Cover feature

Martin Ott Pipe Organ Company, Inc., St. Louis, Missouri
Trinity Evangelical Lutheran Church, Spring, Texas
Opus 68, b. 1991

From the builder
Trinity Lutheran is a large Missouri Synod Lutheran Church located in Spring, Texas, north of Houston. The area was settled by Germans who brought with them their Lutheran faith and customs. The church, founded in 1874, is still located on its original property. As the church has grown, sanctuaries have been removed and new ones have been built. In 1991, our Opus 68 began as the hope of Melvin Schiwart, the music director at the time. Mr. Schiwart had been to Germany. He wanted a good quality German organ for Trinity Church, and his search led him to our firm. A mechanical action organ with a detached console was designed. Although the organ has German influences, it is an eclectic instrument in style and adapts well to its American environment. In 1994, the 49-rank, 39-stop organ was installed in the previous sanctuary’s balcony.
The church membership grew through the 1990s, and the organ continued to be an important part of worship. As plans were made for a new sanctuary, the congregation decided to relocate the organ into the new church. Moving the instrument to the new space enabled the church to keep ties with their past. The organ and the church bell were the only items moved from the old church to the new one. The cost for moving the organ was a small fraction of what a new instrument would cost.
From the very beginning, our firm was invited to participate in the design of the new worship space, specifically the layout of the balcony. We worked with architect John Gabriel, of Gabriel Architects, Inc., and acoustician Scott Riedel, of Scott R. Riedel & Associates, Ltd. The new sanctuary has 44,000 square feet and seats 1,325 parishioners in the nave. Of special concern was how the existing organ could be best incorporated in the new building both visually and acoustically. The music is performed from the “west balcony” opposite the chancel with the altar, pulpit, baptismal font and lectern. Mr. Gabriel designed the large new balcony to accommodate the organ, the choirs, and the orchestral musicians. He was enthusiastic about the organ project and understood the physical and logistic needs. The overall design of the organ remained unchanged. Crown molding was added to give the instrument a stronger visual presence in the new room. We also have added a 32′ Bombarde, a 32′ Untersatz, and a Zimbelstern with a rotating star. As the instrument was reassembled, we thoroughly cleaned every part. The reed pipes were disassembled and completely cleaned before reassembly.
Trinity Lutheran was very enthusiastic about the project. During the weeks we spent reconstructing the organ and voicing, many parishioners would visit to see the progress. Among these visitors was singer-songwriter Lyle Lovett, born near Trinity Church, who asked us many questions about organ building. Mr. Lovett attended Texas A&M University where he studied journalism and German. He also spent time in Germany for his studies. Through his conversations with me, Mr. Lovett learned that the Ravinia Festival in Chicago owned an Ott portative organ; and at the July 12, 2008 concert at this festival, Mr. Lovett used the organ for several pieces in front of a full capacity audience.
The revoiced and visually altered instrument at Trinity Lutheran Church certainly brings vigor in sight and sound to this new sanctuary. We have many people to thank for their assistance in the project: Senior Pastor Richard Noack, Dr. William Brusick, Mr. Melvin Schiwart, and all of the Trinity Lutheran parishioners who were supportive and helpful. I would like to thank all who worked on Opus 68.
1994: John Albright, Albert Brass, James Fantasia, Jeffery Fantasia, Richard Murphy, Earl Naylor, Martin Ott, Thorsten Ott, Mary Welborn. On-site help: new choir risers designed by Jack Rimes, built by Gerhardt Pipho and Melvin Schiwart; riser banisters by Rick Davis; pipe shades in organ towers painted by Duane Schiwart.
2008: James Cullen, Bill Dunaway, Marya Fancey, Larry Leed, Aleksandr Leshchenko, Eileen McGuinn, Earl Naylor, Martin Ott, Inna Sholka. On-site help: Paul Jernigan, Shawn Sanders.
—Martin Ott
Martin Ott Pipe Organ Company

From the acoustical consultant
Trinity Lutheran approached Riedel for consultation in architectural acoustics and sound system design services in August 2001. Our goal for acoustic design was to develop a space that supports and enhances the Lutheran liturgy. Important considerations include reverberation period, HVAC noise control, noise control between spaces and from the outdoors, sound projection from the music area, support for musical ensemble and congregation hymn singing, and speech intelligibility.
The completed Trinity Lutheran sanctuary has a reverberation time, during unoccupied conditions, of 3.5 seconds. This generous reverberance provides excellent sound distribution and enhancement of organ and traditional choral tone. It also benefits Lutheran liturgical practices, encourages congregational sung and spoken participation, and gives a strong sense of listener envelopment.
Excellent speech intelligibility is achieved through innovative sound system technologies and careful design practices. Digitally steerable line array speakers provide very clear sound in this reverberant environment with minimal visual intrusion. A digital signal processor automates the system and replaces older multiple component technologies.
While the organ and traditional choir are an integral part of the congregation’s worship life, the growing use of contemporary instruments in Trinity Lutheran’s music ministry will necessitate a lower reverberation period at times. Treatment options have been presented to facilitate a more contemporary music service, and may be implemented by the client. These treatments include adding modest sound absorbing wall surfaces in select areas of the room.
A flutter echo reflection pattern is audible in the center aisle, resulting from the smooth, curved “barrel vault” ceiling profile favored by the architect. This curve focuses sound energy toward the center aisle of the room, such that the flutter effects are much less noticeable in the congregation seating areas. The overall room shape is cruciform, with organ and choir located at the end of the long axis of the space, in a rear gallery; this facilitates a full and even distribution of musical sound throughout the environment.
We are honored to be part of the Trinity Lutheran Church design team, and we are proud to have assisted in creating an environment that enhances the Ott organ, all in the service of the church.
—Scott Riedel
Scott R. Riedel & Associates, Ltd.

