Cover Feature

Part 2

The Reddel Memorial Organ at Valparaiso University: the first 30 years

As plans were being made in the middle 1950s for the
construction of a new chapel on the campus of Valparaiso University, the
administration was determined to provide an organ suitable to the size of the
building and of a  character to
carry forward the tradition of fine Lutheran church music already
style="mso-spacerun: yes">  established at the university. Dr. 0.
P. Kretzmann, university president; Dr. 
Theodore Hoelty-Nickel, head of the music department; and Dr. Heinrich
Fleischer, university organist, conferred with Dr. Paul Bunjes. The chapel
building, modern in dress but traditional in its long nave, elevated chancel,
and high ceiling, was originally conceived with a bridge across the nave on
which the organ would be placed, but saner counsel prevailed and the organ was
placed in the rear gallery.

In the 1950s the tracker revival was still some years in the
future. Tonal designs in the 50s usually included independent principal
choruses in each division, with the addition of some Romantic stops; voicing
was clearer and more forthright than that of Romantic organs. But electric key
and stop action was still the norm, and free-standing pipework was advocated.
Valparaiso University turned first to one of the preeminent organ builders in
this so-called "American Classic" style, Walter Holtkamp. Disputes
about tonal design and architectural features resulted in awarding the contract
to another builder, also known for his own particular brand of American Classic
organs: Herman Schlicker, of Buffalo, New York. The organ, designed by Dr. Bunjes
in collaboration with Mr. Schlicker, was completed and installed in the summer
of 1959. The dedication of both chapel and organ occurred on September 27 of
that year; E. Power Biggs played the opening recital to an overflow audience.

The principal donor for the organ was the Reddel family, of
St. Joseph, Michigan, and the instrument has since been known as the Fred and
Ella Reddel Memorial Organ. Originally planned as an instrument of 4 manuals
and 101 ranks of pipes, including an antiphonal organ in the chancel, the organ
at its dedication consisted of only 67 ranks and no antiphonal division. Over
the ensuing years, other donors, notably Kenneth Merrill of South Bend,
Indiana, and the Gaertner family of Farmington, Michigan, enabled a few
additional ranks to be added. The organ did not reach its planned size,
however, until the major renovation of 1995. The idea of an antiphonal division
was abandoned. However, the Valparaiso organ is an instrument of luxurious
size, allowing the player a widely varied palette of tonal colors. And even
more important, the designer and builder achieved the unity of character and
blend of stops that are the hallmark of the best organs.

In its first thirty years, the Reddel organ was host to many
of the world's leading organists. And generations of students, their parents,
faculty, and visitors have experienced the dimension that the Reddel organ has
added to Sunday and daily worship.

--Philip Gehring

Professor Emeritus of Music

University Organist, 1958-88

Behind the scenes of the organ renovation

"The organ should have sounded better," we all
thought that balmy fall afternoon during our guest organist's recital. The
playing was superb, but in spite of the fact that the organ was freshly tuned,
it was becoming clear, especially to some of our alumni present in the audience
that day, that the organ's voice was showing signs of age. One particularly
devoted alumnus, Michael Friesen, 
was thoughtful enough to bring this to the attention of the president of
the University. Likewise, in his typically efficient manner, Dr. Harre asked
the organ faculty to look into the matter. Prof. Gehring, Eifrig, Bernthal and
myself recommended that two consultants be brought to campus to evaluate the
organ's condition. Jack Bethards, president of Schoenstein Organs in
California, and Lynn Dobson, who later was hired to do the work, both announced
that the organ was in need of serious attention. Because of heavy use during
the school year, mechanically speaking the organ had aged three to four times
faster than a normal church organ. Tonally, pipes had become dirty and had
fallen off speech. Visually, the organ was in need of a good cleaning. Finally,
with the development of technology in the last decade, it would improve the organ's
usefulness and flexibility to update its systems.

The latter issue was the easiest to deal with. Solid State
Logic was asked to design the new relay system and combination action and
provide MIDI and playback capabilities for the organ.

Mechanical issues were also relatively straightforward. The
swell boxes had never worked properly, so the very latest, state-of-the-art
Peterson motors were installed. An elegant new console was built, copied after
the old one. While the organ was disassembled, it seemed financially prudent to
restore all the leather.

The tonal nature of the organ was doubtless the most
delicate issue to deal with and the one which required the longest
deliberation. Extra funds had become available to complete the organ, but we
also needed to consider what voicing could be done on the Schlicker pipes. Our
first priority was to keep the original nature of the organ intact. Here was an
excellent example (and one of the largest) of Herman Schlicker's innovative
work. All of the original scales (save for slight modifications to the the 8';
and 4'; principals on the Great) remained untouched. Selective voicing was done
to the flue pipes, not to change the nature of their tone, but rather to give
it more bloom in the chapel. Reeds were cleaned thoroughly and new tongues were
inserted in many, thus improving speech and tonal production.

A related concern was the organ specification. In 1959, the
funds did not exist to build the fourth manual. A Brustwerk and selected stops
from the other three manuals and pedal were left off. The committee thought
that since the essence of the original Brustwerk stops existed elsewhere on the
organ, and that several other stops, such as a two-rank celeste at 4'; pitch,
and two 4'; regals would not be as useful, we recommended some modifications be
made. There seemed to be a need for more 8'; pitch and string tone on the
organ, which caused us to add two 8'; principals (Positiv and Solo) and a
Salicional in the Swell and strings in the Solo. The battery of reeds in the
Great were completed as planned, but new reed colors were added to the other
divisions--a French Chalumeau, Vox Humana, Clarinet and English-style Trumpet.
Since it was clear that the new fourth manual would not be a Brustwerk and, in
fact, would include a set of strings, the decision was made to enclose the
stops and include Harmonic Flutes 8'; and 4'; and 4'; Principal. A cornet was
mounted on top of the box. A Schreipfeife (13/5'; and 11/7';) which was on the
original Bunjes specification, was installed on the Swell. Electronic 32's
would prove much more economical than the 12 wood pipes called for in 1959.

The organ was re-dedicated in a liturgy on Sept. 15, 1996.
John Scott, Organist/Master of Choirs of St. Paul's Cathedral, London played
the afternoon recital.

--Martin Jean

Associate Professor of Organ

The School of Music and the Institute of Sacred Music, Yale
University

The process of restoration and enlargment

The approach of 1985, the Bach tricentennial, encouraged the
university organists to propose finishing the incomplete Schlicker organ. Not
only did the instrument lack almost one-third of the original stoplist, but
twenty-five years of constant use with only minimal repairs had left the organ
in need of major rehabilitation. The university, however, had other capital
projects underway; no large donor could be courted for the organ project. That
would wait for another decade.

The program for 1985, however, was the basis on which the
1995 project was conceived. By the mid-eighties the university organists had a
quarter-century of experiencing the Schlicker organ in the acoustics and
worship programs of the chapel.

The chests of most divisions were set up to receive the
prepared-for ranks, but there were neither chests for the Brustwerk division, nor
did Schlicker or Bunjes have any idea where such a division would be located.
There was also the need for larger sounds, not the miniatures of the specified
Brustwerk.

In 1985 Professors Gehring and Eifrig proposed an
alternative to the Brustwerk, a division that was not an independent chorus of
stops but rather a supplement to the Great. Not wanting to violate the
Bunjes/Schlicker concept, the university organists called this "the Cantus
Firmus Division," with additional horizontal trumpets and a set of
Principals to which the other divisions could be coupled. Such a plan would
enable the organist to lead the singing of 1500 voices in "packed
house" worship, soloing out hymn melodies above full organ accompaniment.
The 1985 plan waited for a later project, and the Bach year was celebrated on
the incomplete Schlicker organ.

By the 1990s Valparaiso University had attended to the
several building projects that had earlier taken precedence over the organ
rehabilitation and completion of the center for the arts. Now a new
administration was in a position to let an arts building represent its
accomplishments. Planning such a building for the music department of necessity
included plans for organ performance and instruction. At an early stage of
conceptual planning thought was given to a moderately large organ for a concert
hall. Budgetary restrictions as well as recognition that the Schlicker in the
chapel would always be the locus of organ performance left the concert hall and
its instrument out of the concepts for the Valparaiso University Center for the
Arts. In that center, dedicated in 1995, practice rooms for four organs were
provided and the Bauer Organ and Choral Room gave the Schlicker teaching organ
a happy environment for teaching, rehearsals, and small recitals or master
classes.

Martin Jean's appointment as University Organist coincided
with planning and construction of the arts center. The chair of the music
department and Jean reminded the university administration and the public that
the organ at the chapel is very much a component of the arts center as well as
a prominent voice for the musical arts in Lutheran worship. A turning point in
this campaign occurred when the Vice-President for Finance understood that the
Schlicker organ, suffering twenty-five years of neglect, was not serving
students well in their organ education. Her appreciation of this fact set in
motion the renovation, completion, and expansion of the Schlicker/Bunjes organ.

