit: Louis Patterson

 

GREAT (Manual II)

16′ Double Diapason 61 pipes

8′ Grand Diapason (Ch)

8′ Open Diapason No. 1 61 pipes

8′ Open Diapason No. 2 61 pipes

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

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

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Octave (ext 16′) 12 pipes

2′ Fifteenth 61 pipes

2′ Mixture (III–IV) 187 pipes

8′ Trumpet 61 pipes

8′ Corno di Bassetto (Ch)

Cymbelstern

SWELL (Manual III, enclosed)

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

8′ Horn Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Echo Gamba 61 pipes

8′ Vox Celeste 61 pipes

4′ Gemshorn 61 pipes

2′ Flageolet 61 pipes

2′ Mixture (III–IV) 192 pipes

16′ Contra Posaune 61 pipes

8′ Cornopean 61 pipes

8′ Posaune (ext 16′) 12 pipes

8′ Oboe Horn 61 pipes

Tremulant

Swell Sub Octave

Swell Unison Off

Swell Super Octave

CHOIR (Manual I, enclosed)

8′ Dulciana 61 pipes

8′ Unda-Maris (TC) 49 pipes

8′ Lieblich Gedeckt 61 pipes

4′ Dulcet (ext 8′) 12 pipes

4′ Lieblich Flute (ext 8′) 12 pipes

2-2⁄3′ Nazard (fr Lieb Ged)

8′ Corno di Bassetto 61 pipes

Tremulant

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

8′ Tuba (unenclosed) 61 pipes

8′ Tuben II (Swell)†

8′ Trumpet (Great)

Choir Sub Octave

Choir Unison Off

Choir Super Octave

† Draws Sw Cornopean and Posaune

PEDAL

32′ Double Open Wood† 12 pipes

16′ Open Wood 32 pipes

16′ Open Diapason (Gt)

16′ Lieblich Bourdon (Sw)

8′ Open Bass (ext 16′ Open) 12 pipes

8′ Dulciana (Ch)

8′ Stopped Diapason (Sw)

4′ Harmonic Flute (Gt)

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

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

16′ Posaune (Sw)

8′ Tuba (Ch)

Gt & Ped Combinations Coupled

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

Intermanual couplers

Swell to Great

Swell to Choir

Choir to Great

Great to Pedal

Swell to Pedal

Choir to Pedal

Notes

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

Manual Sub Octaves do not couple to the Pedal.

Mechanicals

Solid state capture combination action:

100 memories

52 pistons and toe studs

5 reversibles

Programmable piston range

Record/playback system

TONAL ANALYSIS

PITCH SUMMARY

16′ and below 3 12%

  8′ 16 64%

  4′ and above 6 24%

25 100%

TONAL FAMILIES

Diapasons 12 48%

Open flutes 2 8%

Stopped flutes 3 12%

Strings 2 8%

Chorus reeds 4 16%

Color reeds 2 8%

25 100%

Three manuals, 25 voices, 31 ranks

Electric-pneumatic action

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

Church website: www.redeemerchestnuthill.org

Schoenstein & Co., Benicia, California

Saint Alban’s Episcopal Church, Waco, Texas

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

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

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

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

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

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

­—Bryan Dunnewald
Schoenstein & Co.
Benicia, California

Photo credit: Louis Patterson

 

GREAT (Manual II)

16′ Double Diapason 61 pipes

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

8′ Gallery Open Diapason (Solo)

8′ First Open Diapason 61 pipes

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

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

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Octave (ext 16′) 12 pipes

4′ Spire Flute 61 pipes

2-2⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

1-3⁄5′ Seventeenth 54 pipes

2′ Mixture III–IV 187 pipes

8′ Solo Trumpet (Solo)

SWELL (Manual III)

16′ Lieblich Bourdon (ext 8′) 12 pipes

8′ Horn Diapason 61 pipes

8′ Gamba 61 pipes

8′ Gamba Celeste 61 pipes

8′ Chimney Flute 61 pipes

4′ Gemshorn 61 pipes

4′ Chimney Flute (ext 8′) 12 pipes

2-2⁄3′ Nazard (fr 8′ Chimney Flute)

2′ Fifteenth (ext 4′ Gems) 12 pipes

2′ Mixture III 166 pipes

16′ Contra Posaune 61 pipes

8′ Cornopean 61 pipes

8′ Posaune (ext 16′) 12 pipes

8′ Oboe Horn 61 pipes

8′ Vox Humana 61 pipes

Tremulant

SOLO (Manual I)