From the minister of music
In May 2007, I was blessed to receive a call from Trinity Lutheran Church in Spring, Texas. One month later, after serving as minister of music for fifteen years at Grace Lutheran in St. Petersburg, Florida, I accepted the call to Trinity. Like Grace, Trinity is a benchmark church in the community that puts a high value on the role of music in quality worship. Throughout the northwest Houston area, Trinity is known for its particular strength in traditional, liturgical worship. To this end, an instrument was sought that would be capable of leading and enhancing this style of worship. All roads inevitably led to Martin Ott.
I am blessed to be the recipient of the hopes, the dreams and the fortitude of a congregation and former minister of music who put such high value on quality music and the instrument that will lead it for generations. Although I had studied on a Holtkamp tracker organ, I had never had the privilege of playing a Martin Ott instrument until my pre-call interview in March 2007. The organ, located in the former sanctuary, looked and sounded spectacular; and yet, it was unfinished. The missing extensions of the two 32′ stops and the absence of any crown molding on the casework were testament to the inevitable expansion that still lay ahead. For myself, one who has been trained in and enjoys improvising on hymns and hymn tunes, the variety of colors and the wide dynamic range made this organ a especially thrilling instrument to play. As a composer, it is also fair to say that having an organ like this is like having a world-class orchestra at your disposal.
While the organ’s weekly mainstay is the leading of over a thousand worshippers in great works of hymnody, our music ministry also calls upon the organ to gently accompany a soloist, add equal support to a majestic brass choir, and blend into and uphold the mighty forces of a full orchestra and chorus. All of these our organ does effortlessly. In this way, I am confident that the Ott Opus 68 pipe organ can provide the style of high quality music that Trinity has come to expect and appreciate over its many years of great musical leadership.
But the blessings don’t end here. While it is a rare opportunity for an organist to meet the creators of their instrument, it is indeed even rarer to have the opportunity to work close at hand with them. Because of the relocation of the organ, I have had the distinct privilege of establishing a close-knit relationship with Martin Ott and his highly skilled team. Over the four months of planning and physically moving the organ, I began to see the care and craftsmanship and the sheer love that Martin has for his instruments and for the churches that will be led by them. During even the most stressful moments of the project, his focus and faith in the outcome never wavered. This instilled great comfort in all of us, knowing that the end result would be beyond everyone’s imagination.
As minister of music at Trinity Lutheran Church, I can speak for all when I say that we are indeed fortunate to have Martin Ott’s Opus 68, which has the potential to bring the highest level of both sacred and secular music to its listeners—leading worship, lifting song, inspiring creativity, enhancing the Word, and energizing the soul.
—William R. Brusick, D.Mus.
Minister of Music
Trinity Evangelical Lutheran Church, Spring, Texas

From the pastor
The dream for a fine pipe organ at Trinity Lutheran Church began in the mid 1980s with our former (now retired) minister of music, Melvin Schiwart. His vision was that we would have a mechanical key action instrument ideally suited to lead robust congregational singing. In response to Mr. Schiwart’s leadership and vision, the congregation decided to establish a special organ fund to bring the project into reality.
Mr. Schiwart interviewed a number of leading organ builders in the United States and in Europe. In the early 1990s the congregation selected Martin Ott of St. Louis, Missouri, to design and build Trinity’s pipe organ.
Martin Ott’s Opus 68 was installed in our former sanctuary in 1994. In June 2008 it was moved into Trinity’s new 1425-seat sanctuary. The organ was expanded with additional stops and enhanced with beautiful casework.
The sanctuary has a classic basilica design and is constructed with internal surfaces that provide a rich reverberation. These features optimize the blessing that is the organ. Martin Luther commented that music often inspired him to preach. I must say that a rousing presentation by a capable organist of Ein feste Burg, At the Lamb’s High Feast We Sing or Crown Him with Many Crowns has definitely inspired my preaching on more than one occasion!
The wonderful marriage of our organ and our new building has yielded many blessings. Our current minister of music, Dr. William (Bill) Brusick, and our pastors enjoy our worship planning sessions. It is fun and energizing to find creative ways to maximize the impact of this superb instrument.
Leading worship in the Name of the Trinity is a high and holy calling. Our magnificent organ is integral to our worship and enhances our worship immensely. It is a great treasure and we are keenly aware that we must exercise faithful stewardship of it to the glory of Jesus Christ.
—Rev. Dr. Richard C. Noack
Senior Pastor
Trinity Evangelical Lutheran Church, Spring, Texas

Trinity Evangelical Lutheran Church, Spring, Texas
39 stops, 49 ranks, 4 extensions

HAUPTWERK (Manual II)
16′ Bordun 56 pipes oak
8′ Prinzipal 56 pipes 75% tin
8′ Rohrflöte (1–12 Bdn) 44 pipes 40% tin
4′ Oktave 56 pipes 75% tin
4′ Nachthorn 56 pipes 40% tin
22⁄3′ Quinte 56 pipes 50% tin
2′ Oktave 56 pipes 75% tin
Mixtur IV–V 255 pipes 75% tin
8′ Trompete 56 pipes 50% tin
8′ Horizontale Trompete 56 pipes 80% tin
4′ Schalmei 56 pipes 75% tin
Zimbelstern  5 Schulmerich bells

SCHWELLWERK (Manual III)
8′ Viola 56 pipes 50% tin
8′ Viola Celeste tc 44 pipes 50% tin
8′ Holzgedackt 56 pipes oak
4′ Prinzipal 56 pipes 50% tin
4′ Gemsflöte 56 pipes 40% tin
Sesquialter II mc 64 pipes 40% tin
2′ Oktave 56 pipes 50% tin
Scharf III–IV 214 pipes 75% tin
16′ Dulzian 56 pipes spruce
8′ Trompete 56 pipes 75% tin
Tremulant

POSITIV (Manual I)
8′ Holzprinzipal 56 pipes oak
8′ Bleigedackt 56 pipes 25% tin
4′ Rohrflöte 56 pipes 40% tin
22⁄3′ Nasat 56 pipes 50% tin
2′ Nachthorn 56 pipes 40% tin
13⁄5′ Terz 56 pipes 75% tin
11⁄3′ Quinte 56 pipes 75% tin
Zimbel III–IV 180 pipes 75% tin
8′ Krummhorn 56 pipes 50% tin
8′ Horizontale Trompete (from HW)
Tremulant

PEDAL
32′ Untersatz (ext Subbass) 12 pipes spruce
16′ Prinzipal 30 pipes 75% tin
16′ Subbass 30 pipes oak
8′ Oktavbass (ext Prinz 16′) 18 pipes 75% tin
8′ Pommer (ext Subbass) 12 pipes oak
4′ Choralbass 30 pipes 50% tin
Mixtur IV 120 pipes 75% tin
32′ Bombarde (ext16′) 12 pipes spruce
16′ Posaune 30 pipes spruce
8′ Trompete (from Hauptwerk)
4′ Schalmei (from Hauptwerk)

Couplers
Schwellwerk/Hauptwerk
Positiv/Hauptwerk
Schwellwerk/Pedal
Hauptwerk/Pedal
Positiv/Pedal

Martin Ott Pipe Organ Company, St. Louis, Missouri

Opus 104: Zion Lutheran Church, Portland, Oregon


From the Organbuilder

In March of 2000, Mrs. Helen Hollenbeck, director of music at Zion Lutheran Church in Portland, Oregon, contacted our company about a new pipe organ. I was invited to come to Zion Lutheran Church to see the facilities and to meet with the organ committee.

In July of 2000, I visited Zion for the first time. I was impressed with the fine architecture of Pietro Belluschi—his design of the church is outstanding. At the time the new church was built, limited funds for a pipe organ were available. Zion decided to purchase a used organ. Mr. Belluschi installed this instrument on the choir balcony behind a radiating wall; the radius of this wall is 30 feet.