Funded by the Vice-President's office, the organists and chapel
staff of the university first drew up a list of builders from whom to solicit
interest in the project. Those interested were asked to state their
expectations for the renovation/completion, proposing a specification that
would modify the original Bunjes stoplist while respecting the Schlicker
character of the existing instrument. The organists and chapel staff
recommended that the Dobson Organ Company be contracted to refurbish and
complete the chapel organ. The University Office of Institutional Advancement,
while engaged already in a major capital funding drive, undertook to secure the
funds needed by the project. The Eickhoff family were generous supporters of
the almost half-million dollar capital investment.

--William F. Eifrig

Professor Emeritus of Music

Teaching organ students on the renovated Reddel Memorial Organ

It has indeed been a joy to teach organ students on the
Reddel Memorial Organ at the Chapel of the Resurrection. The clarity of the
ensemble, the presence in the room of individual stops, and the color and
balance afforded by the completion of the organ have been noticeable to members
of the campus community and visitors alike.

For students, the renovated organ offers a greater tonal
palette from which to choose registrations. The addition of the 16'; and 4';
chorus reeds on the Great increased the brightness and gravity of this
division; the extension of the 16'; Fagott from the Great into the Pedal and
the addition of an independent 8'; 
Trompette in the Pedal increased flexibility in this division. Various
divisions have been "filled out" by adding ranks "prepared
for" but not included in the original construction. Thanks to the addition
of a 13/5'; Großterz on the Great, II Schreipfeife on the Swell, and mounted
Cornet on the Solo we now have the luxury of Cornet combinations available on
all four manuals. The Pedal division now includes a 51/3'; Quinte (from the
16'; overtone series) and an 8'; Flötenbass for more versatility. The new
Solo division, which is enclosed, has greatly expanded the tonal possibilities
of the overall instrument. In addition to providing new colors available as
solo stops--8'; Harmonic Flute, large-scale Cornet, Clarinet, and Trumpet--the
Solo division augments the resources for playing 19th and 20th-century organ
literature. Other additions have made it possible to register organ music of
certain composers or schools more effectively. For instance, the addition of an
8'; Principal on the Positiv and 8'; Vox Humana on the Swell has greatly
enhanced the registration of Franck's organ music. The French 8'; Chalumeau on
the Positiv has likewise enhanced the playing of French Baroque music.

The sophisticated technology now available has made it more
convenient to store and retrieve registrations used by a variety of students.
Solid State Logic offers the capability of storing 40 general registration
combinations on each of 256 memory levels. The MIDI technology allows students
to record music which they are studying for playback in "real time."
Also, the Positiv, Great, Solo, and Pedal have two MIDI channels available
which can play sounds from a MIDI synthesizer, thus adding to the tonal
resources of the organ.

Organ students at Valparaiso University study church music,
particularly service-playing, which includes the playing of hymns,
congregational songs, liturgical service music, and accompaniment of choral
music. All of these areas have been positively impacted by the availability of
new tonal resources on the chapel organ. For instance, the accompaniment of
hymns at worship would formerly require the use of the Great principal chorus
including the mixture. This was due to the large acoustic space of the chapel
which needed to be filled with sound even when the chapel was not filled with
worshipers. After the renovation, the situation is much improved as the Great
Principals 8';, 4'; and 2'; provide sufficient clarity and strength to support
congregational singing. The tenor range of the ensemble is also more audible
and distinct in speech. The addition of the 8'; and 4'; Harmonic Flute (Solo)
and 8'; Holzflöte (Great) have proven very useful for choral
accompaniment.

Finally, the completion of this major renovation has sparked
new interest in the organ and organ music both from students on campus and from
students in elementary schools in the area.

--Dr. John Bernthal

Associate Professor of Music

Associate University Organist

New Organs

Bedient Pipe Organ Company, Roca, Nebraska

St. Paul United Methodist Church, Lincoln, Nebraska

From the pastor

St. Paul United Methodist Church was the very first church in Lincoln,
established in 1857. Located at 12th and M streets in downtown Lincoln, the
present building was completed in 1901 and was used by many groups as the
city's largest auditorium. A major addition was built in 1999, and the
sanctuary was completely remodeled in 2001. It is an active and growing
downtown church with 1,800 members.

We were very excited when an unanticipated major gift allowed us to proceed
with a much-needed sanctuary renovation. One concern that we had to deal with
in planning this renovation was the old organ, a Reuter from 1953. The primary
concern was the appearance of the instrument in the new visual plan; and that
led to a secondary concern: the condition of the organ and its effectiveness in
leading worship at St. Paul.

We investigated renovating the existing organ versus replacement with a new
one. It became apparent that a six-figure renovation would solve the visual
problems but still leave us with an old organ that would eventually need a lot
of work. A decision was made by the organ committee to contract with the
Bedient Company to build a new organ in two phases. Phase one included the
console, a new façade and two major divisions of the new organ, and
allowed us to proceed with funding that was in place to solve the organ
problems. Subsequently, a second generous gift has allowed us to complete phase
two, the remaining two divisions of the organ.

We had serious concerns about replacing the Reuter organ with a new
instrument. Although the organ had many deficiencies, at the same time, there
were many sounds that were beloved by the congregation. Time proved that our
concerns were unfounded. The façade of the new Bedient organ is
magnificent and fits beautifully into the renovated sanctuary. More
importantly, from the first time we began to hear sounds from the new organ, it
was apparent that the tonal qualities of the new organ were equally
magnificent. The organ creates a beautiful, full sound without a hint of
harshness, and there are many lovely individual stops on the organ. It has been
a joy working with the Bedient Company. They have been responsive to all of our
concerns and have created a magnificent pipe organ for St. Paul United
Methodist Church that will enhance the worship experience for generations to
come.

--Dr. C. Rex Bevins

Senior Pastor, St. Paul UMC

From the director of music

When it became apparent that the old organ was going to be replaced, I had
serious concerns about the suitability of the new organ to lead the
congregation and to accompany the many choral and instrumental ensembles at St.
Paul. Gene and company assured us that we would be very pleased with the
result, and they were right! The range of dynamics for accompanying was
remarkable just with the Great and Swell divisions in place. When a string
ensemble from the Lincoln Orchestra Association was being accompanied by the
organ, many remarked that they were unable to tell which sounds came from the
string orchestra and which from the string pipes in the organ! The sounds of
the principal pipes and the principal choruses are excellent for leading the
congregation in hearty Methodist hymn singing. The Bedient Pipe Organ Company's
Opus 70 is well suited for all requirements.

--Dr. William Wyman

Director of Music, St. Paul UMC

Director of Choral Activities,

Nebraska Wesleyan University

From the organist

The St. Paul sanctuary, one hundred years old in 2001, was designed
according to the Akron plan. The organ chamber is located in the corner of a
diamond shape, fronted by the chancel and surrounded by amphitheater-style
seating. Three balconies skirt the outer walls with a total seating capacity of
1100.

The renovation of the sanctuary and the organ were addressed with a primary
concern for flexible use of space. All chancel furnishings were permanently
fixed in place making it difficult to find space for instrumental groups.
Acoustics were another concern. Carpet with a thick horsehair pad and soft
acoustic ceiling tile virtually defeated the courage of the congregation to
sing. The old organ, though rather large, didn't project well enough to support
and encourage singing. And as a concert instrument it was wholly inadequate.

Flexibility was achieved by making all chancel furniture, including the
choir modesty rail, movable. Choir chairs replaced pews. The organ would have a
movable console. The Bedient Organ Company agreed to a major departure from its
practice of building tracker organs to design for us an instrument with an
electric console and with electro-pneumatic slider chests. The low-profile,
French terrace console was placed on a movable platform. Conducting from the
console is now possible for the first time in the history of this church.
Ensemble playing has become a pleasurable experience. Eye (and ear) contact
with the conductor and other performers can always be achieved. An adjustable
pedalboard, both horizontal and vertical, provides relief from back and
shoulder discomfort as well as seating flexibility for younger student players.

To restore acoustical life to the sanctuary, ceiling tiles were replaced
with drywall, glued and screwed down every twelve inches. The new chancel floor
was extended and covered with solid oak. The heavily padded carpet in the nave
was replaced with a thin, tightly woven variety.

But of course, everyone wants to know, is the organ successful? The short
answer is an unequivocal yes! It can do everything required of a church organ
in worship. Tonally, the organ is well matched to the human voice, supporting
congregational singing and accompanying choirs and soloists beautifully. The
strings and reeds blend well with their orchestral counterparts. Brass players
particularly have commented on how much easier it is to tune and play with this
organ. These characteristics also provide the foundation necessary for playing
orchestral transcriptions. In general, three tonal characteristics leap to
mind: gentle, beautiful and robust. But the truly unique contribution of this
instrument is its place on the cutting edge of stylistic development.

