Organ Projects

Roger Banks,

Oklahoma City, Oklahoma

Reuter Organ Company,

Lawrence, Kansas

First Presbyterian Church,

Oklahoma City, Oklahoma

From Roger Banks

I first heard the M. P. Möller organ at First Presbyterian Church shortly after its installation in 1964. At that time, I was a senior at Oklahoma City University nearby. As one of the newest and largest organs in the Oklahoma City area, it should have been wonderful. After all, the specification indicated that it followed the latest trends in organbuilding and design at the time, yet I remember that, in that cavernous building, the result was much less
than satisfying.

In the intervening time between then and now, I have fully transitioned from the spare but well-intentioned organ sounds of the 1960s and 1970s, through the 1980s and 1990s, to arrive at my current tonal philosophy, which favors broader scales and divisions featuring rich fundamental tone. Thus I was delighted when John Edwards entrusted me with the care of the instrument at First Presbyterian.

The first project we undertook was to replace the failing Swell division expression pneumatics. That opened up the shade front to fully allow the sound to enter the chancel area rather than bounce off the ceiling. The improvement was immediate and quite noticeable. In 1994, the previous technician installed a new console. However, this large console appeared to have more prepared drawknobs than actual stops. I suggested that John Edwards consider not only completing the console preparations, but also replacing and/or rescaling most of the Great principal chorus as well as adding foundation stops to the other divisions. We decided to make it a two-year project to better utilize the available funding source.

It did not take long for us to realize that rescaling the existing Great 8′ Principal was hopeless. The lowest fourteen pipes were in the façade, scale 46, and nearly forced double length by the façade design. The 4′ Octave rescaled nicely, but the 2′ Weit Prinzipal as well as the IV- and III-rank mixtures were not be able to be reused. The new principal chorus that was added now has a substantial 8′ Principal and upper work to match. We also added a new Twelfth and Seventeenth to fill out the chorus. The existing Koppel Flöte was adequate, but the 8′ Nason Gedeckt and 8′ Quintadena were too similar, so I moved the Nason Gedeckt to the Quintadena chest and added a new, larger-scaled 8′ Bourdon. The 16′ Dulzian was moved to a new unit chest, and I added a new large-scale 8′ Flûte Harmonique. The Flûte Harmonique pipes were then voiced to be commanding as a solo stop in the treble, yet work well in the ensemble.

The Swell division only needed the addition of a new 8′ Diapason of adequate scale. Every other need in that division was addressed during the tonal finishing that was done later.

The Positiv division was next on the list. It was typical of the period, yet still an effective division. I moved the 8′ Geigen from the Choir to a new unit chest above the Great in order to provide some foundation at 8′ and 4′ pitches. As a result, we also discovered that it makes an impressive 16′ Double on the Great. The existing 11⁄3′ was of flute tone, so I replaced it with pipes from the old Great IV Mixture. The remaining issues again were done during the final tonal work.

The Choir division was an interesting challenge. It was originally designed as the enclosed division to partner with the Positiv. After the 1994 revision, the Choir was left on its own. It had the 8′ Geigen, a hybrid 4′ Gemshorn/Principal, a pair of Erzählers, a large 8′ Clarinet, and a 4′ Hautbois. It was not a lot to work with.

By the time we addressed the Choir, work on the other divisions had rapidly depleted funding for the project. Fortuitously, the church had several vintage ranks in storage from a donated Kimball, and I had several nice stops remaining from various earlier projects. For example, I had a lovely 8′ Reuter Spitz Principal that we installed on the now vacant 8′ Geigen chest. The church had a wonderful 8′ open wood Kimball Claribel Flute that was installed where the 8′ Krummhorn had been. I had a new chest built to hold a pretty 4′ Möller Flute d’Amour and III–IV Mixture, and Reuter built the bottom octave for the Hautbois to make it an 8′. We also added a lovely set of Kimball 8′ strings which reside in the enclosed Bombarde division that sits atop the choir. To increase versatility, there is now a knob that allows the Choir expression to operate the Bombarde expression when the strings are used on the Choir. Tonal finishing did wonders to tie together all the disparate pipework in the Choir. The division now has purpose and adds a great deal of color to the entire ensemble.

The Bombarde division also received a vintage 4′ Harmonic Flute. It adds color to the 8′ English Horn and sneaks in as a filler with the strings.

The Pedal division had the fewest needs, though we did add a larger scale 8′ Diapason to augment the existing 8′ Principal. This gave the Pedal a better 8′ line. The remaining work was done in the tonal finishing phase.

I cannot thank JR Neutel from Reuter enough for the marvelous job he did during the tonal finishing phase. I have worked with him on many instruments in the last twenty years. He has limitless energy coupled with complete mastery of dealing with pipework that appears to be hopeless. We spent over three weeks going through every pipe in the organ. The completed organ now has the weight to carry the length of the nave, but it is still nimble enough to play the lightest literature. I would also like the thank G. Mark Caldwell, Marty Larsen, Tom Birkett, and John Riester for their assistance in making the completed instrument possible.

—Roger Banks

Oklahoma City, Oklahoma

 

From Reuter Organ Company

This project is unique in that it was not conceived in the typical relationship that many equate with a “main-line builder” and the “sales representative.” In this case, Roger Banks called upon us to consult with him—a partnership of equals. Together we discussed numerous ideas of how to tonally enhance the organ, culminating with all of the specific details needed to complete this tonal enhancement, including final pipe scales and wind pressures to achieve the objective. Reuter was then given the opportunity to provide the new pipes and chests that Roger needed. Reuter has been fortunate to develop similar relationships with other affiliates over the past decade.

While Roger has had a fifty-plus year relationship with Reuter, he and I began working together on numerous installations, most notably back to 2001, when he first assisted me with the voicing of our flagship instrument at Saint John’s Cathedral in Albuquerque, New Mexico. I was honored when Roger asked me to take the lead on the revoicing of the organ at First Presbyterian Church. I also thank John Edwards for his confidence and support. With an instrument of this size the undertaking was daunting. Roger’s ability to “massage” new sounds out of old pipes as well as working with new pipes is second to none. With our combined abilities and weeks of on-site voicing time, the desired results were achieved.

This “new” organ at First Presbyterian, along with two other recently completed organ renovations in Oklahoma City (Christ the King Catholic Church and Oklahoma City University), and a soon to be completed project at Westminster Presbyterian Church, are the culmination of a rewarding partnership and friendship with Roger. We applaud Roger and his successful career as one of the central state’s leading organ specialists and extend our deep appreciation for his leadership on this project. The renewed organ stands as a landmark instrument in the area!

—JR Neutel

Reuter Organ Company

 

From John L. Edwards

Standing for over half a century on its northwest Oklahoma City site, the fourth house of worship of First Presbyterian Church is a grand Gothic structure of Tennessee limestone. In addition to its impressive stained glass windows, the building boasts four pipe organs: chapel (1956 Austin, two manuals, fifteen ranks); Watchorn Hall (1956 M. P. Möller, two manuals, four ranks); choir room (1965 Walcker, two manuals, eleven ranks); and sanctuary (1964 M. P. Möller, four manuals, seventy-one ranks; 2016 Banks-Reuter, four manuals, nintety-one ranks). The “4X4 Organ Concert” is unique and very popular to the Oklahoma City community, four organists playing four pipe organs moving from venue to venue.