8′ Solo Trumpet 61 pipes

Choir stops

8′ Dulciana 61 pipes

4′ Dulcet (ext 8′) 12 pipes

2′ Fifteenth (ext 8′) 12 pipes

8′ Clarinet 61 pipes

Gallery stops

8′ Gallery Open Diapason 61 pipes

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

8′ Flauto Continuo 61 pipes

4′ Salicet (ext 8′) 7 pipes

4′ Flute (ext 8′) 7 pipes

Solo stops from Great

8′ Grand Open Diapason

8′ First Open Diapason

8′ Harmonic Flute

Solo stops from Swell

8′ Horn Diapason

8′ Gamba

8′ Gamba Celeste

8′ Tuben†

8′ Oboe Horn

8′ Vox Humana

Cymbelstern

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

PEDAL

32′ Resultant† 12 pipes

16′ Open Bass 32 pipes

16′ Double Diapason (Great)

16′ Bourdon (Swell)

8′ Principal (ext 16′ Open) 12 pipes

8′ Open Diapason (Great 8′ 2nd Open)

8′ Stopped Diapason (Swell)

4′ Fifteenth (ext 16′ Open) 12 pipes

4′ Flute (Great 8′ Harmonic Flute)

32′ Cornet (derived)

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

16′ Contra Posaune (Swell)

8′ Cornopean (Swell)

4′ Clarinet (Choir)

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

 

Usual couplers and accessories

27 voices, 32 ranks, 1,986 pipes

Electric-pneumatic action

Schoenstein & Co., Benicia, California

Saint John’s Episcopal Church, Tulsa, Oklahoma

Schoenstein & Co., Benicia, California

Saint John’s Episcopal Church, Tulsa, Oklahoma

Selling the idea

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

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

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

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

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

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

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

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

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

—Joseph Arndt, Music Director

Saint John’s Episcopal Church

The organ’s inner beauty

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

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

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

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

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

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

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

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

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

—Louis Patterson,

Vice President and Plant Superintendent

Schoenstein & Co.

Collaboration

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

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

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

—­Adam Pajan, Artist in Residence

Saint John’s Episcopal Church

 

GREAT (Manual II)

16′ Double Diapason 61 pipes

8′ First Open Diapason 61 pipes

8′ Second Diapason (ext 16′) 12 pipes

8′ Harmonic Flute 61 pipes

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Silver Flute 61 pipes

22⁄3′ Twelfth (TC) 42 pipes

2′ Fifteenth 61 pipes

13⁄5′ Seventeenth (TC) 42 pipes

11⁄3′ Mixture III–IV 187 pipes

8′ Trumpet 61 pipes

SWELL (Manual III, expressive)

16′ Lieblich Bourdon (ext 8′) 12 pipes

8′ Horn Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Gamba † 61 pipes

8′ Gamba Celeste † 61 pipes

4′ Gemshorn 61 pipes

4′ Harmonic Flute 61 pipes

2′ Flageolet 61 pipes

2′ Mixture III–V † 236 pipes

16′ Contra Fagotto † 61 pipes

8′ Cornopean † 61 pipes

8′ Fagotto (ext 16′) † 12 pipes

8′ Oboe Horn 61 pipes

Tremulant

† Stops under double expression

CHOIR (Manual I, expressive)

16′ Double Dulciana (ext 8′) 12 pipes

8′ Dulciana 61 pipes

8′ Unda-Maris (TC) 49 pipes

8′ Concert Flute 61 pipes

8′ Lieblich Gedeckt 49 pipes (Concert Flute Bass)

4′ Concert Flute (ext 8′) 12 pipes

4′ Lieblich Gedeckt (ext 8′) 12 pipes

22⁄3′ Nazard (fr Lieb Ged)

16′ Ophicleide (ext 8′) 12 pipes

8′ Tuba 61 pipes

8′ Flügel Horn 61 pipes

8′ Corno di Bassetto 61 pipes

Tremulant

PEDAL

32′ Resultant

16′ Open Wood 32 pipes

16′ Double Diapason (Gt)

16′ Double Dulciana (Ch)

16′ Lieblich Bourdon (Sw)

8′ Principal 32 pipes

8′ Horn Diapason (Sw)

8′ Dulciana (Ch)

8′ Flute (Gt Harmonic)

8′ Stopped Diapason (Sw)

4′ Fifteenth (ext 8′) 12 pipes

4′ Flute (Gt Harmonic)

2′ Twentysecond (ext 8′) 12 pipes

16′ Ophicleide (Ch)