The organ committee, under the advice of their design architect, Mr. Joachim Grube of Portland, expressed their wish to keep the design of the new organ as Mr. Belluschi had originated. I agreed with the committee’s intention, and shortly after our meeting I submitted a proposal for the musical needs of Zion along with a visual design drawing. I kept the visual design simple but elegant. The new organ is now located again behind the radiating wall. A newly constructed organ chamber houses the organ apparatus and the pipes. The previous openings in the wall have been greatly enlarged, and the new organ case features the pipes of the Hauptwerk Prinzipal 8' and some pipes of the Pedal Oktavbass 8¢ exposed in the façade.

The layout of the divisions is symmetrical: the Great division is to the left and right side behind the façade pipes; the Swell division is centered above the keydesk of the organ; the Pedal division, which has the tallest pipes, is to the back of the organ chamber and centered behind the Swell division. The tonal design will support the strong musical tradition of the Lutheran church. The instrument is flexible and will be able to support congregational singing, choral anthems, and solo organ literature for preludes and postludes. The façade pipes are 75% tin, which contributes to the bright sound. The wooden pipes are made of poplar, spruce and mahogany.

We are especially grateful to the congregation for their enthusiasm and assistance. Many members spent a hot Sunday afternoon unloading the organ with our organ builders. We are thankful to the organ committee who facilitated the organ building process.


The following craftsmen participated in the construction of the organ for Zion Lutheran Church, Opus 104:


Alexander I. Bronitsky

James Cullen

William Dunaway

Eileen M. Gay

Bryan Hanlen

Alex D. Leshchenko

Richard Murphy

Martin Ott

Sascha Ott

Inna Sholka

Jeffrey Spitler

—Martin Ott

Orgelbaumeister

From the Director of Music and Organist

“You give it to them; they gather it; you open your hand, and they are filled with good things.” (Psalm 104:29)

As we gathered at Zion for the organ dedication, we were reminded of the many blessings that God showers upon us. We celebrated the gift of a new pipe organ—an instrument that will be used to praise God, lead His people in worship, give opportunity for teaching music and organ playing, and provide outreach to the Portland community. This was a huge undertaking for Zion Lutheran Church and, for most of us, a once in a lifetime experience.

When I became director of music and organist at Zion in 1998, I never dreamed that I would become involved in a pipe organ building project. What a journey it has been! The search committee spent hours researching and visiting instruments. There were endless meetings, much prayer, and lots of hard work needed to define the type of instrument that would best serve Zion’s congregation. One of the most critical elements was the historical nature of Zion’s building. The elegant simplicity of the Belluschi architecture would, without a doubt, become the inspiration for the design of the new organ case. Also, the tonal resources would need to be eclectic so that all styles of music—from Renaissance to the twenty-first century and beyond—could be played authentically. It was important that the organ live for the future, as well as for the past and present. With this in mind, the search went out to find a builder who would work with the specific needs of the Zion congregation. Martin Ott immediately connected with us by his understanding of Pietro Belluschi’s design philosophy.

I first became familiar with Martin Ott and his work when I attended the dedication of the two Ott pipe organs at the Mt. Angel Abbey in Mt. Angel, Oregon. Later, when I was preparing to complete work on my master’s degree, I chose to perform my graduate recital on the gallery organ at Mt. Angel Abbey Chapel. The Ott Opus 104 at Zion is just as inspiring and a great blessing to play.

It has been such a privilege to be part of this project. It took an enormous team effort. For this, I am grateful for the support and encouragement of Zion’s members and friends, as well as Zion’s pastors—Stephen Krueger, Paul Hilgendorf, and Ty Miles. I am also extremely thankful for the fundamental understanding that is present here at Zion, for the importance of music in the life of this congregation that was so critical to the building of this new organ. For all of this, God is to be praised and glorified! We have indeed been “filled with good things.”

—Helen Hollenbeck

From the Architect

I hope my work has gone unnoticed. As people experience the sound and sight of the new organ and appreciate the improved lighting and the renovated choir loft finishes I hope it never appears that any design work occurred.

It was the goal of the renovation plans to restore the design of the building’s original architect and to feature the work of the organ designer without introducing any additional aesthetic elements. A significant effort has been made by the design and construction teams to affect this transformation, but I hope this work appears transparent. I hope that the sanctuary will continue to be viewed as the work of Pietro Belluschi, now featuring an organ by Martin Ott.

Architectural consulting for this project was begun in 2000 by Joachim Grube of the Portland firm Yost Grube Hall. Mr. Grube collaborated with Pietro Belluschi in designing several Portland churches and has served Zion as a friend and advisor since Belluschi’s death in 1994. Mr. Grube assisted the congregation’s organ committee in selecting an organ design that would be complementary to the distinctive architectural character of the space. Following this preliminary planning, while the organ awaited fabrication, I began the work of planning and preparing the second floor of the sanctuary for the instrument’s arrival.

Renovation of the choir loft and organ chamber began following Easter services in 2005. Two weeks were spent removing hazardous materials that were used in the building’s original construction and following this abatement the rear wall of the choir loft was removed in order to extract the old organ. Marceau and Associates Pipe Organ Builders recovered all of the original pipes to be reused in other organs, while the largest rank of pipes was stored and reinstalled in our new instrument. Further demolition was done in the organ chamber before the curved wall was rebuilt in a configuration to accommodate the new organ.

Rebuilding these spaces provided an opportunity to improve lighting and accessibility of the choir loft for use in performances. The original risers were removed and the original tile floor finish was replaced to provide a uniform floor level allowing flexibility of movement by the choir and instrumentalists. A select group of original light fixtures was removed and replaced by improved fixtures and controls that will allow for multiple lighting scenes, which can be adjusted to complement varying musical arrangements.

Thank you to all of the members of the design, construction and organ building teams for your efforts and cooperation in providing this wonderful improvement to Zion’s worship space.

—Craig Rice, AIA

History of Zion’s New Organ

In 1999, the new organist/choir director and minister of music, Helen Hollenbeck, presented an evaluation of Zion’s current organ. Her personal experience with the instrument, in addition to her discussions with previous Zion organists, especially Tim Drews, pointed up major deficiencies in both the physical and musical quality of Zion’s pipe organ. Its condition had been deteriorating over the previous decade so that it was no longer possible to maintain it as the fine instrument it once was.
The board of trustees formed a committee to determine the possibility of getting a new organ for Zion. The question was whether Zion should purchase a used instrument, as it had done in the past, and attempt to fit it to our sanctuary, or contact a builder and have a new organ built to fit our needs and the marvelous acoustics of our church. In order to best serve the needs of the congregation, it was decided that a new organ be built, if possible.

The committee began to contact builders, not only in the Portland area, but also in the Northwest and in other areas of the country. Builders who expressed an interest in working with us were contacted. Not only did they come to Zion to see the building and experience its sound, but the committee in turn visited several of their instruments to see and hear how the organs fit their surroundings, both visually and musically. Because Zion is listed on the National Historic Registry, it was necessary that the builder produce an instrument to fit our musical and visual aesthetics as well as remain within our financial means.