From its 1889 beginnings, the church has regarded music as a primary form of worship and, to that end, has had many well-known church musicians leading that endeavor. John S. C. Kemp served as minister of music from 1949 to 1968 with encore service from 1983 to 1986. During these periods of service, his wife, Helen developed her expansive work with children as well as her soaring soprano voice. In their honor, the church now has a free concert series named for them. John Blackwell followed the Kemps’ first term of service. Organists have included Wilma Jensen and Samuel C. Hutchison. Several others served shorter terms or as music interns for a year of their undergraduate studies. Those include Elaine Warner Chard, Louise Bass, Dorothy Kosanke-Elder, Greg Funfgeld, Eric Howe, Mark Lawlor, and Glenn A. Miller, among others.

While meeting for Sunday worship in Watchorn Hall until completion of the sanctuary in 1964, an organ committee chaired by DeWitt B. Kirk and then-organist Gale Norman Enger chose the M. P. Möller Organ Co. of Hagerstown, Maryland, to build the new instrument for the 1,400-seat sanctuary. Completed in 1964, Opus 9862 had four manuals with seventy ranks in the chancel and one “En Chamade” rank at the rear of the church. Wilma Jensen oversaw
the installation.

In 1992 a decision was made to purchase a new console and solid-state operating system, with preparations for future additions. The console plus four ranks were added in 1994. Organ committee chair, Dargan Mayberry, organist John L. Edwards, and director of music Michael W. Yeager, along with consultants John Balka, Fred Haley, Jon Olin Roberts, Frederick Swann, and Laura van der Windt worked together with the McCrary Pipe Organ Service of Oklahoma City, Oklahoma, to complete this project.

By 2014 the pneumatics to the Swell expression shades had failed. It was decided to replace them with new electric motors for the operation that also allowed for expanded opening of the louvers. This improvement then led to the discussion of revoicing existing ranks and adding ranks of pipes to better facilitate the lack of fundamental tone experienced in the nave of the church. Roger A. Banks, current curator of the instruments at First Presbyterian Church, in conjunction with JR Neutel of the Reuter Organ Company, presented a plan for rescaling certain pipes, adding new pipework, and relocating several stops to alternate divisions. Additionally, some vintage pipework was available and incorporated into the instrument, notably from organs made by W. W. Kimball, Estey, M. P. Möller, Reuter, McManis, and even a Robert Morton Clarinet. The Hooded Tuba was sent to Reuter to be revoiced for a more commanding and appropriate Tuba quality. All in all, sixteen ranks were added in 2016, and the organ became an instrument of ninety-one ranks with 5,269 pipes. I was honored to present an inaugural recital on May 1, 2016, which also marked my twenty-fifth anniversary on staff at First Presbyterian Church.

Working closely with Roger Banks has been a highlight for me and for our church. He has become family to us. His knowledge and expertise are unsurpassed! Roger and JR Neutel, president of the Reuter Pipe Organ Company, went through every single pipe of the instrument, critically listening and voicing each to give the best and necessary response to the cavernous space of the sanctuary. The finished result is a warm and rich singing sound extending into the nave, especially noticed by stronger congregational singing.

­—John L. Edwards, organist

First Presbyterian Church

Photo credit: Kathy Rangel, except where noted

 

GREAT (Manual II)  

16′ Geigen (ext 8′, 1–12 electronic)

16′ Quintadena 73 pipes

16′ Claribel Flute (Ch)

8′ Principal 61 pipes

8′ Geigen  73 pipes

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

8′ Quintade (ext)

51⁄3′ Quint (TC, fr 22⁄3′)

4′ Octave 61 pipes

4′ Koppelflöte 61 pipes

31⁄5′ Grossterz (TC, fr 13⁄5′)

22⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

2′ Flageolet 61 pipes

13⁄5′ Seventeenth 61 pipes

IV Fourniture 11⁄3′ 244 pipes

III Scharf 1′ 183 pipes

16′ Dulzian 73 pipes

8′ Bombarde (Ped)

8′ Dulzian (ext)

Tremolo

Great to Great 16

Great Unison Off

Great to Great 4

Chimes (G2 – G4, volume 0–5)

Carillon

SWELL (Manual III, expressive)

16′ Rohrbass 73 pipes

8′ Diapason 73 pipes

8′ Viola Pomposa 61 pipes

8′ Viola Céleste 61 pipes

8′ Rohrflöte (ext)

8′ Flûte Céleste II 110 pipes

4′ Octave Diapason (ext)

4′ Praestant 61 pipes

4′ Flûte Harmonique 61 pipes

22⁄3′ Nazard 61 pipes

2′ Flachflöte 61 pipes

13⁄5′ Tierce 61 pipes

IV Plein Jeu 11⁄3′ 244 pipes

III Cymbal 1′ 183 pipes

32′ Contra Fagotto (TC, fr 16′)

16′ Fagotto 73 pipes

8′ Trompette 61 pipes

8′ Fagotto Oboe (ext)

8′ Vox Humana 61 pipes

4′ Clairon 61 pipes

Tremolo

Swell to Swell 16

Swell Unison Off

Swell to Swell 4

CHOIR (Manual I, expressive)

16′ Erzähler 73 pipes

8′ Spitz Principal 61 pipes

8′ Salicional (Bomb)

8′ Voix Céleste (Bomb)

8′ Erzähler (ext)

8′ Erzähler Céleste (TC) 49 pipes

8′ Claribel Flute 85 pipes    

4′ Gemshorn Principal 61 pipes

4′ Flauto d’Amore 61 pipes

2′ Claribel Fife (ext)

III–IV Mixture 2′ 190 pipes

8′ Clarinet 61 pipes

8′ Cromorne (Pos)

8′ Hautbois 61 pipes

Tremolo

Choir to Choir 16

Choir Unison Off

Choir to Choir 4

POSITIV (floating)

16′ Quintadena (Gt)

16′ Claribel Flute (Ch)

8′ Geigen (Gt)

8′ Holz Bordun 61 pipes

4′ Geigen (Gt)

4′ Rohrflöte 61 pipes

22⁄3′ Nazat 61 pipes

2′ Prinzipal 61 pipes

13⁄5′ Terz (GG) 54 pipes

11⁄3′ Quinte 61 pipes

1′ Sifflöte 61 pipes

III Zymbel 1⁄4′ 183 pipes

16′ Dulzian (Gt)

8′ Cromorne 61 pipes

4′ Rohr Schalmei 61 pipes

Tremolo

BOMBARDE (Manual IV, expressive)

8′ Salicional Céleste II 122 pipes

8′ Orchestral Flute (TC, fr 4′)

4′ Salicet Céleste II (ext)

4′ Orchestral Flute 61 pipes

4′ Claribel Flute (Ch)

IV Harmonics 13⁄5′ 244 pipes

16′ Bombarde (TC, fr 8′)