Given the tonal qualities of the Aeolian-Skinner organ, it is understandable
why there is a virtual cult following for that style of instrument. But as the
proponents of organ reform realized, its capacity to play the vast repertoire
with any hint of appropriate historic sound and color was nonexistent. The
American Classic organ simply produced a generic sound able to play all
repertoire but with little distinction. Music composed for it, of course, was
the exception.

Now after an in-depth foray into historic building practices over the past
thirty or so years a new "American Classic" organ has emerged. The
sound is clearly influenced by historic models but in the case of some builders
it is still a generic sound, i.e., one basic sound for all styles of music. In
the hands of the Bedient Organ Company, however, a higher ideal is being
achieved.

The higher ideal, to the mind of this author, is an instrument whose
ensemble is not only cohesive but by judicious registration may produce
ensembles clearly reminiscent of French Classic and Romantic, North German and
even English Cathedral sounds. The effect may not be literal but still is able
to act as a tonal chameleon. We find Bedient's Opus 70 to successfully define
this direction in the stylistic evolution of the American Classic organ.

In our recently released recording we have chosen a solo repertoire to demonstrate
the range of the instrument. Whether the organ's use is to support and lead
worship or as a concert instrument there are three requirements for a
successful instrument: dynamic flexibility, varied tonal color (timbre), and
stylistic eclecticism.

Dynamic flexibility, that ability to affect a seamless crescendo and
diminuendo from the softest stops to full organ and back, is demonstrated
beautifully and elegantly by the Adagio in E Major of Frank Bridge. This is
accomplished by the use of two enclosed divisions, the Swell and Choir coupled
to the unenclosed Great division. This ability is essential, as well, for
effective choral accompanying.

The range of timbre is like an artist's palette. Each stop on an organ has a
specific tonal color: strings, flutes, principals and reeds. Additionally, each
manual division has mutation stops which, when used in various combinations,
create new colors. A few possibilities, using flutes, mutations, oboe and
cromorne, are revealed in the charming little dance suite, La Bourrée by
Michael Praetorius.

In most modern church settings an instrument should be stylistically
eclectic, able to play a wide range of literature both for worship and concert.
The music of J. S. Bach shows the instrument's ability to sound German and to
play complex contrapuntal textures with clarity. The music of Gigout,
Saint-Saëns, Mulet, Dupont, and Dupré shows the French personality
of the organ with its true French reeds and the full foundation of 8' flue
stops on the Great organ. And, referring once again to the Adagio in E Major by
Frank Bridge, the English love of building waves of crescendo and diminuendo in
the 19th century is clearly possible on this instrument. Finally, the inclusion
of three American hymn settings demonstrates this organ's ability to be
completely at home in the 21st century.

A new organ invites exploration into its capabilities: stylistic range and
practical uses in the worship service as a solo instrument, with other
instruments, choirs and congregational singing. The St. Paul congregation and
its musicians are grateful for an instrument that satisfies beyond our
expectations.

--Dr. John C. Friesen

Senior Organist and Consultant,

St. Paul UMC

From the builder

The Bedient organ built especially for St. Paul United Methodist Church in
Lincoln, Nebraska is the company's Opus 70. It was designed specifically for
the St. Paul sanctuary. The three-manual and pedal organ has 47 stops, 59 ranks
and a total of 3,063 pipes.

To accommodate the needs of the church, we designed and built the organ in
two phases. Phase one consisted of the structural, mechanical, electrical, and
wind systems to make the organ function. Also included in phase one were
windchests and pipes of the Great, Swell, and part of the Pedal divisions. In
phase two, the windchests and pipes of the Choir division and the main part of
the Pedal division were added.

Inside the organ chamber a three-level structure, consisting of steel
columns and laminated wood beams, provides the support for the windchests and
the wind system. The façade casework and console are made of white oak,
the keyboard naturals are of bone, and the accidentals are of ebony. The pipe
shades are of basswood with the design drawn from the foliage in the stained
glass windows. The Pedal naturals are of hard maple and the accidentals are
capped with teak. The stopknobs are of cocobola. The pedalboard, expression
shoes and toe pistons adjust vertically via electric motor, while the
horizontal pedal and bench adjustments are mechanical.

The tonal basis of the organ is an amalgamation of 19th-century American,
18th-century German and 18th/19th-century French concepts. Pipes were made with
techniques and designs appropriate to their historical derivations. All the
pipes made by Bedient are an alloy of tin and lead, ranging from 2% tin to 85%
tin, based on the historical basis of the various stops. The façade
pipes, made by A. R. Schopp's Sons in Ohio, are of polished zinc up to the
six-foot body length pipes and are 80% tin beyond that size. They also feature
23-karat gold leaf gilding on the mouths. All wooden pipes are made of poplar
except for the one set of pipes that was retained from the old organ, the 32'
Contresoubasse, which is made of mahogany.

The manual windchests are slider chests and the valves that admit air into
the channels are electro-pneumatic. All offset chests are electro-pneumatic.
The electrical control systems of the organ were made by Peterson
Electro-Musical Products, Chicago, and include the Master Stop Processor with
Piston Sequencer.

The dedication concert for Opus 70 was performed on January 27, 2002 by Dr.
John C. Friesen, organist at St. Paul UMC. Dr. Friesen highlighted the evening
with his performance of works of Buxtehude, Bach, Langlais, Franck, and Vierne.
He was joined by members of the Lincoln Orchestra Association in the
performance of the Handel Organ Concerto in F Major, op. 4, no. 4, and the
Poulenc Concerto in G minor.

The new Bedient organ was also featured in a concert by The Lincoln Symphony
Orchestra celebrating their 75th Anniversary. The evening included Rev. Dr.
Victoria Sirota performing on Opus 70, after which she stated:

The new Bedient organ at St. Paul United Methodist Church in Lincoln, with
its classic European sensibilities coupled with American flexibility, worked
wonderfully for the Sirota organ concerto "In the Fullness of Time."
Individual stops have integrity and presence, and yet blend beautifully into an
artistic whole. Gene Bedient is a poet.

From the outset, it has been the goal of the Bedient Pipe Organ Company to
create a majestic organ that will serve St. Paul United Methodist Church well
for many generations to come.

--Gene Bedient

The Bedient staff:

Alan Baehr, design, case work, installation

Gene Bedient, concept, design and voicing

Gwen Bedient, administration

Duane Grosse, pipe making, electrical

Jerry Hill, case work

Chad Johnson, wood pipes, electrical, voicing, installation

Rick LaBrune, windchests

Paul Lytle, windchests, installation, administration

Stan Pypenko, pipe making

Ed Stibal, case work, console

Jon Taylor, case work, internal structure

Donna Varney, voicing, installation

Fred Zander, windchests, installation

Todd Znamenacek, pipe shades

The recording of this organ by Dr. John Friesen is available from the church
office: 402/477-6951;

<www.saintpaulumc.org&gt;.

For information on the Bedient Pipe Organ Company: 1060 Saltillo Road, Roca,
NE 68430; 800/382-4225;

<[email protected];

<www.bedientorgan.com&gt;.

GREAT

16'            Principal

8'               Principal

8'               Salicional

8'               Flûte
harmonique

8'               Rohrflute

4'               Spielflute
(prep)

22/3'        Quinte

2                Octave

13/5'        Terz

                   Mixture
IV-V

8'               Trompete

8'               Wesley
Trompette (prep)

                   Tremulant

                   Chimes

SWELL

8'               Violin
Diapason

8'               Viole
de Gambe

8'               Bourdon

8'               Voix
céleste

4'               Prestant

22/3'        Nazard

2'               Doublette

13/5'        Tierce

                   Mixture
III-IV

16'            Basson

8'               Trompette

8'               Hautbois

4'               Clairon

8'               Wesley
Trompette (prep)

                   Tremulant

CHOIR

8'               Principal

8'               Bourdon

8'               Dulciana

8'               Unda
Maris

4'               Principal

2'               Nachthorn

                   Cornet
II

                   Cymbale
III-IV

8'               Trompette

8'               Cromorne

8'               Wesley
Trompette (prep)

                   Tremulant

                   Zimbelstern

PEDAL

32'            Contresoubasse

16'            Contrebasse

16'            Subbass

102/3'      Quinte

8'               Principal

8'               Bourdon

4'               Octave

4'               Flute

16'            Bombarde

8'               Trompette

Couplers

Great/Pedal

Swell/Pedal

Choir/Pedal

Swell/Great 16, 8

Choir/Great 16, 8

Swell/Choir

Reverse Choir/Great

Great 16-UO

Swell 16-UO-4

Choir 16-UO-4

Piston Sequencer

Forward, Reverse, Reset

Reversibles

Great/Pedal

Swell/Pedal

Choir/Pedal

Swell/Great

Choir/Great

Swell/Choir

Pistons

8 General

6 Divisionals

General Cancel

Divisional Cancel

Tutti

Set

Cover Feature

Fenris Pipe
Organ, Kilkenny, Minnesota

Good Shepherd
Lutheran Church, Rochester, Minnesota

Project Scope

In the spring of 2002 we were contacted by Jeff Daehn, organ consultant for
Good Shepherd Lutheran Church in Rochester, Minnesota. The church was beginning
a project that encompassed doubling the size of the 1980s-era sanctuary, as
well as additional classroom and mechanical upgrades. Bids had come in somewhat
higher than anticipated, and consequently some project cutbacks were necessary.
Chief of these was all funding for the organ project.