Three organ builders were chosen and asked to submit proposals. The builder who seemed to fit us best in all categories was the Martin Ott Pipe Organ Company of St. Louis. In September 2001, the board was presented with the committee’s findings and at the same meeting they charged the committee to contract with Mr. Ott to begin work on the Zion instrument, to begin raising the money for the purchase of the new organ, and to handle the remodel of the balcony to accommodate the organ. Delays in fund-raising and getting approval from the State of Oregon for the renovations pushed back the date of the new instrument.

In spring of 2005, a contractor was engaged to work with Zion and Martin Ott Pipe Organ Company to assure that the balcony would accommodate the new instrument. The organ was delivered to the church on Sunday, June 5, and the congregation was there to greet it and help unload the thousands of pieces that make up this musical puzzle. Assembly began the very next day, June 6, 2005. Tonal finishing was begun on July 17 and the organ was consecrated to the Glory of God and the edification of all on Sunday, August 14, 2005.

The inaugural concert was played by David Dahl on September 30. Concerts continue this season: November 20, Helen Hollenbeck; February 19, Portland AGO chapter members; April 30, Tim and Nancy Nickel, Prokofiev: Peter and the Wolf; June 18, Jonas Nordwall.

—Charles P. Kovach

Chair, Zion Organ Committee

Ott Opus 104

30 stops, 40 ranks

HAUPTWERK

16' Bordun 56 pipes

8' Prinzipal 56 pipes

8' Rohrflöte 56 pipes

4' Oktave 56 pipes

4' Nachthorn 56 pipes

22/3' Quinte* 56 pipes

2' Oktave 56 pipes

13/5' Terz* 56 pipes

Mixtur IV 224 pipes

8' Trompete 56 pipes

Tremulant

SCHWELLWERK

8' Viola 56 pipes

8' Viola Celeste TC 44 pipes

8' Bordun 56 pipes

4' Prinzipal 56 pipes

4' Traversflöte 56 pipes

Kornett II TC 88 pipes

2' Flöte 56 pipes

11/3' Quinte 56 pipes

Mixture IV 224 pipes

16' Bombarde* 56 pipes

8' Trompette 56 pipes

8' Krummhorn 56 pipes

Tremulant

Zimbelstern

PEDAL

16' Offenbass 30 pipes

16' Subbass 30 pipes

8' Oktavbass 30 pipes

8' Pommer 22 pipes

4' Choralbass 30 pipes

Mixtur IV 120 pipes

16' Posaune 30 pipes

8' Trompete* 30 pipes



*prepared for

Couplers

HW/Ped with reversible thumb & toe pistons

SW/Ped with reversible thumb & toe pistons

SW/HW toe piston

Accessories

Attached keydesk, AGO standards

Case made of oak

Mechanical key action

Electric stop action

Combination action with 128 levels:

HW 1-2-3-4-5-6 thumb

SW 1-2-3-4-5-6 thumb

PED 1-2-3-4-5-6 thumb & toe

General 1-2-3-4-5-6-7-8 thumb & toe

Cancel–thumb

Set–thumb

Tutti–thumb & toe

Tuning after Fisk I

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois, Opus 34

Mt. Pleasant Lutheran Church (ELCA), Racine, Wisconsin

From the designer and builder

Did you know that the Jetsons are parishioners of Mt. Pleasant Lutheran Church, Racine, Wisconsin? You know them: George, Jane (his wife), daughter Judy, and his boy, Elroy. Outside the world of futuristic fiction, they must have had an influence in the design of this church building, which is locally known as “The Space Ship Church.” Built in 1975, it is a dish with an inverted saucer as its roof; large plate glass windows surround its perimeter, filling in the space at which the two join.

This building’s unique shape determines how it is accessed and used—functionally and liturgically. Ahead of its time in terms of accessibility, upon entering at ground level, one enters the lower level fellowship areas and upper level worship area by a series of switch-back ramps that wind around the building’s diameter. Liturgically, this is a church in “three-quarter round,” which presents its own challenges for communion and processional traffic flow.

The building’s shape also determines its acoustical environment, and therefore the limits of a pipe organ’s physical and tonal design. Consultant Scott Riedel guided the church in improving the acoustics and creating a better area for music-making, by altering the shape of the walls facing the congregation, filling in gaps between ceiling beams, and replacing the carpeting in the choir’s seating area with hardwood flooring. And, in fact, sound is now heard more clearly and evenly through the room, especially in the outer ring of seating at the edge of the room’s diameter. But, the remaining carpet and pew coverings do their work too well, absorbing bass frequencies.

We were able to observe this phenomenon clearly before the church’s former organ was removed. The 16¢ pedal sounds were weak in the church, but in the lower level fellowship hall, the tone boomed to overtake normal conversation.

The organ chamber, while perfectly sited across the front of the worship area, is horizontal in nature, with a maximum ceiling height of 14'. Congregational seating comes to within four feet of the organ’s left side; the choral singers are about eight feet from the right side. The wide layout, and very present location of the organ, demanded that the design be practical, and required a very gentle touch in its scaling and voicing. Since the pipes could not be elevated above the congregation’s heads, the sound is produced directly at the level of people’s ears, requiring very refined voicing. The enclosed accompanimental divisions of the organ needed to be located to the right, nearer the choir, which meant that the Great needed to be on the left. People on the left side of the organ would be only four feet away from the Great Mixture. Oh, yes, there were also four steel roof support columns in the organ chamber, which could not be moved, and had to be worked around.

Those of you who have followed our work, or played our instruments, know that our organs have a smooth, warm, pervading, and significantly grand tone. They can be bright when they need to be, but the various stops are not inherently so. (The last thing we want to do is voice the high pitches in the mixtures to be bright!) Our organs are not crowned by high-pitched mixture-work (as in neo-classic organs), but by the heroic blend that results from mixtures and reeds singing together, reinforcing unison pitch. In the case of this church, we needed to fill the entire building (basement included) with bass frequencies, and gradually decrease the intensity of tone as the pitches rose, in order to have the organ sound smooth, balanced in the tonal spectrum, and consonant with our artistic style. To have achieved the balance it has—whether one is sitting next to the Great Mixture, or in the outside ring—is a testament to the organ’s solid construction, painstaking attention to scaling, and countless hours of listening and adjusting the sounds in the church. Our head voicer, Brian Davis, was promoted to the position of tonal director as a result of this organ’s success in the face of such overwhelming challenges.

The visual design’s “prime directives” were to bring order to random asymmetry, lead the eye toward the center of the worship area, emphasize what little verticality the space actually has, and give a dignified prominence to a steel sculpture in front of the organ—the base of the church’s three-bladed steeple, which pierces the roof and ascends to a needle point in the sky.

The three arms of the steeple are of unequal width, connected by horizontal welded rods, and form a sculpture in the nature of a cross. Original descriptions of the sculpture allude to the Trinitarian symbolism of its three blades. The organ chamber is located immediately behind the sculpture, the center portion curved in the outline of the stone font, the sides on a slightly reverse curve as the chamber returns to the side walls. Aside from the planned asymmetry of the steel sculpture, the exact dimensions and precise placement of the organ chamber behind the sculpture could not be ascertained until the old organ was removed and the chamber developed by moving offices and closets previously flanking the former instrument. The chamber space itself was asymmetrical as registered to the centrally located sculpture.