8′ Bombarde 61 pipes

8′ Clarinet (Ch)

8′ Dulzian (Gt)

8′ English Horn 61 pipes

4′ Clairon 61 pipes

Tremolo

8′ Hooded Tuba (unenclosed) 73 pipes

4′ Tuba Clarion (ext)

Bombarde to Bombarde 16

Bombarde Unison Off

Bombarde to Bombarde 4

Chimes

HÉROÏQUE (floating, en chamade)

16′ Trompette Héroïque (TC, fr 8′)

8′ Trompette Héroïque 61 pipes

4′ Trompette Héroïque (ext)

PEDAL

64′ Gravissima (Bourdon resultant)

32′ Violone (electronic)

32′ Contre Bourdon 44 pipes

16′ Principal 32 pipes

16′ Geigen (Gt)

16′ Subbass (ext)

16′ Quintadena (Gt)

16′ Rohrbass (Sw)

16′ Erzähler (Ch)

102⁄3′ Bourdon Sub Quint (ext)

8′ Diapason 32 pipes

8′ Octave 44 pipes

8′ Geigen (Gt)

8′ Flûte Harmonique (Gt)

8′ Rohr Pommer 32 pipes

8′ Quintade (Gt)

8′ Rohrflöte (Sw)

8′ Erzähler (Ch)

51⁄3′ Bourdon Quint (ext)

4′ Choralbass (ext)

4′ Geigen (Gt)

4′ Nachthorn 44 pipes

2′ Geigen (Gt)

2′ Nachthorn (ext)

III Cornet 51⁄3′ 96 pipes

IV Rauschbass 21⁄3′ 128 pipes

32′ Contre Bombarde 85 pipes

16′ Bombarde (ext)

16′ Fagotto (Sw)

16′ Dulzian (Gt)

8′ Hooded Tuba (Bomb)

8′ Bombarde (ext)

8′ Fagotto (Sw)

8′ Dulzian (Gt)

4′ Clairon (ext)

4′ Fagotto Oboe (Sw)

4′ Rohr Schalmei (Pos)

4′ Cromorne (Pos)

2′ Clairon Doublette (ext)

2′ Rohr Schalmei (Pos)

Chimes

Carillon

Pedal Unison Off

Pedal to Pedal 4

BELLS

Glockenstern = a) Handbells; b) India Bells (a, b, or a & b)

Zimbelstern = fast/slow

COUPLERS

Great to Pedal 8, 4

Swell to Pedal 8, 4

Choir to Pedal 8, 4

Bombarde to Pedal 8, 4

Positiv to Pedal 8, 4

Héroïque to Pedal (drawknob)

Pedal Continuo to Great 8

Swell to Great 16, 8, 4

Choir to Great 16, 8, 4

Bombarde to Great 16, 8, 4

Positiv to Great 16, 8, 4

Héroïque to Great (drawknob)

Swell to Choir 16, 8, 4

Bombarde to Choir 16, 8, 4

Positiv to Choir 16, 8, 4

Héroïque to Choir (drawknob)

Choir to Swell 16, 8, 4

Bombarde to Swell 16, 8, 4

Positiv to Swell 16, 8, 4

Héroïque to Swell (drawknob)

Great to Bombarde 16, 8, 4

Positiv to Bombarde 16, 8, 4

Héroïque to Bombarde (drawknob)

REVERSIBLES

Great to Pedal (thumb and toe)

Swell to Pedal (thumb and toe)

Choir to Pedal (thumb and toe)

Bombarde to Pedal (thumb)

Positiv to Pedal (toe)

Tutti (thumb and toe)

Glockenstern (toe)

Zimbelstern  (toe)

32′ Contre Bourdon (toe)

32′ Violone (toe)   

32′ Contre Bombarde (toe)

COMBINATIONS (99 memory levels)

Generals: 1–10 (thumb and toe)

Generals: 11–20 (toe)

Great: 1–8 (thumb)

Swell: 1–8 (thumb)

Choir: 1–8 (thumb)

Positiv: 1–3 (thumb)

Bombarde: 1–5 (thumb)

Pedal: 1–3 (toe); 4–8 (thumb)

Combination Setter Button (thumb)

General Cancel (thumb)

ACCESSORIES

Drawknob console (movable)   

Swell/Choir/Bombarde expression pedals

Crescendo pedal (four crescendo sequences)

Tutti (programmable)

All Swells to Swell

Bombarde to Choir Expression (drawknob)

Tuba Non-Coupling On/Off (drawknob)

Great/Choir Transfer

Peterson Operating System and Piston Sequencer

Next/Previous Pistons (thumb and toe)

Héroïque Power On/Off (toggle switch)

Adjustable Bench, in memory of Wanda L. Bass

4 manuals, 91 ranks

M. P. Möller Opus 9862, 1964, 4 manuals, 71 ranks; 1994, new console, 4 manuals, 75 ranks; 2016, tonal revisions/additions by Roger A. Banks and Reuter Organ Co. Tonal finishing by Roger A. Banks and JR Neutel, president, Reuter Organ Co.

Great 1,195 pipes

Swell 1,366 pipes

Choir 702 pipes

Positiv 725 pipes

Bombarde 683 pipes

Heroïque 61 pipes

Pedal 537 pipes

Total: 5,269 pipes

Church website: https://fpcokc.org.

Dennis E. Northway and Keith Williams

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois

Bethlehem Lutheran Church, Hortonville, Wisconsin

Hortonville, Wisconsin, has had a continuing Lutheran presence since 1867. However, members of Bethlehem Evangelical Lutheran Church date their anniversary as August 14, 1870, the dedication of their first church building. In January 1897 the congregation voted to build a new church on the corner of Nash and Embarrass Streets. Five days later, the first stones were hauled for the basement, and less than three months later bids were opened for the building of the church. The contract was let to the local Diestler Lumber Co. for $5,165, with $500 later added to the total. The cornerstone was laid on Sunday, June 13, 1897, and the church was dedicated Sunday, November 28, 1897. That day the second English service in the history of the congregation was conducted.

That building, now the former church, is made of brick in Gothic style; the tower is about 100 feet high. An extensive remodeling of the original building took place in 1960. In 2010 Herman Jennerjohn, in his will, bequeathed twenty-five acres of land to the congregation for $1, if a new church complex could be begun within ten years.

Hence, Bethlehem Church has been on the move! The congregation planned a campus including a new church, a school, a retirement community, and walking paths. The first phase of their growth was the new sanctuary, and the congregation passionately wanted to bring their 1908 Hinners organ with them. The church retained consultant and acoustician Scott Riedel of Milwaukee, Wisconsin, to oversee the project and assist in the choice of a builder to carry out the work. John-Paul Buzard Pipe Organ Builders was chosen to give the 110-year-old instrument new life in a new home.