For many years the church had been the home of Hinners Opus #537, I/9.
style="mso-spacerun: yes"> This had been somewhat undersized for
the room and certainly was not adequate for the remodeled space, which now
seats 350. The organ committee decided to part with their Hinners, which now
resides at Madonna Towers in Rochester, Minnesota. (For an account of Opus
#537's 100th birthday party see The Diapason, August 2003, page 3.)

We met with music director/organist Cynthia McLaren to discuss the
parameters of the project. The new instrument would be used primarily for
Sunday services, with some teaching also being done. This instrument would need
to be able to lead a congregation, be versatile, be reliable, aesthetically and
physically fit into a conceptualized space in the front of the sanctuary, and
be built on an erratic timeline determined by funding, or rather, lack thereof.

When we were awarded the contract in October 2002, the sanctuary addition
had just been completed. Load capacities had been accounted for, but the organ
chambers themselves remained unbuilt. The church requested that we segment the
project's construction to allow for fundraising on their part.

Phase I is complete and includes the Great and Pedal divisions, casework and
console. Phase II is the installation of the Swell division.

Leaving such a substantial part of the instrument incomplete is unusual. It
is common to find instruments still awaiting their prepared-for stops, even
though the instrument may have been installed generations ago. For this
scenario we felt a phased project was an option based upon two reasons. First,
the congregation was informed and educated enough to realize that without a
timely conclusion to the project, this would remain an acoustically incomplete
instrument. Second, Cynthia McLaren had been used to playing on a one-manual
instrument for years, and was comfortable continuing to do so in a temporary
capacity. The organ committee's demonstrated commitment to the project, along
with our willingness to work with a flexible construction timeline, allowed the
congregation to have a pipe organ. Without these mitigating factors, this
church would have been a likely candidate for a pipe organ simulator.

The Instrument

The instrument itself utilizes much of the pipework from a 1920s instrument,
including the wooden 16' Principal on façade. The 16' Principal is used
with the 16' Subbass for a 32' resultant. The Great Principal chorus is new,
and all pipework was either voiced or extensively revoiced. The 16' Principal
is on static wind, and the rest of the instrument is voiced on four inches of
wind pressure. Careful reuse of pipework resulted in a substantial savings in
total project dollars.

Windchests, bearers, racking, passageboards, reservoirs, casework and
console are all of new construction from our shop. Winding to 16' Principal in
the façade is supplied by a windtrunk designed and scaled to match note
B12. Notes B12-G32 are located on wind-chests placed in an "A"
arrangement on an elevated catwalk directly behind notes 1-11. Access to
catwalk and chambers is provided by means of a drop-down service ladder. Manual
keyboards are reused and of ivory, rebuilt and married to new keycheeks and keyslips.
Organ switching, blower and pedalboard are new. Casework and console are built
of red oak, stained to match church fixtures. Organ bench is overlength to
assist in teaching.

When designing the instrument, we felt it was important that some of the pipework
be visible to the congregation. We have found that instruments that are
entirely in chambers end up being considered as nothing more than giant
speakers by many parishioners. When the time comes to replace switching or
releather pneumatics, the instrument has not developed a visual identity within
the congregation. These instruments are more likely to be replaced by a pipe
organ simulator. Although important to be visible, it was equally important
that the organ's presence not overpower the space. No one is attending services
to worship the organ.

We painted the wooden 16' Principal to match the walls in the sanctuary.
They provide a textured, yet subordinate backdrop to the elevated cross. Mirror
image chromatic chests, elevated on either side of the chancel, draw the eyes
to the focal point of the space, again, the elevated cross.

Acoustic design is based upon historic tradition, with generous pipe
scaling. The instrument is not overloaded with screaming upperwork, but rather
provides a balanced pyramid of sound. Flute colors are available throughout the
instrument. Each manual division is also provided with mutations.

The room itself is a contemporary styled, geometrically interesting space.
It has a rather unusual shape, shallow and somewhat wide, with seating in
interlocking chairs radiating around the chancel area. Sound egress from the
chamber is via a massive expanse of grillecloth, directly behind the elevated
façade chests. Chambers are bright, with chests and pipework easily serviced.
Walls are taped and painted double 5/8? sheetrock to provide a reflective
surface.

This instrument is the result of sustained effort by music director/organist
Cynthia McLaren, chairman Bob Enger and the organ committee. Fenris
specification and voicing are by Bob Rayburn; design and cabinetwork by Wes
Remmey. Special thanks must be given to Roger Driessen, Barry Lund and Stuart
Ness for all of their efforts in the project.

--Wes Remmey

GREAT

16' Violone
style='mso-tab-count:1'> 49 pipes

8' Flauten
Principal 61
pipes

8' Principal
style='mso-tab-count:1'> 61
pipes

8' Viola
style='mso-tab-count:1'> 12
pipes

8' Rohr
Gedackt 61 pipes

8' Holtzgedackt
style='mso-tab-count:1'> (Swell)

4' Octave
style='mso-tab-count:1'> 61 pipes

4' Hohl
Flute 61
pipes

Sesquialtera
II (Swell)

2' Fifteenth
style='mso-tab-count:1'> (from
Great Mixture)

2' Flautino
style='mso-tab-count:1'> 12
pipes

2' Fourniture
IV 244
pipes

8' Trumpet
style='mso-tab-count:1'> (prepared
for)

Gt/Gt
4

Sw/Gt
16-8-4

Auto
Pedal

MIDI

SWELL

16' Lieblich
Gedackt 61
pipes

8' Holtzgedackt
style='mso-tab-count:1'> 12
pipes

8' Harmonic
Flute 49 pipes

8' Salicional
style='mso-tab-count:1'> 61
pipes

8' Vox
Celeste TC 49
pipes

4' Principal
style='mso-tab-count:1'> 61
pipes

4' Harmonic
Flute 12 pipes

22/3' Nazard
style='mso-tab-count:1'> 61 pipes

2' Octave
style='mso-tab-count:1'> (ext 4' Principal)

2' Flageolet
style='mso-tab-count:1'> 61
pipes

13/5' Tierce
TC 37
pipes

11/3' Larigot
style='mso-tab-count:1'> (ext Nazard)

16' Fagott
style='mso-tab-count:1'> (prepared for)

8' Oboe
style='mso-tab-count:1'> 61 pipes

4' Schalmei
style='mso-tab-count:1'> 12
pipes

Sw/Sw
16

Sw/Sw
4

Tremolo

MIDI

PEDAL

32' Acoustic
Bass (resultant)

16' Principal
style='mso-tab-count:1'> 32
pipes (open wood)

16' Subbass
style='mso-tab-count:1'> 12
pipes

16' Lieblich
Gedackt (Swell)

8' Octave
style='mso-tab-count:1'> (Great)

8' Viola
style='mso-tab-count:1'> (Great)

8' Gedackt
style='mso-tab-count:1'> (Swell)

4' Choral
Bass (Great)

4' Gedackt
style='mso-tab-count:1'> (Swell)

2' Octave
style='mso-tab-count:1'> (Great)

16' Fagott
style='mso-tab-count:1'> (prepared for)

8' Tromba
style='mso-tab-count:1'> 32
pipes

4' Clarion
style='mso-tab-count:1'> 12 pipes

4' Schalmei
style='mso-tab-count:1'> (Swell)

Gt/Ped

Sw/Ped

MIDI

Multi-level Memory

8 Generals Thumb
- Toe Piston

4 Great Divisionals Thumb
Piston

4 Swell Divisionals Thumb
Piston

Gt/Ped Reversible Thumb
Piston

Sw/Ped Reversible Thumb
Piston

Sforzando Thumb
Piston

Set Thumb Piston

CancelThumb Piston

Swell Shoe

Crescendo Shoe

Photo credit: T. C. Stanley Photography

Martin Ott Pipe Organ Company, St. Louis, Missouri, Opus 100

The Behrend
College, Penn State University-Erie

Opus 100 is a wonderful milestone for an organ builder to reach. We had
hoped that our commission for Opus 100 would be a special instrument. When The
Behrend College at Penn State University-Erie contacted us for a bid, we
immediately realized this would be a special situation. Larry and Kathryn Smith
had provided funding for a chapel. The chapel already housed a 48-bell
carillon, a gift of Mr. Smith's parents, the late Floyd and Juanita Smith. Now
the Smiths wanted to commission an organ in honor of their children, Colleen
and Kevin. The picturesque setting of the brick chapel and carillon would be an
excellent location for organ and choral music. This chapel would be a place of
spiritual retreat and renewal for the university community. The organ would
have an important role in this purpose.