We decided to design the organ’s façade in three sections, not only to emphasize the Trinitarian symbolism, but to give us some practical constructional flexibility in reconciling the many dimensional variables. Even though everything was accurately constructed in the shop to careful measurements taken once the organ chamber was constructed, we still needed to do more woodworking on-site than we would have liked, or than other situations have ever required.

The center section, being behind the flat-black steel sculpture, needed some visual grounding, but not heaviness. The former organ was basically dark, with lots of black grille-cloth, which made the steel sculpture disappear. We therefore displayed the centrally located large wood pipes in a light, natural finish in the center section, with the horizontal bright polished copper reed resonators wrapping themselves around the sculpture from above and behind. This central display is symmetrical, and acts as a perfect backdrop to gently soften the tension created by the wide-versus-narrow blades of the sculpture in front. The low octave of the 8¢ Pedal Principal flanks this display of the wood pipes, the pipes being mounted on toeboards that follow the curve of the font, to act as a transition to the façade’s side elements.

In order to provide motion, rhythm, and verticality to this horizontal instrument, the left and right sides feature the largest of the polished tin Principal pipes, mounted on casework with a toeboard “sill” lower than that of the center section. The façade pipes’ feet are significantly lower than the windchests in the organ, so we had to hide the chests and reservoirs behind them with black felt to eliminate potential visual confusion. The pipes on the outside edges are supported by arched toeboards, rising above the façade’s sill (or impost if this were an organ case), which we enameled blue to relate to other colors in the room. The largest Pedal Principal pipes we could fit in the façade are from 16¢ FFF, which sit on the floor, to break the horizontal line of the sill and challenge the height of the central steel sculpture. As the compass of this stop ascends, the smaller pipes are racked up on the sill, but the mouth line forms one continuous rising arch, leading the eye inward. Subtle touches of pipe spacing from the edges of the upright casework members were added to subtly influence one’s viewing of the “symmetrically asymmetrical organ.”

The tonal design of this instrument is fairly typical of what we do, with the exception of the four-stop Solo Organ, which is at home on the bottom manual keyboard. The Great, Swell, and Pedal are full and well developed, consonant with our style. The Solo offers some evocative coloristic sounds and the flexibility of a third keyboard in a situation in which there was neither room nor money for a full Choir Organ. Usually our organs’ solo reeds are Tubas. But, in this close acoustic, we were extremely concerned that the high volume, located so close to the listeners, would drive them all out onto Green Bay Road and us out of town on a rail! We therefore opted to make these Trombas, on lower pressure with slightly more open shallots for a relatively dark tone, but at a solo volume in balance with the rest of the organ. The Great 8' Trumpet is truly a luxury. This Trumpet is a beautifully blending chorus reed and also very useful for solo work. The Swell reed battery, though, is what’s worth writing home about! Here’s the power in the organ, beautifully tailored for its uses in a wide variety of contexts, but it is never too loud in the room. The Swell 16' Bassoon, which plays in the Pedal as well, perfectly balances not only the Swell battery, but also the Great full chorus for those many times when it is used as a “pointed” pedal reed and the darker, heavier Trombone would be too much.

It has been a pleasure to work with the people of Mt. Pleasant Lutheran Church, and consultant Scott Riedel, on this new instrument. Pastor Stephen Samuelson, music director Joshua Brown, and the organ committee fell in love with our instruments after hearing the organ we built at St. David’s Episcopal Church, Glenview, Illinois. Their vision for how the new organ would transform their unique worship space was inspiring. It was our privilege to be given the challenges and create something truly beautiful.

—John-Paul Buzard



From the organist and director of music

Like any good Lutheran, I must start with a confession. Five years ago, when I pulled up to Mt. Pleasant Lutheran Church for my first interview, I thought “Who designed this thing, Frank Lloyd Wrong? It embodies disappointing American church architecture with its wide squat room, plenty of carpet and more wasted space than the inside of an SUV!”

Fortunately, like any good Lutheran, I put my trust in God’s abiding grace, and returned to Mt. Pleasant as their organist and director of music to discover the beauty of this building. A ribbon of windows keeps the outside world in plain sight, and the roof line surrounds the building with a crown of thorns. The triune tower rises up from the baptismal font, punctuating this architectural statement, which has served as the church’s very best evangelism tool since its completion 30 years ago!

The church’s former small organ had been assembled in an ad hoc manner through the years, and suffered from the oppressive acoustical environment and poor chamber layout. With the able guidance of Scott Riedel and Associates, the church crafted a plan to remodel the sanctuary, double its reverberation time, and replace the aging organ. The organ committee considered many fine builders. John-Paul Buzard’s warmth of tone, quality of workmanship, and, to quote the Senior Pastor Stephen Samuelson, “bang for the buck,” all contributed to the church’s final selection of his firm.

This unique American church required an equally unique American organbuilder. John-Paul Buzard and his team tackled the church’s twin challenges of odd architecture and unforgiving acoustics with great aplomb. In the process they demonstrated that the best organbuilders, particularly for American churches, need a flexible approach to fit a wide range of applications. From high gothic architecture with grand acoustics to restrained “prairie style” architecture with limited acoustics, John-Paul Buzard has adapted and delivered stunning results while maintaining his tonal style and uncompromising quality.

Opus 34, the result of three years’ careful planning and execution, has both matched and enhanced the sanctuary’s architectural style. More importantly, it has brought an entirely new dynamic to the worship life of the congregation. With a tonal scheme based on a wide array of 8¢ pitches, the organ fully supports the congregation’s singing and easily fills the room with sound. The two complete principal choruses allow the organ to lead congregations of varying sizes, from 10 to 600. The wide selection of reed and flute stops offers ample color and variety for responding to hymn texts and playing repertoire.
The organ was first played for worship on Reformation Sunday 2006, and Mary Preston will play the inaugural recital this month. I am grateful to all of the Buzard staff who worked at a strenuous pace to deliver and install our organ, and to Scott Riedel for his insight and guidance throughout the project. Finally, a special thanks to the staff, worship and music and organ committees, and members of Mt. Pleasant Lutheran Church who had the long-term vision required to undertake this project.