The original Hinners slider and pallet windchests were replaced in the 1960s with equipment that was unusable. Fortunately, the staff of the Buzard service department had saved some beautifully built Kilgen slider and pallet windchests, coincidentally also made in 1908, which conveniently fit the Hinners pipework, its original tonal specification, and desired additions. The tables of these windchests were in perfect condition, streamlining restoration efforts. The channels were flooded as a precaution against runs; new felt and leather facings were glued onto the pallets; new powerful pull-down magnets were affixed to new magnet rails under the pallet boxes. All pipes were neatly racked, using as many of the original rack boards as possible.

The original façade was restored. Since the 1908 organ utilized mechanical key action, new center panels matching the rest of the casework were made to fill in the location of the original keydesk. Additional space in the new organ gallery provided the opportunity to add some important new sounds to the organ to increase its versatility. A Pedal/Great 16′/8′ Trumpet, and a full-compass Swell 13⁄5′ Tierce were added; the original Aeoline was replaced by a Celeste rank. The 1960s Pedal Principal was rescaled and revoiced.

The 1960s console cabinet was repaired, refinished, and retrofitted with a new solid-state relay, stop tablets, couplers, and combination pistons. The organ is now ready to serve the Bethlehem congregation in its new home for another century. We are honored to have served the people of Bethlehem Lutheran Church. The instrument now speaks with authority and clarity.

GREAT (Manual I)

8′ Open Diapason 61 pipes (bass in façade)

8′ Melodia 61 pipes

8′ Dulciana 61 pipes

4′ Octave 61 pipes

4′ Rohr Flute 61 pipes

2′ Principal 61 pipes

III Mixture 183 pipes

8′ Trumpet 85 pipes

4′ Trumpet (ext 8′)

Chimes (25 tubes)

Great 16

Great Unison Off

Great 4

Swell 16

Swell 8

Swell 4

SWELL (Manual II, enclosed)

8′ Violin Diapason 61 pipes

8′ Bourdon 61 pipes

8′ Salicional 61 pipes

8′ Voix Celeste (TC) 49 pipes

4′ Harmonic Flute 61 pipes

22⁄3′ Nazard 61 pipes

2′ Piccolo 61 pipes

13⁄5′ Tierce 61 pipes

8′ Oboe 61 pipes

  Tremulant

Swell 16

Swell Unison Off

Swell 4

PEDAL

16′ Subbass 32 pipes

16′ Gedeckt 44 pipes

8′ Principal 56 pipes (bass in façade)

8′ Gedeckt (ext 16′)

4′ Octave (ext 8′)

2′ Super Octave (ext 8′)

16′ Trumpet (ext, Gt 8′)

8′ Trumpet (Gt)

Great 8

Great 4

Swell 8

Swell 4

Accessories

8 General pistons

4 Great pistons

4 Swell pistons

2 Pedal pistons

General Cancel piston

128-level memory

Balanced Swell expression shoe

Balanced Crescendo shoe

Sforzando reversible

 

20 stops

22 ranks

1,303 pipes total

electric pull-down slider windchests for manuals

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

Church website: www.bethlehem-wels.com

Marceau Pipe Organ Builders, Inc., Seattle, Washington

Community United Methodist, Church, Coeur d’Alene, Idaho

Marceau Pipe Organbuilders, Inc., has completed its Opus 36 for Community United Methodist Church of Coeur d’Alene, Idaho. The organ is significantly influenced by its rather extensive history of over 100 years, incorporating vintage sounds blended with new windchests and a modern digital electrical system.

The original organ for this church was built by the Estey Organ Company of Brattleboro, Vermont, and installed in the congregation’s first sanctuary in downtown Coeur d’Alene. The first major renovation project took place in 1978 when M. P. Möller of Hagerstown, Maryland, added a new Great division along with a new two-manual drawknob console. When the church moved to a new location, the organ was brought along and installed in two chambers above the main floor. This new building, the first phase of a long-range set of plans, was to become the gymnasium with a new sanctuary planned for the second phase. Unfortunately, these goals were never realized, and Celebration Hall has continued to do double duty for over forty years.

Our first visit to the church took place in 1997 for service work. While the organ was in good playing condition, we noticed some early signs of age-related problems to the windchests. The organ utilized the original Estey and Möller windchests of 1978, and some home-built units that accommodated the unit stops. The electrical system was an electro-mechanical unit from 1978. During the next fifteen years, the problems became more frequent and expensive to repair. Going hand-in-hand with that was a tonal design that was unable to support and lead congregational singing.

It was at this point that the church approached us about some possible solutions to the status of the organ. After several meetings we were able to develop an overall plan to improve the capabilities of the organ that could be realized with the modest budget that was available.

We felt that the existing windchests took up too much floor space, making it impossible to contemplate any meaningful tonal changes or additions. New windchests were built in the Marceau shop that would fit in the limited floor space below an angled ceiling. With that change, the possibility of tonal additions was investigated. The 1978 Möller console was in good condition; the shell was retained with new keyboards, new drawknob units, and a Syndyne control system.

A look at the stoplist reveals two distinct principal choruses, one on the Great and the other on the Swell. The Great retains the Principal stops (Möller at 8′ and 4′) with the addition of a 2′ Super Octave and IV Mixture from Marceau inventory. The Swell retains the 8′ Violin Diapason (Estey) and the existing Great Mixture (Möller, recomposed for greater color and clarity), adding a 4′ Geigen Principal (Reuter). Also in the Great, an Open Diapason (Austin) was added for foundational support at 8′ pitch.

The flutes bring a variety of color and dynamic contrast. The Great retains the 8′ Rohrflute (Möller), adding a 4′ Spillflute from Marceau inventory. The Swell is a blending of Estey pipework  (8′ Holzgedeckt and 4′ Harmonic Flute) and Möller ranks (22⁄3′ Nasard, 2′ Blockflute, and 13⁄5′ Tierce—which was the 2′ Flute, repitched). The Pedal 16′ Subbass is from Marceau inventory, replacing the original Estey pipes that had experienced unsuccessful previous repairs from cracks in the wood.

The strings bring a varied set of colors and character. The Great 8′ Viol d’Amour (Estey) is relocated from the Swell. The Swell 8′ Salicional and 8′ Voix Celeste (Reuter) add an orchestral character that the previous instrument did not have.

The Swell Trumpet (Austin) is extended to play at 16′ in the Pedal. The 8′ Oboe (of unknown origin) was from the previous organ; this rank was thoroughly repaired and regulated to be the dynamic and character counterpart to the Trumpet.

The organ was dedicated on November 11, 2018. We are indebted to the leadership of Mark Habermann, whose presence and support helped to make this project a true success. He chaired the organ committee, coordinated all church help, and provided food and lodging during our on site visits.

—René A. Marceau, president and tonal director

Sean Haley, operations manager

Marceau Pipe Organ Builders, Inc.