To complement the clean, traditional architecture of the chapel, we chose a
simple yet dramatic organ design. The oak case and location of the organ
suggests intimacy and warmth. Visually the organ soars to the rafters,
suggesting transcendence. Time-tested methods of construction, such as mortise
and tenon joinery, were used so that the instrument will last for many
generations. Current technologies, such as solid-state combination action, give
the organ versatility. The suspended mechanical action of the instrument allows
the organist careful control of pipe speech. This also places responsibility on
the organist to be precise in articulation. A good organ should inspire the
organist to reach for new musical heights.

The organ stands twenty-five feet high. It comprises 23 ranks, 21 stops, and
more than 1,200 pipes. Manual key compass is 56 notes. The natural keys are
made of grenadil wood, and the sharp keys are of grenadil covered by cow bone.
The pedal keyboards have 30 notes and are made of oak.

Over more than three decades, Martin Ott and his company have been
developing their own style of tonal eclecticism. The tonal design for Opus 100
is an excellent example of the Ott style. The size of the chapel dictated an
instrument of modest size. In this situation, there is no room for waste in the
stoplist. Plenums are possible on both Schwellwerk and Hauptwerk. The IV-rank
mixture on the Hauptwerk is a full, robust addition to the principal chorus.
The clarity and beauty of the 8' stops allows them to be used as solo voices in
chorale and hymn preludes. The organ also includes a simple Krummhorn. This
reed stop is more versatile than an Oboe. When used alone, it is appropriate
for Baroque music or a solo voice in a 20th-century work. When paired with the
8' Viola, its character will sound more Romantic. The pedal's Posaune is robust
but can still be used in lighter textures without overpowering the manuals.

In the signature Ott style, the organ is voiced to be clear and strong
without overpowering the listener. The clear, cohesive tonal design supports
congregational singing, service playing, chamber music, and solo organ
literature. The vast majority of organ literature can be played on this 21-stop
instrument.

The finished organ was first played for donors Larry and Kathryn Smith and
the Behrend College Council of Fellows. For this private demonstration, Karen
Keene, lecturer in organ at Penn State-Behrend, ably assisted us as the
organist. In Mr. Ott's absence, Dennis Unks, a long-time friend and colleague,
explained the construction and tonal layout of the organ. The community had the
opportunity to experience the versatility and beauty of this organ at the
dedication recital by Larry Smith, Organ Department Chair at Indiana
University-Bloomington. Dr. Smith played works by J. S. Bach, Gardner Read,
Gaston Litaize, Paul Hindemith, Darius Milhaud, and Joseph Jongen. The varied
program testifies to the instrument's capabilities.

We are pleased and honored to have our Opus 100 in such a beautiful
environment. Opus 100 is a
summation of the Ott style and a continuation of our artistic growth.

The following craftsmen participated in the building of opus 100:

Alexander I. Bronitsky

James Cullen

William Dunnaway

Eileen M. Gay

Marya J. Fancey

Donna Hodges

Alex D. Leshchenko

Earl C. Naylor

Martin Ott

Sascha Ott

Jeffrey Spitler

--Marya Orlowska-Fancey

.

HAUPTWERK

8' Prinzipal
75%
tin

8' Rohrflöte
40%
tin

4' Oktave
style='mso-tab-count:1'> 75% tin

II Sesquialter
style='mso-tab-count:1'> 40%
tin

2' Nachthorn
style='mso-tab-count:1'> 40%
tin

IV Mixtur
style='mso-tab-count:1'> 75% tin

8' Trompete
style='mso-tab-count:1'> 75%
tin

Tremulant

SCHWELLWERK

8' Viola
style='mso-tab-count:1'> 75%
tin

8' Viola
Celeste (TC)75% tin

8' Bordun
style='mso-tab-count:1'> 30% tin

4' Prinzipal
style='mso-tab-count:1'> 60%
tin

4' Blockflöte
style='mso-tab-count:1'> 40%
tin

2' Oktave
style='mso-tab-count:1'> 75% tin

11/3' Quinte
style='mso-tab-count:1'> 40% tin

8' Krummhorn
style='mso-tab-count:1'> 75%
tin

PEDAL

16' Subbass
style='mso-tab-count:1'> oak

8' Oktavbass
style='mso-tab-count:1'> 75%
tin

8' Pommer
(18 pipes) 40%
tin

4' About the Author </p>

Parkey OrganBuilders,
Duluth, Georgia
Opus 11, First Presbyterian Church, Gainesville, Georgia
Our first conversations with Michael Henry, director of music for First Presbyterian Church, Gainesville, Georgia, took place in early 2007. At that time, the church had a two-manual, 23-rank Möller organ installed in 1975. Our discussions revolved around the mechanical condition of the Möller and the limitations of the tonal design. The church knew that work was imminent for the Möller in order to maintain reliability. As usual, funding remained an issue.
In mid-2008, Joseph S. Hatfield, a local business owner and church member, made provisions for a large bequest shortly before he passed away. This meant that the budget actually became larger than originally projected, and the discussions expanded to replacement of the Möller organ. The planning process broadened to include a consultant, James Mellichamp, Vice-President of Academic Affairs and organ professor of Piedmont College in Demorest, Georgia.
The original organ was a product of the neo-baroque influence and presented many challenges for use in church services. Our collaboration with Dr. Mellichamp produced a new three-manual and pedal specification of 40 ranks. The specification was designed to provide a more comprehensive instrument for choral accompaniment, congregational hymns, and an expansive list of organ literature.
The new organ incorporates two enclosed divisions—Swell and Choir. The Great and main Pedal stops remain unenclosed. Secondary Pedal stops are drawn from the Swell and Choir divisions, offering options for enclosed Pedal. The organ offers a tremendous level of independent stops, with very minimal unification. Three principal choruses are available. The primary principal chorus is located in the Great division, with a secondary principal chorus located in the Choir division. The Pedal division also features its own independent chorus from 16′ pitch to Mixture. The organ retains some of the flutes and strings from the previous Möller. These stops were rescaled and revoiced for new locations and pitches. We then completed the complement of flutes. Along with new strings in the Swell division, a secondary string and celeste stop were added to the Choir division.
The Great division is more eclectic than our previous designs. The principals are generously scaled, with the foundation pitch focused on the 8′ rather than the 4′ pitch as in the previous organ. The principals offer a warm body of sound, with a clear articulation and singing character to provide an excellent backbone for congregational singing. The 8′ and 4′ flutes offer a nice complement to the principals, while providing good color on their own. The 8′ and 4′ flutes also provide the foundation for a complete French flute Cornet décomposé. The Great Trompete is of German design, so while powerful it allows for a good blend with the principal chorus for ensemble use.
The Swell division is conceived as a French-based design, including the use of harmonic flutes at 4′ and 2′ pitches. The Trompette is fiery and is complemented by the 16′ Basson and 8′ Oboe. The commanding presence of the 8′ Trompette in the space did not require a 4′ reed. The foundations are drawn from the 8′ Viola and 8′ Chimney Flute, with the focus of the chorus from the 4′ Principal. Our use of violas helps to reinforce the 8′ foundation in a division that does not contain separate principal or diapason tone. Our violas provide a slightly more weighted sound, yet retain the sonority of string tone. The 4′ Harmonic Flute and 2′ Octavin (Harmonic Piccolo) provide a soaring intensity for the Swell division and tie in well to the Plein Jeu IV. The swell box construction features our own sound-insulated, double-wall design for excellent expression, providing a much greater effect than the previous Möller swell box.
The Choir division offers the versatility of an English Choir, while blending some of the options for sounds of a Positiv. The Choir features the same style of expression box construction as the Swell division. An 8′ Violin Diapason is our starting point for the Choir division. The 8′ Violin Diapason and 4′ Violin Principal were conceived to provide some of the missing sounds from the old organ. First Presbyterian has long enjoyed the presence of a strong choral ministry, with an expansive repertoire of anthems and oratorios from the Baroque period to the contemporary era. The shortcomings in choral support and expressiveness of the Möller organ were the main considerations and concerns of the organ committee. The principals and the inclusion of an 8′ Dulciana and 8′ Unda Maris add a new dimension of options and sound that the organist never had in the old organ. The 2′ Principal and 11⁄3′ Quint add the final clarity to the Choir division with sparkling elegance. The 8′ Schalmei provides a pleasant crossover between a small ensemble reed and a light solo reed.
The Pedal division provides more than ample undergirding for the entire organ. A new polished façade comprises the Pedal 16′ Principal and 8′ Octave as well as the bass of the Great 8′ Principal. The division hosts an independent 16′ Subbass, 4′ Choral Bass, 4′ Nachthorn, Mixture III, and 16′ Posaune. After our discussions with the consultant, we provided both a 32′ Resultant and a derived 32′ Cornet from the tonal resources. Both offer that extra level of depth in the pedal line between soft and full registrations.
During the construction of an organ at Parkey OrganBuilders, it is our goal to provide a cohesive musical instrument. While adopting influences and ideas from many of the schools of organ construction, the specification nomenclature and the tonal finishing reflect the solidity of American organbuilding. One of the best compliments we receive regularly is that “stops blend beautifully and do what they are supposed to do.” Much care is given to the scaling of each stop as it relates to its solo and ensemble needs. All of our instruments are carefully finished in their space at completion of the installation.
When tracker action is not an option, our firm elects to use electro-pneumatic action in slider, unit, and pitman variations. Winding systems are always regulated via wedge or box reservoirs for optimal control, yet allowing for a gentle wind flex to prevent a sterile sound. Our operation in Duluth, Georgia is one of the largest facilities in the southeastern United States dedicated solely to the construction of pipe organs. Our use of modern-day technology—including CAD (computer-aided design), Photoshop, and CNC (computer numerically controlled) machinery—allows us to create organs with artistic flair, established mechanical designs, and high levels of accuracy. Our staff is involved with the creation of the organ from paper to final installation. Custom consoles, casework, windchests, wooden pipework, and winding systems are all constructed in our Duluth location.
The console for Opus 11 is constructed in a solid walnut case with burled walnut veneers as well as maple, mahogany, and ebony. The console features turned wooden drawknobs in ebony with maple faces. Engravings provided throughout are laser-engraved in our shop. Custom English keyboards feature bleached bone naturals with ebony sharps. Our ergonomic designs for console construction are based on AGO standards to provide a comfortable familiarity for the organist. Solid State Organ Systems are used for capture, relay, and MIDI and are known the world over for their reliability and intuitive designs for the organist.
We appreciate the cooperation of Michael Henry and the staff and members of First Presbyterian Church, Gainesville, Georgia. The church has made a conscious effort already on three occasions to involve children and youth in the organ project through the removal of the original pipework, an excursion to our shop to view the new organ through assembly, and a hands-on “bringing in the pipes” event for celebratory installation of the first pipes on Epiphany. We also thank James Mellichamp for his direction and cooperative collaboration in this instrument. The end results have provided a substantial experience in both sight and sound. Instruments of this caliber continue to provide enthusiasm and excitement for our staff. The dedicatory recital is scheduled for April 18, 2010, and will be performed by Dr. Mellichamp. First Presbyterian Church appreciates the generosity of Mr. and Mrs. Joseph S. Hatfield, who made this project a reality.
—Phillip K. Parkey
President and Tonal Director
Parkey OrganBuilders