—Joshua Brown

Buzard Opus 34
33 stops, 40 ranks

GREAT (4" wind)

16' Lieblich Gedeckt

8' Open Diapason

8' Flûte à Bibéron (wide chimneys)

8' Viola da Gamba

4' Principal

4' Spire Flute

22⁄3' Nazard

2 Fifteenth

13⁄5' Tierce

11⁄3' Mixture IV

8' Trompete

Tremulant

Cymbalstern

8' Festival Trumpet (Solo)

Great to Great 16', UO, 4'

Swell to Great 16', 8', 4'

Solo to Great 16', 8', 4'

SWELL (4" wind)

8' Violin Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste (gg)

4' Principal

4' Harmonic Flute

2' Recorder

2' Full Mixture IV

16' Bassoon

8' Trompette

8' Oboe

4' Clarion

Tremulant

8' Festival Trumpet (Solo)

Swell to Swell 16', UO, 4'

Solo to Swell 8'

SOLO (4" wind)

8' Harmonic Flute

8' Flute Cœlestis II (Ludwigtone)

4' Open Flute

8' Clarinet

8' Festival Trumpet (horizontal)

Tremulant

Chimes

Solo to Solo 16', UO, 4'

Swell to Solo 16', 8', 4'

PEDAL (4" wind)

32' Subbass (1–12 digital)

32' Lieblich Gedeckt (1–12 digital) (Gt)

16' Open Diapason (in façade from FFF)

16' Bourdon (stoppered wood)

16' Gedeckt (Gt)

8' Principal

8' Bass Flute (ext 16')

8' Spire Flute

4' Choral Bass (ext 8')

4' Open Flute (ext 16')

16' Trombone

16' Bassoon (Sw)

8' Trumpet (ext 16')

8' Festival Trumpet (Solo)

Great to Pedal 8', 4'

Swell to Pedal 8', 4'

Solo to Pedal 8', 4'

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>

Berghaus Pipe Organ Builders, Inc., Bellwood, Illinois
St. John’s Episcopal Church, Norwood Parish, Bethesda,
Chevy Chase, Maryland