Builder’s website:

www.marceaupipeorgans.com

Church website: www.cdaumc.org

GREAT (Manual I, unenclosed)

16′ Lieblich Gedeckt (Sw)

8′ Open Diapason 61 pipes

8′ Principal 61 pipes

8′ Rohrflute 61 pipes

8′ Viol d’Amore 61 pipes

4′ Octave 61 pipes

4′ Spillflute 61 pipes

2′ Super Octave 61 pipes

11⁄3′ Mixture IV 244 pipes

8′ Trumpet (Sw)

Chimes

SWELL (Manual II, enclosed)

16′ Lieblich Gedeckt (ext 8′)

8′ Violin Diapason 61 pipes

8′ Holzgedeckt 73 pipes

8′ Salicional 61 pipes

8′ Voix Celeste (TC) 49 pipes

4′ Geigen Principal 61 pipes

4′ Harmonic Flute 61 pipes

22⁄3′ Nasard 61 pipes

2′ Blockflute 61 pipes

13⁄5′ Tierce 61 pipes

2′ Mixture III 183 pipes

8′ Trumpet 61 pipes

8′ Oboe 61 pipes

Tremulant

PEDAL (Unenclosed)

32′ Resultant

16′ Subbass 32 pipes

16′ Lieblich Gedeckt (Sw)

8′ Diapason (Gt)

8′ Gedecktbass 32 pipes

8′ Holzgedeckt (Sw)

4′ Choralbass (Gt)

4′ Flute (Sw)

16′ Posaune (Sw)

8′ Trumpet (Sw)

4′ Clarion (Sw)

27 ranks, 1,589 pipes

Emery Brothers, Allentown, Pennsylvania; Philadelphia Episcopal Cathedral, Philadelphia, Pennsylvania

Adam F. Dieffenbach

Our installation of this organ was scheduled to commence on March 16, 2020. As stay-at-home orders and other government measures came into effect, these plans changed. However, this was hardly the first detour for the mighty Möller on its path to Philadelphia Episcopal Cathedral.

Opus 6425 was installed in Schwab Auditorium at Penn State University in State College, Pennsylvania, in 1936. Designed by Möller’s illustrious, imported tonal director Richard Whitelegg, the organ’s thirty-three ranks are replete with warm, bold diapasons, evocative flutes, colorful and varied strings, and four iconic reeds, all at eight-foot pitch: Trumpet, Oboe, Clarinet, and Vox Humana. The organ was fully enclosed, including all three open 16′ flue ranks—Wood Diapason, Metal Diapason, and Gemshorn. It also included, and retains today, a set of Deagan Class-A chimes and a forty-nine-note harp. When the stylistic demands of the organ world changed, this broad-shouldered organ fell into disuse, the console cable was eventually severed, and benign neglect allowed it to survive the ravages of mid-century revisions and replacements. It was in this pristine—although inoperable—condition that we first came to know Möller Opus 6425.

Our relationship with the instrument began in 2013 when we were invited to collect its constituent parts, already dismantled by another firm, with a view to restoring the organ and installing it in a church in Philadelphia. In fact, my first day as an employee at Emery Brothers was spent unloading the last truckload of parts from State College. It took some time for restoration and relocation plans to come into focus, but we eventually entered into a contract for just that: restoring the organ to like-new condition, with no tonal changes, but with an updated solid-state control system, and a redesigned layout to fit the new space.

However, plans to install the organ in this first location were discontinued, and with roughly three-quarters of the restoration work done, Möller Opus 6425 went back into storage, its future uncertain. Then, over the next few years we continued to keep our eyes open for a new home for the organ while we continued to work through our existing backlog of projects.

At the same time, we were caring for an ailing, heavily modified and digitally hybridized 1903 Austin organ at Philadelphia Episcopal Cathedral. Wind leaks from the Universal windchests, now over 110 years old, were so loud that the blower had to be turned off during the service to allow the spoken word to be heard in the church. When discussions around a long-term plan for the organ began, we immediately thought of Möller Opus 6425. All the windchests and reservoirs had been releathered, the reed pipes restored by Sam Hughes, and all the flue pipes cleaned and ready for voicing.

Some additions would be needed, including a new console and an organ in the rear gallery to support congregational and choral singing from that location. The decision was made early on to call this part of the instrument the “Nave Organ” because it has an important role as a standalone organ to support singers in the nave of the church. The decision was also made to add a few select ranks to Opus 6425 to fill out its specifications towards use in the cathedral. These were:

• 16′/8′ Tromba/Trombone (Great/Pedal)

• 32′ Harmonics (12 notes extending Trombone, 36 pipes, Pedal)

• 32′ Bourdon (12 pipes, extending existing 16′ Bourdon, Pedal)

• 16′ Double Trumpet (Swell)

• 8′ Tuba (Choir)

Around this time, we also learned of Möller Opus 6512, a two-manual Whitelegg Möller organ in a church building that was up for sale. This donor instrument provided the Tromba/Trombone pipes we added to Opus 6425 in the Great/Pedal chamber, and also allowed us to populate the Nave Organ with voices sympathetic to Opus 6425. Most of the other ranks added to Opus 6425 to create the Nave Organ came from the existing cathedral Austin. For instance, cathedral organist Wesley Parrott cleverly pointed out that the Austin Swell 4′ Traverse Flute, sub-coupled and matched to the Austin Choir 8′ Melodia, created a beautiful flute celeste effect, which we placed in the Nave Great.

In addition to its role in supporting congregational and choral singing from the rear gallery, the Nave Organ houses many of the organ’s solo voices, such as the Flugelhorn, Cromorne, Doppelflute, and Cornet (decomposé). The Nave Organ was installed first, and while assembly of the Chancel Organ was still underway, was the only organ in the cathedral for several months. Its sixteen ranks do a remarkable job of filling the room. Its design is perhaps the only real departure from a true Whitelegg installation, as the diminutive organ chambers would likely have housed an Echo or Celestial division. As it stands, several of the boldest flue voices in the organ reside in the Nave Great, including the largest diapason in the organ (42 scale, linen lead).

In its new arrangement, Opus 6425 surrounds the chancel, referred to in the cathedral as the presbyterium. the Great and Pedal divisions share an elevated chamber on the north side of the presbyterium. The Swell and Choir are stacked in the south chamber, with the Choir below and the Swell above. Each of these three divisions has two shade fronts—one facing the nave and one facing the presbyterium. The Nave Organ is split between two matching cases eleven feet above the gallery floor, with the Great in the north case and the Swell in the south case. Basses of both the 16′ Diapason and 16′ Gedeckt are mounted along the back wall, framing the rose window.

With five expressive divisions, eight shade fronts, and a total of 145 individual shades, expression control is an important aspect of our design for this installation. This is accomplished by way of an expression matrix, with a default setting and four settable expression pistons. While this isn’t the first time a church organ has had an expression matrix, to our knowledge this is the first range- and direction-settable expression matrix. In other words, any of the organ’s eight shade fronts can be set to function in either direction, for any range of travel on any of the four expression shoes in the console. This has led to a lot of experimentation and will provide endless flexibility in expression control for this deeply expressive organ. For instance, one of the settings currently in use has all shades assigned to one swell shoe, with all shades closed at the midpoint of its travel. As it is pushed forward, the Chancel Organ shades all open. Push the heel down, and the Nave Organ shades all open.