Parkey OrganBuilders
Staff listing, Opus 11
Tonal design and finishing: Phillip Parkey
Mechanical engineering and visual design, installation: Michael Morris
CNC operations for console, structure, windchest construction winding systems and installation: Philip Read, Josh Okeson
Console and relay wiring, installation: Doug Rogers
Chest actions, wiring, winding, assembly, installation: Otilia Gamboa
Office manager and installation: Josh Duncan
Voicing and tonal finishing, installation: Kenny Lewis

Parkey OrganBuilders, Opus 11
First Presbyterian Church,
Gainesville, Georgia

GREAT (Unenclosed)
16′ Bourdon Swell
8′ Principal 61 pipes
8′ Metal Gedackt 61 pipes
4′ Octave 61 pipes
4′ Spitz Flute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Tapered Flute 61 pipes
13⁄5′ Tierce 61 pipes
11⁄3′ Mixture IV 244 pipes
8′ Trompete 61 pipes
8′ Fanfare Trumpet Prepared for
Tremolo
Zimbelstern

SWELL (Enclosed)
16′ Bourdon 12 pipes
8′ Chimney Flute 61 pipes
8′ Viola 61 pipes
8′ Viola Celeste GG 54 pipes
4′ Principal 61 pipes
4′ Harmonic Flute 61 pipes
2′ Octavin 61 pipes
1′ Plein Jeu IV 244 pipes
16′ Bassoon 12 pipes
8′ Trompette 61 pipes
8′ Oboe 61 pipes
Tremolo
Swell 16
Swell Unison Off
Swell 4

CHOIR (Enclosed)
8′ Violin Diapason 61 pipes
8′ Gedeckt 61 pipes
8′ Dulciana 61 pipes
8′ Unda Maris TC 49 pipes
4′ Violin Principal 61 pipes
2′ Principal 61 pipes
11⁄3′ Quint 61 pipes
8′ Schalmei 61 pipes
8′ Fanfare Trumpet Great
(Uncoupled)
Tremolo
Choir 16
Choir Unison Off
Choir 4

PEDAL
32′ Resultant 32 notes
16′ Principal 32 pipes
16′ Subbass 32 pipes
16′ Bourdon Swell
8′ Octave 12 pipes
8′ Bass Flute 12 pipes
4′ Choral Bass 32 pipes
4′ Nachthorn 32 pipes
2′ Mixture III 96 pipes
32′ Cornet V 32 notes
16′ Posaune 32 pipes
16′ Bassoon Swell
8′ Trompete 12 pipes
4′ Schalmei Choir
8′ Fanfare Trumpet Great

Couplers
Great to Pedal 8
Great to Pedal 4
Swell to Pedal 8
Swell to Pedal 4
Choir to Pedal 8
Choir to Pedal 4

Swell to Great 16
Swell to Great 8
Swell to Great 4
Choir to Great 16
Choir to Great 8
Choir to Great 4

Swell to Choir 16
Swell to Choir 8
Swell to Choir 4

MIDI on Swell
MIDI on Great
MIDI on Choir
MIDI on Pedal

Great/Choir transfer

Capture System
(100 levels of memory)
10 general pistons, thumb and toe
6 divisional pistons, thumb/manual
6 divisional toe studs for Pedal
Swell to Pedal reversible, thumb and toe
Great to Pedal reversible, thumb and toe
Choir to Pedal reversible, thumb and toe
Swell to Great reversible, thumb only
32′ Resultant reversible, toe only
32′ Cornet reversible, toe only
Zimbelstern reversible, thumb and toe
Full Organ reversible, thumb and toe
General Cancel, thumb only
Set piston, thumb only

“Any Piston Next” sequencer

Full MIDI interface and record/playback is included
Cover photo by Travis Massey, Magic Craft Studio

Cover

Goulding & Wood, Inc.,
Indianapolis, Indiana,

Preston Hollow Presbyterian
Church, Dallas, Texas

From the organ builder

From our first contact with the committee of Preston Hollow
Presbyterian Church, we were excited about the possibility of working in
Dallas, with its rich pipe organ culture and many significant instruments. At
the same time, our focus throughout the project has been the same as with all
of our instruments, namely to provide a worshiping community with a versatile
resource that supports their music ministry. Creating a liturgically sensitive
design within the larger context of the Dallas organ community posed challenges
as well as many exciting opportunities.

Throughout the process, we were grateful for the support and
assistance of the Organ Selection Committee, chaired by Jim Watkins, and the
church music staff, including Terry Price, director of music, and Annette
Albrecht, organist. In the many conversations, visits and meals we shared, the
people of Preston Hollow Presbyterian Church became close friends, and we
continue to value their input and camaraderie.

Tonally, the organ is structured around a carefully balanced
plan of principal choruses. Each division relates to and complements the other
divisions in a terraced scheme. The Great plenum is based at 16' pitch with a
divided six-rank mixture allowing for an 8' chorus when desired. The Swell acts
in relief to the Great in a traditional Positiv-Hauptwerk manner. The higher
pitched Cymbale mixture is effective in plenum literature as well as in
coloristic effects. In contrast, the Choir principal chorus is specifically
oriented toward the needs of choral accompaniment, and the mixture clearly
delineates tone without becoming oppressive or over-stated. The Pedal plenum is
built along lines similar to the Great and has a complete, independent chorus
of principals beginning at 16' pitch.

Each manual division contains a third-sounding rank,
increasing the flexibility in playing Cornet-based literature, particularly
French grands jeux and dialogues. Both Great and Choir Cornets are
decomposée, while the light, diapason Sesquialtera of the Swell effectively
colors flutes or principals.