From the organbuilder
St. John’s Episcopal Church, Norwood Parish, is located just minutes away from Washington National Cathedral on the border between Bethesda and Chevy Chase, Maryland. St. John’s began in 1873 as a small mission congregation in what was then rural Bethesda. By 1895, the church had been elevated to parish status within the newly formed Diocese of Washington. Throughout its history, St. John’s has been dedicated to “building community at the crossroads of faith and life.” Today, the parish continues to honor this tradition by offering beautiful, liturgically oriented worship services and by providing a wide variety of programs that minister to the diverse needs of the congregation and community.
Prior to the renovation of St. John’s 500-seat Georgian-style sanctuary, the nave presented a feeling of light-filled openness, while the deep and narrow chancel appeared both dark and restrictive. In typical fashion, choir stalls were divided on both sides of the chancel, with the high altar placed against the front wall. The existing organ consisted of three manual divisions with the Great, Swell, and Pedal installed in chambers along the east wall, and the Choir placed on the west wall. Throughout its history and despite the best intentions of the parish, the organ suffered several major incidents involving water damage. With the east wall of the chancel positioned directly beneath the bell tower, it was determined that the tower was, in fact, the root of the problem. Although the tower had previously undergone extensive renovation, water was continuing to find its way into the chambers. At the urging of then director of music Douglas Beck, an organ committee was formed and charged with the task of identifying possible solutions. The committee was also asked to investigate and recommend several organ builders. The committee also felt that it would be wise to engage an organ consultant and did so by involving Donald Sutherland from the Peabody Institute. The initial findings of the committee can be summed up in the following two recommendations. First, the repair of the existing organ would not represent a sound artistic or economic option. Second, a new instrument should not be returned to the existing chambers. Based on these parameters, the committee proceeded to identify a select group of organ builders and to ask each builder to submit their vision for an instrument that would not only meet the liturgical requirements of the parish, but allow the parish to further expand its role in offering artistic expressions of faith to the greater community.
As discussions continued relative to the placement of the organ, it became increasingly clear that installing the organ in any other area of the sanctuary would require changes to the structure of the building. It was also at this point that the clergy and many of the parishioners suggested that the parish consider a comprehensive renovation of the chancel. Given this suggestion, a second committee, called the Architectural Review Committee, was formed to oversee the process and to investigate potential architects and contractors. With the selection of Kerns Group Architects and Forrester Construction, the “ARC” noted that a final decision regarding an organ builder should be made so that all parties could work in a collaborative fashion. On the recommendation of the organ committee, Berghaus Pipe Organ Builders, Inc. was selected to build the new instrument. Recognizing that the combined project including renovations to the building and the construction of a new pipe organ would require a significant financial commitment, St. John’s vestry authorized the formation of a third committee to oversee the fund raising process. The combined efforts of the Organ Committee, Architectural Review Committee, and the Capital Campaign Committee were incorporated under the theme “Enhance, Renew, Rejoice!”
Early in the process of examining the space, it was determined that placing the organ in the gallery would be difficult and limiting. The lack of height and depth would require that the entire rear portion of the church be rebuilt. There was also a great deal of concern expressed about the necessity of moving the choir to the gallery. Although some members of the parish had initially favored this approach, they quickly grasped the complexities involved and shifted their support to the possibilities represented by the chancel. Above and beyond the issue of the organ, enhancing the worship space was an important ingredient in St. John’s view that worship should involve a greater sense of community. One option was to open and enlarge the chancel, creating an inviting space for various forms of worship. Another was to bring the altar forward and install a new communion rail such that it would bring the communion experience closer to the congregation and enable more of those present to take communion at the rail. The ARC was also hopeful that natural light could find its way into the chancel so that the space would have the same warm, inviting feel currently attributed to the nave. This eventually led the architect to modify two of the former organ chambers and add skylights so that the chancel is bathed in soft, natural light. Another transforming suggestion involved moving the choir out of its traditional split arrangement and facing them towards the congregation. With the adoption of these suggestions, it was decided that the ideal placement of the new pipe organ was along the central axis of the building. The new organ would thereby occupy approximately 12 feet of the existing depth at the front of the chancel. This effectively moved the chancel forward placing parishioners, clergy, musicians, etc. in closer proximity. Obviously this change also provided the means for both music and the spoken word to be heard in a clear and full fashion.
St. John’s began its journey to rejuvenate the life of the congregation not only by overhauling the chancel and replacing the organ, but also by enhancing and renewing their relationship with the Creator. Staying close to its roots as a mission congregation, the early parish embraced a low-church form of worship. In the 1970s, under rector William A. Beal, the congregation experimented with a variety of new worship styles, including the Episcopal Church’s trial liturgies. This “new tradition” included the use of the 1979 Prayer Book. The move towards higher church expression continued into the 1980s and 1990s under Rev. Duane Stuart Alvord, and continues today under the leadership of the current rector, Rev. Susan M. Flanders, and the associate rector, Rev. Harrison West. The beautiful construction of the current worship form and the growing excellence of the music program as initially developed under the auspices of former director of music, Douglas Beck, and built upon by the current director of music, Anne Timpane, made it apparent that the new instrument would be required to provide ample support for congregational singing, but must also be an instrument that supports the Anglican choral repertoire. The organ committee’s visits to a wide variety of instruments across the full spectrum of builders pointed to the fact that the parish desired an instrument of great breadth of tone and timbre, with a sound that would fill the space, but not entirely overpower it. It was also important that the organ contain the subtle stops necessary to accompany children’s choirs while having the ability to uphold the congregation with a sense of majesty and power. However, it was also the desire of the former director of music that the instrument should be French-inspired, both in its specification and in its appearance. Given the design of the building, we chose to represent the visual aspect of this request in the design of the console.
The new Berghaus pipe organ at St. John’s Episcopal Church contains 58 speaking stops and 63 ranks over three manuals and pedal. The placement of the instrument along the central axis of the nave allows for optimal sound projection while enhancing the visual impact of the chancel space, most notably as natural light from the skylights reflects off the polished zinc façade. The painted, incised hardwood case is accented with solid walnut trim and gold-leafed pipe mouths. The case also features columns that emulate the columns found throughout the nave. The layout of the organ was intended to give each division its proper musical placement while providing easy access for tuning and service. The Grand-Orgue and Pédale are situated just behind and at the top of the façade, while the expressive Récit and Positif divisions are at the mid or impost levels. This arrangement establishes a leadership role for the Grand-Orgue and Pédale in accompanying congregational singing, while the Récit and Positif, placed at a lower level, are suitable for accompanying choral literature. Set at the very top of the case is a large semicircular arch that continues the barrel vault design of the nave, and allows for full projection of the Grand-Orgue chorus. While not strictly adhering to a particular historical period, the organ, both in terms of its stoplist and tonal approach, is a synthesis of the classical and romantic styles. This synthesis emphasizes a clear, singing quality in the individual stops, while providing depth and warmth when stops are used in combination. Each division contains a complete principal chorus, characteristic flute stops and a full battery of reeds that range from the very subdued to the fiery. Those who have experienced this instrument firsthand remark on how the organ increases in fullness as more stops are drawn. The favorable, but not overly reverberant acoustic is obviously helpful in this instance. The use of Berghaus custom slider and pallet windchests for the majority of the fluework and for certain reeds allows for a natural, unforced sound that ensures favorable blending qualities and excellent tuning stability. Much of the pipework in the organ is scroll and cone tuned. Stops on slider windchests are voiced on 3¼? of wind, while the majority of the reeds are voiced on pressures that range between 3½? and 4?.
The Grand-Orgue is based on a large-scaled 8? Montre constructed from 75% tin. This stop has a rich, full, singing quality, while at the same time providing articulation and clarity to the rest of the chorus. The 8? Gambe is a soft string with moderate sizzle. When combined with the full-bodied 8? Bourdon, it creates a secondary principal-like timbre. The 8? Flute Harmonique is an open flute throughout the compass and becomes harmonic at g32. It is well suited as a blending stop in the jeux de fonds combination, or as a solo stop when required by the Romantic repertoire. The 4? Flute Octaviante is a lighter and softer alternative to the 8? Flute Harmonique. Mutations in this division are based on principal scales and constructed from 52% tin. These stops are voiced to enhance the harmonic series present in the plenum. When used in combination with the flutes, the mutations provide a lighter, brighter cornet in contrast to the Mounted Cornet. The 8? Trompette is constructed from 52% tin, and contains English tapered shallots. Since the organ has a strong solo trumpet, this Trompette was voiced to blend with the flue stops within the division. The Mounted Cornet is scaled and constructed based on the French classical school. The 8? rank is a bourdon, with subsequent ranks being open. The 13?5? rank is proportionally the largest in scale. This stop, with its compass from c13 to g56, is musically successful in literature ranging from Byrd and Buxtehude, to Couperin and DuMage. The Trompette Royale is the organ’s crowning solo reed. Voiced on 10? of wind, the stop contains resonators that are hooded for maximum projection. Overall, the Grand-Orgue sets the tone of the entire instrument. Its placement at the center of the long axis provides an ideal vantage point for strong musical leadership, particularly in accompanying congregational singing. One stop from the former instrument was used in the new instrument. A 16? mahogany Quintaton was extensively rebuilt and revoiced to add a light 16? timbre to the Grand-Orgue.
The musical demands of the Anglican service require that an instrument have a wide variety of voices and dynamic possibilities, particularly in music for choir and organ. Given this situation, entire tonal divisions were designed to work as a unified whole. The Positif Expressif is also based on an 8? Principal of 75% tin and is designed to function as a secondary chorus to the Grand-Orgue. The gentle and singing nature of these principals provides ideal color for Baroque and Renaissance literature. Because of its enclosed placement, the chorus is extremely useful in accompanying choirs and instrumental ensembles. Flute stops include an 8? Bourdon (wood) and a 4? Flûte à Fuseau. In contrast to the Grand-Orgue, the mutations of the Positif are scaled to blend well with flutes versus principals. The 22?3? Nasard relies on Koppelgedackts in its bass octave. The 2? Quarte de Nasard is essentially a hybrid stop, beginning as a light principal, than taking on a bright flute tone in the treble range. The four-rank 1? Cymbale is useful as a chorus mixture, as well as offering a bell-like timbre to lighter textures. The two reeds include a narrow-scale 8? Trompette designed to blend with the principal chorus and an 8? Cromorne, which can be used successfully in either classical or romantic repertoire.
The Récit contains a wide variety of stops, each with its own unique construction. The Salicional and Voix Celeste are small in scale and slotted to give the pair a decidedly French sound. The 8? Flûte à Cheminée features long, wide chimneys for optimal harmonic development. The 4? Flûte Conique is of the Spitzflöte variety and is made of 40% tin. Perhaps one of the most unique stops is the 2? Flûte à Bec, or Block Flute, which incorporates large-scale pipework. Another unique feature of the Récit is the ability to combine the 8? Flûte à Cheminée with the 8? Voix Celeste. The separation that exists between the two ranks provides the slow undulating pattern typically heard in flute celestes. Since an 8? Principal does not exist in this division, the five-rank, 2? Plein Jeu is designed to reinforce the 8? and 4? pitches at earlier points than generally found in typical mixture compositions. The 8? Trompette and 4? Clairon are fiery reeds in the Cavaillé-Coll style, featuring ring and nut construction and resonators of 70% tin. The 8? Hautbois is reminiscent of the English variety. The 16? Basson is voiced to add gravity to the Swell reed chorus while introducing a lighter reed character in the Pédale. The entire reed chorus is placed at the back of the expression chamber with reeds voiced on 4? of wind.
The Pédale is based on the 16? Montre located in the façade. Given the variety of independent stops of varying dynamics and timbre, the Pédale division provides unusually full support for the demands of the manual divisions. The 32? Basse Acoustique is derived from the 16? Montre (unison) and the 16? Soubasse (quint). As an alternative to the 8? Pedal Octave, the 8? Cor de Chamois (Gemshorn) is suitable for giving the 8? line a more pointed emphasis, especially in Baroque combinations. The 32? and 16? Bombarde have wood resonators for maximum fundamental.
All aspects of the organ console, including the bench and music rack, were specifically designed for this instrument. The detail associated with the console complements not only the casework but many of the features that exist within the worship space. Since the director of music at St. John’s is both organist and choirmaster, the profile of the console needed to be low enough to allow the organist to direct the choir from the console. The low-profile French terraced design is constructed from solid walnut with added walnut veneers to insure the consistency of the grain pattern. Curved terraces are made from book-matched, burled walnut and are home to the oblique-face, pau ferro drawknobs. Stops are logically laid out with plenum and major reeds to the organist’s right; flutes, strings, mutations, and minor reeds to the left. Keyboards with maple naturals and walnut sharps feature top-resistant touch for maximum responsiveness. To keep the console free of electronic clutter, the memory level, record/playback and clochette controls are contained in a swivel drawer located on the right-hand side of the console.
The blessing of the new Berghaus organ and the newly renovated chancel was presided over by Bishop John Bryson Chane of the Diocese of Washington. In attendance were representatives from the Lift High the Cross Capital Campaign, the Organ and Architectural Review committees, Kerns Group Architects, Forrester Construction, and Berghaus Pipe Organ Builders. The organ itself was dedicated on Saturday, May 10, and featured nine prominent organists from the greater Washington area.
The completion of the organ is the culmination of many years of planning, preparation, and hard work by the individuals and committees at St. John’s, as well as the organ builder, architect, and general contractor. The result of this work is a grand worship space that uniquely fits the needs of the parish, and an instrument that will serve and inspire the congregation as well as the larger community for generations to come. Berghaus Pipe Organ Builders wishes to thank all those who helped make this project possible. We wish to thank The Reverend Susan Flanders, rector; The Reverend Harrison West, associate rector; Christine Walz-Dallaire, senior warden 2006–07; Ken Lee, senior warden 2007–08; Cynthia Stroman, organ committee chair; Suzanne Welch, architectural review committee chair and project manager; Bill Fry and Richard Saltsman, co-chairs of the Lift High the Cross capital campaign committee; Mike McConihe, chancellor; Douglas Beck, former director of music ministries; Anne Timpane, director of music ministries; Brian Briggs, parish administrator; and the many parishioners who gave of their time, talent, and treasure. Berghaus also wishes to thank Tom Kerns and Koji Hirota of Kerns Group Architects and Bassem Melham, Bill Morrissette, and Will Durham of Forrester Construction.
Berghaus Pipe Organ Builders also wishes to thank members of its staff for their countless hours and dedication to this project:
Brian Berghaus, president
David McCleary, director of sales and marketing
Tonal design: Jonathan Oblander, Kelly Monette
Visual design and layout: Steven Protzman
Voicing and tonal finishing: Kelly Monette, Jonathan Oblander, Mitch Blum
Construction: Stan Bujak, Chris Czopek, Steve Drexler, Jeff Hubbard, Trevor Kahlbaugh, Kurt Linstead, David Mueller, Daniel Roberts, Tim Roney, Paul Serresseque, Ron Skibbe, Jordan Smoots, Paul Symkowski, Mark Ber, Randy Watkins, Andy Schach.
—Jonathan Oblander
Tonal director
Berghaus Pipe Organ Builders