16′ Contra Fagotto (Sw)

8′ Tuba (Ch)

8′ Fagotto (Sw)

4′ Corno di Bassetto (Ch)

Normal couplers and accessories

Three manuals, 31 voices, 38 ranks

Electric-pneumatic action

Great 771 pipes

Swell 870 pipes

Choir 451 pipes

Pedal 88 pipes

Total 2,180 pipes

TONAL ANALYSIS

PITCH SUMMARY

16′ and below 5 16%

  8′ 16 52%

  4′ 4 13%

Above 4′ 6 19%

31 100%

TONAL FAMILIES

Diapasons 14 45%

Open Flutes 5 16%

Stopped Flutes 3 10%

Strings 2 6%

Chorus Reeds 4 13%

Color Reeds 3 10%

31 100%

Photo credit: Louis Patterson

Builder’s website: www.schoenstein.com

Church website: www.sjtulsa.org

Rosales Organ Builders, Los Angeles, California, Opus 42; Parsons Pipe Organ Builders, Canandaigua, New York, Opus 51; St. James by-the-Sea Episcopal Church, La Jolla, California

 

In any artistic endeavor, the goals of the artist guide every step of the process to achieve his desired result. When multiple artists collaborate, the result can be a wonderful synergy of goals, something that a single artist would not have created on his own. The new organ at Saint James by-the-Sea in La Jolla, California, is a wonderful synergy of multiple artists working together to create something quite special and unique.

Church building and history

The current sanctuary of Saint James by-the-Sea seats about 450 and was finished in 1930. It is built in the Spanish Colonial style with walls of poured concrete and a wooden ceiling 33 feet above the floor at the peak. This provides a pleasant acoustic, especially for small ensembles and choirs, although the ceiling height and material limit reverberation. The building was finished during the Great Depression, when money was tight limiting the size of the organ installed by Henry Pilcher’s Sons. At three manuals and 33 stops, it is unlikely that the Pilcher filled the two large organ chambers on either side of the chancel. The four-manual Austin that replaced it in 1975 filled only three-quarters of the chamber space. Austin Organs, Inc., Opus 2585 was a major pendulum swing away from the Pilcher in terms of style, and it shared many characteristics with other organs of that era. Although the stoplist was not as top heavy as some other instruments of the day (each division had at least one 8′ open flue stop), the scaling provided weak bass tones, and the voicing style emphasized the upper harmonics. The room acoustics were a major contributor to the weak bass, small-scaled bass pipes did nothing to counteract this. The Great and Positiv divisions were placed in four flower box displays, two on either side of the chancel. These displays were located in front of four chamber openings that limited how much sound could escape the chambers behind. A sizable Antiphonal division hung on the back wall below a round window.

Project history

Our participation in the project in La Jolla began in early 2018 when director of music Alex Benestelli contacted Manuel Rosales about rebuilding the existing organ at Saint James. Thomas Sheehan, who currently serves as organist and associate director of music at Washington National Cathedral, had been hired by Saint James as organ consultant. Parsons was invited to collaborate with Rosales in presenting a proposal. Through many discussions, it was decided that rather than rebuild the failing Austin mechanisms, we would provide a new mechanical chassis along with new casework and many new pipes. Some pipes from the Austin would be retained as they would provide useful voices in our new tonal scheme.

A letter of intent was signed in October 2018, and following presentation of a façade rendering, the contract was signed in September 2019. Because of electrical issues with the Austin, it was decided to remove the organ sooner rather than later, and this was done in January 2020. With the organ removed, the church could prepare the chambers to receive the new instrument. The four new cases that hang on the chancel walls are taller and heavier than the previous flower box cases, requiring new steel structure to be engineered and installed. The Antiphonal could occupy the existing steel structure, although this would need to be stiffened to meet current codes even though the division was being reduced to a solo reed and a unit Principal.

We collaborated with MDEP of La Jolla, who engineered steel frames that would hold the organ and allow maximum access for service. MDEP received the 2023 Award for Historic Preservation from the Structural Engineers Association of San Diego for their work on the Saint James organ project. The existing chancel concrete openings were enlarged to improve tonal egress and service access to the mechanisms located in the cases. The ceilings of the organ chambers were also thickened with added material to promote tonal projection.