Having recently completed our relocation of Aeolian-Skinner Opus 878 into Stoneleigh, headquarters of the Organ Historical Society in Villanova, Pennsylvania [featured on the cover of the December 2019 issue of The Diapason], we elected to work with a partner to do some of the “heavy lifting” for the much larger cathedral installation. JR Neutel and the staff of Reuter Organ Company proved an excellent choice for this role, providing the new four-manual console, as well as the engineering and the lion’s share of the onsite installation labor for the project, and any new windchests and reservoirs required for added stops. As Pennsylvania and other states began reopening, we rescheduled and then commenced installation in September of 2020. The organ was dedicated in an inaugural recital featuring Tyrone Whiting, Jeff Brillhart, and Clara Gerdes-Bartz on October 24, 2021.

This project was made possible by generous funding from the Wyncote Foundation as recommended by Fred Haas and Rafael Gomez. We are also deeply grateful for the support of the cathedral community, including The Right Rev. Daniel G. P. Gutiérrez, Bishop; The Very Rev. Judith A. Sullivan, Dean; Canon for Music and the Arts Thomas Lloyd; Cathedral Organist Wesley Parrott; Canon for Administration Lynn Buggage; and Sexton Lamont Murray. Our network of suppliers and subcontractors for this project included Sam Hughes, Reuter Organ Company, Opus Two Instrument Control Systems, Organ Supply Industries, Rudewicz & Associates, and COE Percussion.

GREAT

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

8′ First Open Diapason  73 pipes

8′ Second Open Diapason   73 pipes

8′ Claribel Flute 73 pipes

8′ Gemshorn 73 pipes

4′ Octave 73 pipes

4′ Harmonic Flute 73 pipes

2′ Fifteenth 61 pipes

III Mixture 183 pipes

16′ Trombone¹ (ext Tromba) 12 pipes

8′ Tromba¹ 73 pipes

Tremolo

8′ Tuba (Ch)

Chimes (G–g) (25 tubes)

Great 16 - Unison Off - 4

Nave Swell on Great

Nave Great on Great

Nave on Great Pistons

Pedal Combinations on Great

SWELL

16′ Lieblich Gedeckt 73 pipes

8′ Geigen Principal 73 pipes

8′ Rohr Flute 73 pipes

8′ Salicional 73 pipes

8′ Voix Celeste (TC) 61 pipes

4′ Principal 73 pipes

4′ Triangular Flute 73 pipes

IV Mixture 244 pipes

16′ Double Trumpet² 73 pipes

8′ Trumpet 73 pipes

8′ Oboe 73 pipes

8′ Vox Humana 73 pipes

Tremolo

Swell 16 - Unison Off - 4

Nave Swell on Swell

Nave Great on Swell

Nave on Swell Pistons

Pedal Combinations on Swell

CHOIR

8′ Concert Flute 73 pipes

8′ Viola 73 pipes

8′ Viola Celeste (TC) 61 pipes

8′ Dulciana 97 pipes

8′ Unda Maris (TC) 61 pipes

4′ Flute d’Amour 73 pipes

4′ Dulcet (ext Dulciana)

2-2⁄3′ Dolce Twelfth (ext Dulciana)

2′ Dolce Fifteenth (ext Dulciana)

8′ Clarinet 73 pipes

Tremolo

16′ Trombone (Gt)

8′ Tromba (Gt)

8′ Tuba (by F. J. Rogers, 15 inches pressure) 73 pipes

8′ Harp (TC) (49 bars)

Chimes (Gt)

Choir 16 - Unison Off - 4 - 22⁄3

Nave Swell on Choir

Nave Great on Choir

Pedal Combinations on Choir

PEDAL

32′ Bourdon 12 pipes

32′ Resultant

16′ Diapason 32 pipes

16′ Double Diapason (Gt)

16′ Bourdon 32 pipes

16′ Lieblich Gedeckt (Sw)

16′ Gemshorn (Gt) 12 pipes

8′ Octave (ext Diapason) 12 pipes

8′ Major Flute (ext Bourdon) 12 pipes

8′ Claribel Flute (Gt)

8′ Gemshorn (Gt)

4′ Triangular Flute (Sw)

32′ Trombone (ext 16′ Trombone, 1–12 III Harmonics) 36 pipes

16′ Trombone (Gt)

16′ Double Trumpet (Sw)

8′ Tromba (Gt)

8′ Double Trumpet (Sw)

8′ Tuba (Ch)

4′ Double Trumpet (Sw)

Chimes (Gt)

NAVE GREAT

8′ Open Diapason1 61 pipes

8′ Doppleflute 49 pipes (Roosevelt, 1–12 from Melodia)

8′ Melodia² 61 pipes

8′ Bois Celeste² (TC) 49 pipes

4′ Octave¹  73 pipes

2′ Super Octave¹ (ext 4′ Octave)

II Grave Mixture¹ 122 pipes

8′ Flugelhorn 61 pipes (from Reuter, revoiced)

8′ Cromorne³ 61 pipes

Tremolo

8′ Tuba (Ch)

Tower Bells (13 bells)

Chimes (Gt)

Great on Nave

Nave Great 16 - Unison Off - 4

NAVE SWELL

16′ Gedeckt¹ (ext 8′ Gedeckt) 12 pipes

8′ Viole² 73 pipes

8′ Voix Celeste² (TC) 61 pipes

8′ Gedeckt¹ 73 pipes

4′ Open Flute³ 73 pipes

2-2⁄3′ Nazard 61 pipes

2′ Piccolo¹ (ext 8′ Gedeckt) 12 pipes

1-3⁄5′ Tierce 61 pipes

16′ Fagotto⁴ (ext 8′ Fagotto) 12 pipes

8′ Fagotto⁴ 73 pipes

Tremolo

Zimbelstern

Nave Swell 16 - Unison Off - 4

NAVE PEDAL

32′ Resultant

16′ Open Diapason (Nave Gt) 12 pipes

16′ Gedeckt (Nave Sw)

8′ Open Diapason (Nave Gt)

8′ Gedeckt (Nave Sw)

4′ Open Diapason (Nave Gt)

4′ Gedeckt (Nave Sw)

16′ Fagotto (Nave Sw)

8′ Fagotto (Nave Sw)

4′ Cromorne (Nave Gt)

COUPLERS

Great to Pedal 8, 4

Swell to Pedal 8, 4

Choir to Pedal 8, 51⁄3, 4

Nave Great to Pedal 8, 4

Nave Swell to Pedal 8

Swell to Great 16, 8, 4

Choir to Great 16, 8, 5-1⁄3, 4, 2-2⁄3

Nave Great to Great 8, 4

Nave Swell to Great 8, 4

Swell to Choir 16, 8, 4

Nave Great to Choir 8, 4

Nave Swell to Choir 8, 4

Choir to Swell 8, 4, 2-2⁄3

Nave Great to Swell 8

Nave Swell to Swell 8

Great/Choir Transfer

Notes

1. From 1937 M. P. Möller Op. 6512

2. From 1903 Austin Organ Company Opus 73

3. From inventory

4. From 1960 M. P. Möller Op. 9453

 

53 ranks, 86 stops, 3,606 pipes

 

Photo credit: Adam F. Dieffenbach

Scott Smith Pipe Organs, Lansing, Michigan

Grace Lutheran Church, Auburn, Michigan

Auburn is a modest-sized city of just over 2,000 in the Great Lakes Bay Region of Michigan, nearly equidistant from Midland to the west, Bay City to the east, and slightly farther from Saginaw to the south. As a result, the churches in this region draw members from a rather diverse culture, comprising everything from chemical engineering to manufacturing to agriculture.