Flute choruses in the instrument display a maximum of
variety in color, ranging from the solid Great 8' Bourdon and 4' Flûte
conique to the Swell's crisp, articulate wooden flutes at 8' and 4' with a
crowning 2' Recorder in 70% lead. The Choir's flute ensemble is the largest of
the divisions and includes a luxurious 16' Conical Flute. Among the largest yet
softest pipes in the organ, this stop features a clarity of pitch created by
the open taper that lays a solid foundation for quieter combinations. Pedal
flutes include the 32' Contre Bourdon, the wooden 16-8' Contrebasse, an 8'
stopped wood Flûte bouchée and the 4' Cantus Flute. The
Contrebasse/Flûte is useful as the foundation of plenum literature,
particularly works in the style of earlier German composers such as Buxtehude,
while the 8' range works well as the chant line in French classic organ masses.
We have recently been exploring solo stops for the Pedal's alto line, and the
4' Cantus Flute in this instrument is our first open wood with inverted mouths
and raised caps. The prominent, commanding flute timbre is designed especially
for works such as the fourth movement of Widor's Fifth Symphony
style='font-style:normal'>.

Reed stops in the organ span a similarly wide spectrum of dynamic
and style. The Choir solo stops of Cremona, English Horn and Tuba contrast with
the dramatic fire of the Swell reed chorus with independent trumpets at 16', 8'
and 4'. The Pedal chorus is built on the 32' Posaune with wooden resonators
that encourage a generous amount of fundamental pitch. All reeds in the organ,
with the exception of the resonators of the Posaune, are from A. R. Schopp's
Sons, who also made the strings, Great Harmonic Flute and display pipes. We are
grateful to the people of A. R. Schopp's for their excellent work in all of our
projects.

The casework of the façade incorporates the main
architectural ornament details in the room. Hand-carved Corinthian capitals
based on the Temple of the Winds design support a substantial architrave with
dental molding and carved egg-and-dart detail molding. The console features
panels with crotch mahogany and styles and rails with quarter-sawn ribbon
mahogany. Console controls include 128 levels of memory, simple sequence memory
with advance thumb pistons in each key slip and an internal MIDI interface with
data filer for record and playback.

Mechanically, the organ uses Goulding & Wood's unique
design of electro-pneumatic slider and pallet windchests. This design offers a
tightness of ensemble and attractive speech characteristics which typify common
key channel instruments while allowing for remote, moveable key control. This
marriage of recognized mechanical design and up-to-date technology produces a
musical instrument of great expression and versatility. Adding to the reliable
chest mechanics, the layout and engineering of the instrument allows
accessibility for maintenance and tuning as well as maximizing tonal egress.
Great and Swell divisions are located near the barrel-vault ceiling, allowing their
voice to emanate freely through the room, and the Choir box is located near the
choir stalls of the chancel for effective accompaniment.

It is our hope and expectation that our Opus 41 will serve
the people of Preston Hollow Presbyterian Church well in their worship for
generations to come. Similarly, we look forward to contributing to the vibrant
cultural life of Dallas.

--Jason Overall

From the organist

My first days as organist at Preston Hollow Presbyterian
Church in March of 2000 were filled with excitement. The congregation had
recently approved a capital building expansion campaign that included new
facilities for music rehearsal, an enlarged and acoustically improved
sanctuary, and a new pipe organ. Becoming part of the music ministry team, forming
new relationships with congregation, choir and staff, and jumping right into
the process of selecting a builder for the new instrument was a challenge.
Working with Dr. Jim Watkins, chair of the selection committee, Terry Price,
music director and former classmate, and the rest of the committee was a joy.
The enormity and challenge of embarking on a project of this scope became very
real, and it was with a sense of certainty and good fortune that we decided to
entrust the planning and building of this new instrument to Goulding &
Wood, Inc. of Indianapolis.

While the organ committee was busy planning the
specification for this instrument with Jason Overall and Brandon Woods of
Goulding & Wood, others at the shop consulted with the architects for the
sanctuary expansion. To have the organ builder involved in this process was a
luxury that many don't experience. After the sanctuary renovation was complete,
we still had to wait another year for the organ. We finalized the stoplist,
enjoyed frequent digital photos of building progress e-mailed from the
workshop, and tried to imagine the sounds of the new instrument. Frequent
communication from the folks at Goulding & Wood helped us plan and prepare
for the installation, which occurred in the fall of 2003. Because of this, very
few problems were encountered, and the organ was ready several weeks earlier
than forecast.

It's very difficult to describe the pleasure of musical
sound. Most music lovers can recall the experience of sound lifting and
transporting the soul, of losing oneself in the beauty and holiness of the
moment. I and many others expected this instrument to provide the instrumental
voices for this kind of experience. The visual impact is simple, elegant, and
stunningly beautiful. The sound is rich and resonant, not muddy, but
full-bodied, with mixtures providing clarity and brilliance without a hint of
shrillness. Since the installation, my days have been filled with the wonder of
discovery. Instead of trying yet another trick to find a registration that
works, I have the delightful challenge of choosing from among several beautiful
possibilities. Preparing hymn accompaniments is a joy; the sanctuary's
acoustical improvements support the organ and congregation's song.
Possibilities for anthem accompaniments for our 120-voice choir are nearly
limitless. Repertoire that was filed away is brought out, registered, and
played, with the exclamation, "Aha! That's how it should sound!" The
powerful voice of Opus 41 fills the 900-seat space without becoming strident;
the Tuba 8' provides a crowning touch. The softest manual voice, the Choir
Conical Flute 8', almost disappears, while the 32' Contre Bourdon purrs quietly
underneath.

I believe I may speak for the selection committee, the
Preston Hollow Sanctuary Choir, the music ministry, and the congregation when I
say that we are truly blessed. We had a dream that was recognized by this
congregation to have great value, that merited considerable financial
commitment. This dream was nurtured, shaped and strengthened by our
collaboration with the Goulding & Wood organ builders. Our desire for a
pipe organ that could lead us as we lift our hearts, souls and voices together
in praise of our Creator God has been realized.  Our journey of stewardship of this great gift is now just
beginning.

--Annette Albrecht

From the senior minister

I have always said that sacred music in worship is "my
sermon," allowing me to hear the Word proclaimed beyond mere words,
interpreted by the great composers of all ages. Music lifts the soul beyond the
merely rational, and inspires God's people to sing the songs of faith.

Our new Goulding & Wood pipe organ has become the
centerpiece of our chancel; more importantly, it is our cantus firmus,
grounding our worship, raising the eye upward and tuning our praises. Already
we sense a new energy, depth and vitality in our services of worship. Whether
it is a Thanksgiving service, Christmas candlelight, a memorial service, a
wedding or an Easter Sunday, our 69-rank Goulding & Wood is capable of all
the nuances of color and meaning needed for the church's many moods.

I cannot express sufficient gratitude to all the artists
from Goulding & Wood who took great interest in our church, befriended our
staff and members and were supremely committed to the building of an instrument
to be used in the worship of God. They will be remembered by generations to
come--every time Goulding & Wood's Opus 41 fills its great bellows and
sings again.

--The Rev. Dr. Blair Monie

Great

16' Præstant

16' Bourdon (ext)

8' Principal

8' Gamba

8' Flûte harmonique

8' Bourdon

4' Octave

4' Flûte conique

2 2/3' Quint

2' Super Octave

1 3/5' Terz

2 2/3' Gross Fourniture II

1 1/3' Fourniture IV

16' Fagot

8' Trumpet

8' Tuba (Choir)

Tremolo

Gt/Gt 16-Unison Off-4

Swell

16' Gedeckt (ext)

8' Geigen Diapason

8' Gedeckt

8' Viole de gambe

8' Voix céleste (GG)

4' Principal

4' Clear Flute

2' Octave

2' Recorder

1 1/3' Quint

2 2/3' Sesquialtera II (TC)

2' Plein Jeu III-IV

1' Cymbale III

16' Contre trompette

8' Trompette

8' Hautbois

8' Voix humaine

4' Clairon

Tremolo

Sw/Sw 16-Unison Off-4

Choir

16' Conical Flute

8' Narrow Diapason

8' Chimney Flute

8' Conical Flute (ext)

8' Flute Celeste

4' Fugara

4' Spindle Flute

2 2/3' Nazard

2' Block Flute

1 3/5' Tierce

1 1/3' Larigot

2' Mixture III

8' Cremona

8' English Horn

8' Tuba

Tremolo

Cymbelstern

Rossignol

Ch/Ch 16-Unison Off-4

Pedal

32' Contre Bourdon

16' Principal

16' Contrebasse

16' Soubasse

16' Bourdon (Great)

16' Gedeckt (Swell)

16' Conical Flute (Choir)

8' Octave

8' Flûte (ext Contrebasse)

8' Flûte bouchée

8' Gedeckt (Swell)

4' Choral Bass

4' Cantus Flute

2' Mixture III

32' Contre Posaune

16' Posaune (ext)

16' Fagot (Great)

8' Trompete

8' Fagot (Great)

8' Tuba (Choir)

4' Schalmei

Tremolo

Cover photo by Robert Duffy

Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

Trinity Christian College is a four-year liberal arts college founded in
1959 and located in Palos Heights, Illinois, a suburb 25 miles southwest of
Chicago. It is dedicated to providing students with a quality higher education
in the Reformed Christian tradition. The college has grown extensively in
recent years with many new buildings erected. In 2001, the college dedicated a
new 1,200-seat auditorium: The Martin and Janet Ozinga Chapel. The chapel is
also the home of the college's music department with faculty offices, rehearsal
rooms, a recital hall, a music computer lab, and practice rooms. An organ for
the auditorium was envisioned from the building's conception.