Organ case

The four chancel cases and Antiphonal case are constructed of quarter-sawn white oak and stained to complement the church furnishings. Multiple elements from the church architecture are echoed and tied together in the cases. These include the seashell and sword that are symbols of Saint James. These elements along with the wooden grillework and columns were all fabricated on our CNC router. Façade pipes from the 16′ and 8′ Diapasons on the Great and Pedal and the 8′ Principal in the Antiphonal are of 80% tin and are polished with a fine abrasive to mute the reflectiveness of the pipes. Pipe mouths and some case elements are covered with gold leaf to help warm the color palette of the organ.

Tonal design

The goal of the tonal design of the new instrument is to accompany choral anthems and congregational singing. This encouraged a design including many color stops, a large majority of which are under expression. In the end a total of 59 ranks are under expression in three enclosures. Thirty-three stops are of 8′ pitch, and sixteen of the ranks are reed pipes. Only one reed, the nautically themed Tromba Marina, is located outside of an expression box above the west door in the Antiphonal. Voicing of all flue pipework was completed by Duane Prill, and reeds were voiced by Chris Broome and David Schopp. In turn these pipes were tonal finished in the church by Manuel Rosales with assistance from the Parsons staff.

The chamber on the south side of the chancel contains the three principal manual divisions: Great, Swell, and Choir. The Great is divided into two sections: the first Principal chorus based on 16′ pitch is unenclosed in one of the four new chancel cases. The remainder of the Great is enclosed with the Choir including the independent Tromba chorus on ten inches of wind. The Choir contains many color stops including a full complement of mutation stops. The large Swell division is located behind the Unenclosed Great and contains all of the expected stops for accompanying choral literature.

The north side of the chancel contains the Pedal and Solo divisions. In part, this was due to the fact that the floor was eighteen inches lower on this side, so there was more ceiling height available for the taller bass pipes. In spite of this, the longest wooden pipes of the 16′ Open Diapason and the Haskelled 32′ Contrebasse had to be laid down along the back wall of the chamber. All of the wood pipes of these two stops as well as the bass octaves of the Swell and Great flutes were built in our shop. The 32′ Contra Bombarde is located in the Solo expression chamber and is a commanding voice on 17.5 inches of wind. However, the expression shades allow it to be closed down and used with a much wider variety of manual stops.

Mechanical design

Because this was a collaboration, the mechanical design required careful management of the process in terms of pipe materials, scales, winding, chest designs, and even racking methods. The majority of the pipework stands on slider and tone channel windchests. The pallets are provided with pneumatic assists (balanciers) to improve action speed and repetition. The remainder of the stops play from all-electric or electro-pneumatic chests. In order to create the wide variety of colors in the tonal design, a wide range of wind pressures were necessary, ranging from 2.75 inches for the Antiphonal Principal to 17.5 inches for the Tuba and 32′ Contra Bombarde. Wind is provided by five blowers in three locations totalling 13.5 HP. The blowers feed sixteen reservoirs of different constructions including bag bellows and single-rise regulators with both cone and curtain valves to serve specific purposes throughout the organ. Numerous concussion bellows smooth out unwanted ripples in the wind and are disengaged when the tremulants are active.

Whenever we design a new instrument, we always strive to make the design as serviceable as possible. Our philosophy is simple: if an organ is easy to service, it is more likely that it will be maintained and indeed serve the church for hundreds of years. This drives every layout decision and suggests where we might add additional ladders or make a part more easily removable if there is something behind it that might need service. We have encountered many organs where this was not given consideration, and major sections of the organ need to be removed in order to make small adjustments or repairs. This was an extraordinary challenge at Saint James because the organ we were installing was larger and contained more 16′, 8′ (and even 32′) stops than existed in the previous instruments. The scales of the pipes we were installing were also larger, which consumed a significant amount of space. Through careful layout, it is possible to navigate through the organ and adjust the mechanism as needed. Many hinged walkboards and ladders provide service access to mechanisms. Extra ladders and perchboards are provided to reach pipes that are tall or hanging from the ceiling or just simply harder to access.

Console

The new movable four-manual console is built of quarter-sawn white oak and stained to match the new cases. The interior wood is cherry with accents in African padauk. It was designed to be as low-profile as possible with a drop-sill keydesk. Manual naturals are covered in bleached bone with sharps of African blackwood as are the custom drawknobs. The side panels on both ends of the console are doors that open to reveal storage cabinets for the organist and organ technician. Two music racks are provided: a decorative wood rack with book-matched madrone burl, and a clear scratch-resistant polycarbonate rack for improved visibility. The control system by Opus-Two handles the myriad of complex functions available to control the instrument, including Sostenuto, melody coupling, through-coupling, transposer, and record/playback. The system includes 1,000 assignable folders, each with 250 levels of memory.