Around 1980, a local builder moved a small, two-manual Wicks organ into Grace Lutheran from a church in Maple Heights, Ohio, replacing an electronic substitute. In 1986, the church expanded in size, and the organ was moved to the rear of the sanctuary and enlarged to fifteen ranks.

The instrument came to us as a new service account a few years ago. Almost immediately, Nathan Beethe, the church’s music director, initiated what was to become an ongoing discussion about the condition of the organ, its built-in constraints, and some changes he would like to see. Chronic dead notes and ciphers were only the beginning. The organ’s overall character was harsh and loud, posing constant challenges in registration choices, particularly for offertories and choir accompaniment. Perhaps the most annoying issue for organists was the failing console and the limitations posed by its 56-note manual compass controlling 61-note chests.

Soon, the church underwent a facility-wide upgrade, and the organ became an integral part of that overall improvement. The first thing we asked the church to do was to beef up the back wall of the chamber, as the 16′ Subbass was sorely lacking in projected power into the sanctuary. Its bass sound waves were being transmitted through a single layer of gypsum board to the chapel behind. The vibration of the 16′ Subbass vigorously shook the chapel’s shared back wall on the other side of the studs. An additional layer of gypsum board had a dramatic effect of focusing the bass tones, and the Subbass could be heard and felt for the first time in the surprisingly good acoustic of the sanctuary.

Joe Granger of our team worked with Organ Supply Industries on the design of a new console, which offers two 61-note manuals and an exterior cabinet of red oak in a diagonal shiplap design that matches the cabinetry of the organ casework. The elegant new console features drawknobs instead of the tongue tabs on the old unit. Joe collaborated with Kantor Beethe to develop the new specification.

In our opinion, a fifteen-rank organ did not require three 2′ stops, so the Swell 2′ Principal was replaced by a 100-year-old Austin 4′ Harmonic Flute. Its positioning near the Swell opening helps to enhance the delicate spray of harmonics from this beautiful stop that sounds surprisingly at home in the instrument.

The Swell 16′ Trumpet was judged to be too harsh and too thin to adequately cap the rest of the organ in big ensembles and did not work well as a solo stop. Limited by space and therefore unable to install a larger-scaled reed, we handed the work of transforming the stop over to Oyster Pipeworks of Louisville, Ohio. They successfully merged portions of the existing rank with another to create one whose overall character now possesses tones that are darker, warmer, and more pleasing in both ensemble and solo work.

As it stood, we felt that the Great III Mixture (11⁄3′) spoke an octave too high. Through the magic of computer programming, the rank was repitched an octave lower, but still remains available at the original pitch for those occasions when the extra “spice” is desired without the aid of an octave coupler.

The Great 8′ Rohr Schalmei was of limited usage and was replaced with a vintage 8′ Clarinet, believed to have been made by Hook & Hastings. 

To make this modest-sized organ as versatile as possible, we made extensive use of the Swell 8′ Viole, which is now also available as a three-rank derived Swell III Mixture (2′, breaking), Swell 11⁄3′ Larigot, and Great Grave Mixture II (2′ and 22⁄3′, non-breaking). This medium-scale, rather generic string was nearly perfect as it stood to provide the basis for these faux stops, in addition to its normal duty as the Swell Viole.

In the 1986 expansion, the low twelve Pedal 16′ Subbass pipes were extended upward for the next twenty notes with chunky zinc/spotted metal pipes, which were never very effective, nor did they match well. These were replaced with wood pipes, merging two vintage Estey sets, and rescaled to match the Wicks Subbass. The end result now brings warmth and power to the entire compass of the organ’s bass. Combining these two nearly identical sets also allowed us to slow down the halving ratio in the treble portion of its compass.

Today, the instrument’s ensemble is warmer, darker and fuller than before, without sacrificing a great deal of its brilliance. The reworked swell mechanism now provides greater and more subtle dynamic control, and the revised stoplist offers a more diverse palette of options for the organist. A Peterson ICS-4000 organ control system was chosen for the relay and multi-level combination action.

We acknowledge Richard Swanson of R. T. Swanson, Inc., who initially consulted on and assisted with installation of the first two incarnations of this instrument, and freely shared his file and drawings with us.

—Joe Granger, Scott Smith; Scott Smith Pipe Organs, Lansing, Michigan

Photos by Joe Granger

GREAT (Manual I)

16′ Bourdon Doux (Sw 16′ Bourdon)

8′ Diapason 61 pipes

8′ Bourdon 73 pipes

8′ Viole (Sw 8′ Viole)

8′ Viole Celeste (TC) (Sw 8′ Viole Cel)

4′ Octave 61 pipes

4′ Flute (ext 8′ Bourdon)

2′ Principal Conique 61 pipes

III Mixture (22⁄3′) 183 pipes

III Cymbale (11⁄3′) (fr III Mixture)

II Grave Mixture (fr Sw 8′ Viole)

16′ Contre Trompette (Sw 16′ C Trom)

8′ Trompette (Sw 16′ Contre Tromp)

8′ Clarinet 61 pipes

Chimes 21 tubes

Great 16

Great Unison Off

Great 4

Zimbelstern

SWELL (Manual II, enclosed)

16′ Bourdon 97 pipes

8′ Bourdon (ext 16′ Bourdon)

8′ Flute Conique (1–12 fr 16′ Bour,, 13–61 fr 4′ Flute Conique)

8′ Viole 85 pipes

8′ Viole Celeste (TC) 49 pipes

4′ Flute Harmonique 61 pipes

4′ Flute Conique 61 pipes

4′ Viole (ext 8′ Viole)

2-2⁄3′ Nasard (ext 16′ Bourdon)

2′ Flute (ext 16′ Bourdon)

1-3⁄5′ Tierce (fr 16′ Bourdon)

1-1⁄3′ Larigot (fr 8′ Viole)

III Plein Jeu (2′)(fr 8′ Viole)

16′ Contre Trompette 85 pipes

8′ Trompette (ext 16′ Contre Tromp)

4′ Clarion (ext 16′ Contre Tromp)

Swell 16

Swell Unison Off

Swell 4

Tremolo

PEDAL

32′ Resultant (16′ Soubasse, 10-2⁄3′ Bdn)

16′ Soubasse 44 pipes

16′ Bourdon (Sw 16′ Bourdon)

8′ Flute (ext 16′ Soubasse)

8′ Bourdon (Sw 16′ Bourdon)

8′ Diapason (Gt 8′ Diapason)

4′ Flute (Sw 16′ Bourdon)

4′ Octave (Gt 4′ Octave)

16′ Contre Trompette (Sw 16′ C Trom)

8′ Trompette (Sw 16′ Contre Tromp)

COUPLERS

Great to Pedal 8

Great to Pedal 4

Swell to Pedal 8

Swell to Pedal 4

Swell to Great 16

Swell to Great 8

Swell to Great 4

ACCESSORIES

10 General pistons (thumb and toe)

5 Great pistons (thumb)

5 Swell pistons (thumb)

3 Pedal pistons (toe)

General Cancel (thumb)

Setter (thumb) 

Great to Pedal reversible (thumb and toe)

Swell to Pedal reversible (thumb and toe)

Swell to Great reversible (thumb and toe)

Sforzando (thumb and toe)

Combination level, up or down (thumb)

Transposer (up/down, thumb)

Russell Meyer & Associates, Lawrenceville, Georgia, Opus 14

First Presbyterian Church, Clarkesville, Georgia

Historic First Presbyterian Church of Clarkesville, Georgia, was built in 1848 by Jarvis Van Buren, a first cousin of President Martin Van Buren. The first pipe organ in the building was installed in the rear gallery by the Greenwood Pipe Organ Company in 1983.