Under the chairmanship of music department chair Helen Van Wyck, a committee
was formed to choose a builder for the organ. Paula Pugh Romanaux was selected
as the consultant to work with the committee. After visiting several of our organs,
Lauck Pipe Organ Company was chosen to build the organ. Working with the
builder, the committee decided that the instrument would be located at the back
of the stage and would occupy the central position. The committee felt that an
organ with a detached console would prove more flexible, especially when used
with orchestra and to accompany small ensembles.

Several designs for the organ case were prepared ranging from traditional to
contemporary, the latter being chosen. The proportions of the case are generous
in order to fill the expansive rear wall of the stage area. The façade
consists of the 16' Principal, 8' Pedal Octave and the 8' Great Diapason,
with  pipes of polished tin. The
casework is arranged so that the Pedal division occupies the center and two
outer towers. Between the left and center tower is the Great Principal chorus
with the Choir division above. Between the right and center towers are the
Great flutes and reed with the Swell division above. A shallow case with
expression shades capable of a full range of motion allow for excellent egress
of sound. The emblem at the top of the center tower is the college's logo done
in relief and gilded.

Over the past 30 years, we have built many French-terraced consoles with
curved terraces, but Marilyn Mulder, the school's organ instructor, suggested a
console based on a design she saw at Chicago's Orchestra Hall. From her
photograph, we designed and built a console with straight, oblique terraces.
The woodwork is of cherry to match other furnishings in the chapel. The
terraces, keycheeks, manual and pedal sharps, and drawknobs are all of
rosewood. The manual naturals are of bone. Peterson supplied the MIDI system
and combination action. Lauck manufactured the coupler and relay systems, as
well as the electric expression servos.

The room, alas, suffers from insufficient reflection of sound. As we worked
with the acoustician and architect, the organ committee and I realized we would
not be able to have all of our requests granted; the acoustician was more
interested in absorbing rather than reflecting sound. The architect and
building committee did agree that the expansive drywall ceiling would be well
supported and made up of a double layer glued together so as to not absorb the
lower frequencies. Preliminary acoustical tests of the room proved that we
needed a lot of sound to fill it. The organ had to be scaled very boldly, with
variable scales and higher cut-ups being freely employed. In addition, generous
wind pressures, especially in the reeds, would be used. Our tonal concept was
to establish well-developed Principal choruses in each division, colorful and
contrasting flute choruses, and chorus reeds that bind together well. This goal
was achieved and supplemented by colorful solo reeds and strings with character
and variety.

The Great is based on a 16' Principal. The 8' extension of the Principal can
be used as a second Diapason and creates a rich fond d'orgue with the open and
stopped flutes. Mutations provide for a Great Principal Cornet. To ensure a
bold, full pedal, the 16' Diapason is really a 16' open wood located in the
central tower of the case. The Great 16' Principal is also available in the
Pedal for use in lighter textures, while the 8' Octave and 4' Choralbass are
independent. The Trumpet-en-Chamade is made of tin and is voiced on 10 inches
of wind pressure using domed parallel shallots. The Pedal Trombone unit is also
voiced with domed parallel shallots on 8 inches of wind pressure. The Swell
reeds are on 6 inches of wind with the Bassoon/Oboe having tapered shallots and
the Trumpet/Clarion parallel shallots. The Swell Gamba and Gamba Celeste are
slotted with rollers throughout. It is a well-developed string tone with good
strength and carrying power; however, the expression boxes and shades are
heavily built and can make the strings evaporate when desired. The Swell also
has a Flute Celeste, which is built as a Ludwigtone; basically, two wood pipes
built with a common middle wall on one foot. The Choir Viola and Viola Celeste
are of about equal power to the Swell strings but are not slotted and are of a
broader tone quality. They are voiced to work together perfectly yet retain
their individual colors.

The Lauck employees that built Opus 55 include: Craig Manor, console design
and construction, wood pipes; Ken Reed, pipemaker, office manager; Ben Aldrich,
design, windchests, foreman; Bob Dykstra, windchests, wood pipes, casework;
Dick Slider, windchests, lower casework; Dan Staley, circuit board
manufacturing, wiring; Jim Lauck, design, voicing, tonal finishing; Jonathan
Tuuk; tonal finishing.

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal  (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

                        Great
to Great 4

                        Swell
to Great 16-8-4

                        Choir
to Great 16-8-4

                        Zimbelstern

SWELL

16'  Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola  (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4       

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave  (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass  (32 pipes)

II Rauschquint (64 pipes)

II Mixture  (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

Paul Fritts and Co., Tacoma,
Washington, has built a new organ for Vassar College, Poughkeepsie, New York.
The mechanical-action pipe organ is installed in the 500-seat Mary Anna Fox
Martel Recital Hall of the Belle Skinner Music Building. It contains 34 stops
distributed over two manuals (Hauptwerk and Positiv) and Pedal.

The tonal design reflects both the North and Middle German schools of
organbuilding from the first half of the eighteenth century. North German
features include fully independent manual and pedal divisions with
well-developed upper work; a full spectrum of mutation stops (two on double
draws); and seven reed stops, 20% of the registers. Middle German building is
represented by a variety of six manual 8' flue stops; the “gravity”
of 16' stops in each manual division and four 16' pedal stops; a Tierce rank
which can be added to the Hauptwerk Mixture; and the inclusion of the Positiv
division in the main case, rather than positioned to the rear of the player.

The northern features pay homage to the seventeenth-century style of Arp
Schnitger and the middle German school points more to the pre-Romantic
eighteenth-century styles of Wender, Trost, Hildebrandt and others. The new
Vassar organ is well-suited for music of J. S. Bach with its cosmopolitan
mixture of northern, middle, and southern European traits. Other literature
from the sixteenth-century through the works of Mendelssohn will also sound to
advantage.

The new organ is placed centrally in a gallery nine feet above the stage
floor in the front of the hall. The case has a bright burgundy enamel finish.
Gold leaf highlights the gray painted pipe shades. The case and many internal
parts are crafted from popular. 
Many other woods were chosen for their various properties, including
mahogany, oak, maple, ebony, redwood and sugar pine.

Along with the new organ came alterations to the organ gallery and stage
area significantly improving acoustics, and a climate control system for the
recital hall. The Marian and Speros Martel Foundation Inc. donated funds
covering both the organ and hall improvements. Glenn D. White recommended
acoustical improvements, and Richard Turlington designed architectural plans
for the room. Frances D. Fergusson, President of Vassar College, initiated the
project. George B. Stauffer was consultant.

To inaugurate the new instrument, Merellyn Gallagher, James David Christie,
and Joan Lippincott played solo recitals in February and March 2003.

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

                        Positiv
to Hauptwerk

                        Hauptwerk
to Pedal          

                        Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

Fabry Pipe Organs, Inc., of Fox
Lake, Illinois, has completed the 5-rank antiphonal division added to the
original Möller organ in Faith Evangelical Lutheran Church, Homewood,
Illinois.

Fabry Inc. installed the original M.P. Möller instrument (2 manuals, 19
ranks) in 1980 in the rear balcony of the sanctuary and has been maintaining
the organ since that time. The console was prepared for an antiphonal division.
On many occasions while tuning the instrument, the organist, Mrs. Phyllis
Silhan, would always say, “I hope I get to see this instrument completed
before I retire.” Twenty-two years later, the church elected to add the
antiphonal division.

The new antiphonal division was installed in October of 2002. The original
specification for this division--8' Gedeckt, 4' Gemshorn, 2' Flautino, II
Mixture--was changed to 8' Gedeckt, 4' Octave, 4' Harmonic Flute, 2' Fifteenth,
and 8' Oboe. A new solid-state relay was provided that is totally prepared for
the addition of a small antiphonal console.

Fabry Inc. would like to thank the organist, Mrs. Phyllis Silhan, and
Reverend Dr. Timothy Knaff, who coordinated the entire project. David G. Fabry
built all the chestwork and new casework. Crew leader Joseph Poland handled the
installation.

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

                        Gt
& Sw to Ped 8

                        Sw
to Gt 16-8-4

                        Gt
4

                        Sw
16-UO-4

                        Antiph
to Ped 8

                        Antiph
to Gt 8

                        Antiph
to Sw 8