The initial installation began in June 2022. Components from the five cases, the Antiphonal and the north side organ chamber containing Pedal and Solo stops completely covered the nave and parish hall. Two more phases of installation followed, with tonal finishing beginning in February 2023. Staggering the installation process allowed the three tractor-trailer loads of organ to be safely and efficiently unloaded and organized in the church’s small sanctuary. Much of the organ was complete and playing in time for Easter, and the organ was officially accepted on July 23, the Feast of Saint James. The organ will be dedicated October 1, 2023, with a concert by Ken Cowan, which will kick off a year of festivities to celebrate the new organ. It now begins its life in service to the church of Saint James by-the-Sea, truly a unique instrument and the fruit of the labors of many artists.

—Peter Geise, Technical Director

Parsons Pipe Organ Builders

 

Parsons Pipe Organ Builders website: parsonsorgans.com

Rosales Organ Builders website: rosales.com

Saint James by-the-Sea Church website: sjbts.org

Photo credit: Ron Belanger

 

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

16′ Double Diapason 56 pipes (low F, façade)

16′ Violone (Austin) * 61 pipes

8′ First Diapason (façade) 61 pipes

8′ Second Diapason * 61 pipes

8′ Flûte harmonique * 61 pipes

8′ Bourdon * 61 pipes

8′ Violoncello (ext 16′) * 12 pipes 4′ First Octave 61 pipes

4′ Second Octave * 61 pipes

4′ Spire Flute * 61 pipes

2-2⁄3′ Octave Quint 61 pipes

2′ Super Octave 61 pipes

1-3⁄5′ Tierce 54 pipes

Fourniture IV–V 281 pipes

16′ Contra Tromba * 61 pipes (high pressure)

8′ Tromba (high pressure) * 61 pipes

4′ Tromba Clarion* 61 pipes (high pressure)

Tremulant

8′ Tuba Mirabilis (Solo)

Chimes (Walker)

SWELL (Manual III, enclosed)

16′ Lieblich Gedeckt (Austin) 61 pipes 8′ Geigen Principal 61 pipes

8′ Rohrflöte 61 pipes

8′ Viole de gambe 61 pipes

8′ Voix céleste 61 pipes

8′ Flûte douce 61 pipes (Aeolian-Skinner)

8′ Flûte céleste (TC) 49 pipes (Aeolian-Skinner)

4′ Principal 61 pipes

4′ Flûte traversière 61 pipes

2′ Octavin 61 pipes

Plein Jeu IV–V 281 pipes

16′ Contra Bassoon 61 pipes

8′ Trumpet 61 pipes

8′ Bassoon (ext 16′) 12 pipes

8′ Oboe 61 pipes

8′ Vox Humana (Gottfried) 61 pipes

4′ Clarion 61 pipes

Tremulant

CHOIR (Manual I, enclosed)

16′ Erzähler (ext 8′) 12 pipes

8′ Open Diapason 61 pipes

8′ Gedeckt (Austin) 61 pipes

8′ Erzähler (Austin) 61 pipes

8′ Erzähler Celeste 49 pipes (TC, Austin)

4′ Principal 61 pipes

4′ Koppelflöte (M. P. Möller) 61 pipes

2-2⁄3′ Nazard (Austin) 61 pipes

2′ Octave 61 pipes

2′ Blockflöte (Austin) 61 pipes

1-3⁄5′ Tierce (Austin) 54 pipes

1-1⁄3′ Larigot (Austin) 61 pipes

Mixture III 183 pipes

16′ Bass Clarinet (ext 8′) 12 pipes

8′ Trompette 61 pipes

8′ Corno d’Amore 61 pipes (E. M. Skinner & Son)

8′ Clarinet 61 pipes

Tremulant

8′ Tuba Mirabilis (Solo)

8′ Tromba Marina (Antiphonal)

Great Reeds on Choir

SOLO (Manual IV, enclosed)

8′ Doppelflöte (Wicks) 61 pipes

8′ Concert Flute (vintage) 61 pipes

8′ Gamba 61 pipes

8′ Gamba Celeste 61 pipes

4′ Hohlpfeife (Austin) 61 pipes

Cornet V (TF, mounted) 195 pipes

8′ French Horn (Casavant) 61 pipes

8′ English Horn 61 pipes

Tremulant

8′ Tuba Mirabilis 73 pipes

8′ Tromba Marina (Antiphonal)

Great Reeds on Solo

8′ Harp (Walker)