The Atlanta Pipe Organ Sales & Service Company rebuilt and enlarged the Greenwood organ to seven ranks in 1989, retaining a set of twelve old 16′ Bourdon pipes, a 4′ Principal, a tenor-C Dulciana, a set of swell shades, a set of Maas-Rowe chimes, and a rebuilt two-manual drawknob console originally made by the Skinner Organ Company in 1926 for First Methodist Church of Hendersonville, North Carolina. The 1989 organ included a new organ case, five ranks of new pipes manufactured by the Wicks Organ Company, and entirely new electro-mechanical windchests with schwimmers. The Great division consisted of two unenclosed ranks—an 8′ Principal and a 4′/2′ unit Octave—plus numerous borrowed stops from the Swell division. The Swell comprised an 85-note unit Rohr Flute, a 4′ Principal, a 37-note, tenor-C Tierce, and a pair of 49-note, tenor-C dulcianas without common bass. Because the organ had only one flute rank of 8′ pitch with a 16′ extension, the soft 16′ pedal stop (activated by means of dual valves) differed from the loud 16′ stop only in its lowest octave. The organ possessed no reed tone.

Russell Meyer & Associates were contracted to rebuild and enlarge the organ in 2020. We added six ranks of pipes from M. P. Möller Opus 9739 (1962), originally installed in Saint Mary-in-the-Highlands Episcopal Church, Cold Spring, New York. To make the Great division more independent from the Swell, we added a III–IV rank mixture with its quints derived from a 49-note 1-1⁄3′ rank and its unisons from a 49-note 1′ rank. We also added a delightful 73-note wooden Gedeckt and moved the former 49-note Dulciana Celeste from the Swell along with twelve Haskell bass pipes added from our inventory. We also included a borrowed 16′ voice in the Great that produces a balanced level of gentle 16′ manual tone not achievable by the clumsier means of a suboctave coupler.

In the Swell division we replaced the previous dulcianas with a pair of moderately scaled violes. Because the unison Viole is full-compass, we were able to employ it as a common bass for a warmly singing 8′ extension of the existing 4′ Principal, a very useful stop indeed. Perhaps most significant in terms of tonal variety was our addition of an 85-note unit 16′ Trumpet conveniently playable in every division. This Trumpet performs beautifully as both a chorus reed and a solo stop.

Improvements to the Pedal division include a 32′ resultant and a gentle 16′ stop that retains a different character and softer volume from its louder sister throughout the entire compass of the pedalboard. The provision of cantus stops also adds to the versatility of the instrument. It is quite surprising how effectively the revised Pedal division undergirds the full ensemble, yet is able to do almost anything the organist asks of it, be it a quiet bass, a sweet melody, or a bold pedal solo.

To accommodate the added ranks, we expanded the organ case in matching appearance to double its previous size. We retained the existing console shell, bench, keyboards, and pedalboard but supplied all new thumb pistons, toe studs, drawknobs, tilting tablets, and a digital console clock. We manufactured new key slips, stop jambs, coupler rail, and music rack, and provided LED console lighting. We reconfigured the winding system and built new electro-mechanical windchests for five ranks, two additional schwimmers, and a seven-bell Zimbelstern of our own design. A new Opus-Two control system provides a 250-level combination action, piston sequencer, transposer, and built-in record/playback that operates totally on internal memory. We also installed a new 64-stage electric swell motor, as well as LED work lights inside the organ case.

I acknowledge and thank my colleagues and friends who worked with me on the construction, installation, and tonal finishing of this organ: Allen Colson, Joshua Crook, Tommy McCook, Michael Proscia, Corley Easterling, Bud Taylor, and Tom Wigley. John Thomas and Stephen McCarthy assisted with the removal of the Cold Spring instrument.

We are grateful to the church Session, the congregation, and the staff for entrusting us with this project. Reverend Matthew Henderson is the pastor, Areatha Ketch is music director, and Sandra Altman is organist.

—Russell Meyer, president

Builder’s website: rmeyerpipeorgans.com

Church website: fpccga.org

GREAT (Manual I, unenclosed)

16′ Dolce Bass (ext, common bass)

8′ Open Diapason 61 pipes   

8′ Gedeckt (wood) * 61 pipes   

8′ Dulciana (1–12 added *) 61 pipes   

4′ Octave 61 pipes

4′ Gedeckt Flute (ext 8′) * 12 pipes

2′ Super Octave  (ext 4′) 12 pipes   

III–IV Mixture (1-1⁄3′, derived) * 98 pipes   

8′ Trumpet (Sw)

4′ Clarion (Sw)

Chimes 21 tubes   

Zimbelstern * 7 bells

Swell to Great 16

Swell to Great

Swell to Great 4

SWELL (Manual II, enclosed)

8′ Violin Diapason (ext, common bass)

8′ Rohr Bourdon 61 pipes

8′ Viole * 61 pipes

8′ Viole Celeste (TC) * 49 pipes

4′ Principal 61 pipes

4′ Rohr Flute (ext 8′) 12 pipes

2-2⁄3′ Nazard (ext 8′ Rohr Flute)

2′ Block Flute (ext 8′) 12 pipes

1-3⁄5′ Tierce (TC) 37 pipes

1-1⁄3′ Larigot (ext 8′ Rohr Flute)

16′ Double Trumpet (ext 8′) * 12 pipes

8′ Trumpet * 61 pipes

4′ Clarion (ext 8′) * 12 pipes

Tremulant

Swell to Swell 16

Swell to Swell 4

PEDAL (unenclosed)

32′ Harmonic Bass (1–12 resultant)

16′ Subbass (wood, ext Sw) 12 pipes

16′ Lieblich Gedeckt (ext Gt, soft wind)

8′ Open Diapason (1–12 fr Gt Open Diapason; 13–32 fr Gt Octave)

8′ Gedeckt Bass (Gt)

4′ Choral Bass (Gt 4′ Octave)

4′ Gedeckt Flute (Gt 8′)

16′ Double Trumpet (Sw)

8′ Trumpet (Sw)

4′ Clarion (Sw)

Great to Pedal

Swell to Pedal

Swell to Pedal 4

* added pipes

12 ranks, 756 pipes