8′ Orchestral bells (Walker)

4′ Celesta (Walker)

Tower Chimes (existing Deagan)

PEDAL (Unenclosed; * enclosed with Solo)

32′ Contrebasse 32 pipes

32′ Bourdon (Walker)

16′ Open Diapason (façade) 32 pipes

16′ Contrebasse (ext 32′) 12 pipes

16′ Bourdon (Austin) 32 pipes

16′ Violone (Great)

16′ Lieblich Gedeckt (Swell)

16′ Erzähler (Choir)

10-2⁄3′ Quint (Smart Quint)

8′ Flute (ext 32′) 12 pipes

8′ Octave (façade) 32 pipes

8′ Open Diapason (ext 16′) 12 pipes

8′ Bourdon (ext 16′) 12 pipes

8′ Violoncello (Great)

8′ Lieblich Gedeckt (Swell)

4′ Choral Bass 32 pipes

4′ Bourdon (ext 16′) 12 pipes

32′ Contra Bombarde * 32 pipes (full length)

16′ Bombarde * (ext 32′) 12 pipes

16′ Tromba (Great)

16′ Bassoon (Swell)

8′ Trumpet* (ext 32′) 12 pipes

8′ Tromba (Great)

8′ Bassoon (Swell)

4′ Clarion * (ext 32′) 12 pipes

4′ Tromba Clarion (Great)

8′ Tuba Mirabilis (Solo)

8′ Tromba Marina (Antiphonal)

4′ Tuba Mirabilis (Solo)

Chimes (Walker)

ANTIPHONAL (Floating, unenclosed)

8′ Principal (façade) 61 pipes

4′ Octave (façade, ext 8′) 23 pipes

8′ Tromba Marina (hooded) 61 pipes

ACCESSORIES

Cymbelstern (7 bells)

Pajaritos (small Spanish birds)

All Swells to Swell

GR/CH Manual Transfer

COUPLERS

Great to Pedal 8

Swell to Pedal 8-4

Choir to Pedal 8-4

Solo to Pedal 8-4

Antiphonal to Pedal

Great Unison Off

Swell to Great 16-8-4

Choir to Great 16-8-4

Solo to Great 16-8-4

Antiphonal to Great

Choir 16-UO-4

Swell to Choir 16-8-4

Solo to Choir 16-8-4

Great to Choir 8

Great Enclosed Flues on Choir

Pedal on Choir

Swell 16-UO-4

Choir to Swell

Solo to Swell 16-8-4

Solo 16-UO-4

Antiphonal on Solo

Great Enclosed Flues on Solo

CONSOLE

Custom-built four-manual drawknob console designed and finished to complement existing church furnishings. Includes the following features:

• built-in casters for mobility within the chancel

• adjustable organist bench by rotary 
handle

• inlaid music rack and polycarbonate music rack that are interchangeable

• manual keyboards furnished with bleached bone key coverings and blackwood sharps

• pedalboard furnished with maple naturals and ebony sharps

• stops and intra-manual couplers controlled by drawknobs

• inter-manual couplers controlled by rocker tablets located above top manual

• three balanced expression pedals and programmable Crescendo pedal

• LED lighting for music, pedal, and nameboard with dimmer control

• convenience receptacles–120vac, USB (device charger), and MIDI

• standard indicator lamps (Wind, Sforzando, etc.)

• multi-level combination action with minimum 2,000 levels of memory

PISTONS

30 General (some duplicated, thumb and toe)

8 Great

8 Swell

8 Choir

8 Solo

5 Pedal

General Cancel

Memory Set

Great to Pedal reversible

Swell to Pedal reversible

Choir to Pedal reversible

Solo to Pedal reversible

Reversible (settable)

32′ Bourdon reversible

Cymbelstern reversible, with LED indicator

Pajaritos

Sforzando reversible, with LED indicator

Great Sostenuto, with LED indicator

Swell Sostenuto, with LED indicator

Choir Sostenuto, with LED indicator

Solo Sostenuto, with LED indicator

Pedal Sostenuto, with LED indicator

Sostenuto

Memory Up and Down

All Pistons Next reversible, with LED indicator

Sequencer (Next and Previous)

Go To (memory level)

Library

DISPLAYS

Main

Last General Pressed

Memory Level: Lock and Clear

Crescendo

Drawer Display

Crescendo Std.

Transposer display

Record/Playback display

PIPE SUMMARY

Great 1,196

Swell 1,196

Choir 1,042

Solo 695

Antiphonal 145

Pedal 288

Total 4,562