From the director of music ministries
In January 2007, St. John’s signed a contract with Berghaus Pipe Organ Builders to build a new instrument that would fulfill and expand the music ministry’s mission and vision:

to explore the journey of faith and life through music; unite parishioners . . . by embracing and cultivating talents and gifts . . . enliven liturgy and community, nourish the musical and creative spirit . . .; inspire the people of St. John’s . . . strengthening relationships with God and one another.

St. John’s has had a pipe organ for more than 80 years. Organ music has enhanced important events in the life of the parish, from weekly worship services, to special holiday music, to baptisms, weddings, funerals and other occasions. However, progressive structural deterioration of the existing organ had caused significant wear and damage to the instrument’s infrastructure. The organ became increasingly unreliable, and so the decision was made not only to replace the instrument but also to think creatively about the chancel’s architectural design. Taking into consideration the size of the room, the number of people that the room will accommodate, and the desired uses of the instrument, it was decided to place the new organ on the central axis of the church for optimal sound projection and flexibility within the space. Berghaus worked in conjunction with our architectural review committee to find a harmonious blend of the advantages and challenges associated with the organ placement and chancel reconfiguration. The result is our stunning new three-manual custom-made work of art.
Berghaus was chosen by our organ builder selection committee after extensive information gathering and evaluation of the proposals submitted by several prominent organ builders. Berghaus’s excellent reputation, design philosophy, and character made them the stand out choice for St. John’s. Their attention to detail, dedication to craftsmanship, and ability to work within our timeframe and cost considerations resulted in an instrument that is not a reflection of me, or Berghaus, but of St. John’s and its parishioners.
Through the generosity of our donors, the work of Berghaus Pipe Organ Builders, and the talents of the guest organists who helped dedicate the instrument, we have built an instrument that will enrich our worship and give music to lift our spirits for year to come.
—Anne Timpane
Director of music ministries

_________________________________________________________________________________

GRAND-ORGUE – Unenclosed – Manual I. 31?4? wind pressure
16? Quintaton 61 pipes existing, mahogany, revoiced
8? Montre 61 pipes 75% tin throughout
8? Gambe 61 pipes 1–12 zinc, 13–61 52% tin
8? Flûte Harmonique 61 pipes 1–12 zinc, 13–61 52% tin, harmonic @ g32
8? Bourdon 61 pipes 52% tin
4? Prestant 61 pipes 52% tin
4? Flûte Octaviante 61 pipes 75% tin, harmonic @ c25
22?3? Quinte 61 pipes 52% tin
2? Doublette 61 pipes 75% tin
13?5? Tierce 61 pipes 75% tin
8? Cornet V 220 pipes 52% tin, c13–g56
11?3? Fourniture IV 244 pipes 75% tin (19-22-26-29)
8? Trompette 61 pipes resonators of zinc and 52% tin
Tremblant
16? Trompette Royale 1–12 from Ped 16? Bombarde; 13–61 from 8? Trompette Royale
8? Trompette Royale 61 pipes hooded resonators, voiced on 10? wind
Clochettes 5 bells (with adjustable delay, speed, and volume)

RÉCIT EXPRESSIF – Enclosed – Manual III. 31?4? (flues) and 4? (reeds) w.p.
8? Salicional 61 pipes 1–12 zinc, 13–61 52% tin, slotted
8? Voix Céleste FF 56 pipes 6–12 zinc, 13–61 52% tin, slotted
8? Flûte à Cheminée 61 pipes 52% tin
4? Prestant 61 pipes 52% tin
4? Flûte Conique 61 pipes 40% tin
2? Flûte à Bec 61 pipes 52% tin
2? Plein Jeu V 305 pipes 75% tin (15-19-22-26-29)
16? Basson 61 pipes resonators of zinc and 52% tin, 1–18 L/2
8? Trompette 61 pipes resonators of 70% tin, parallel open shallots
8? Hautbois 61 pipes resonators of zinc and 52% tin
8? Voix Humaine 61 pipes resonators of 52% tin
4? Clairon 61 pipes resonators of 70% tin, parallel open shallots
Tremblant
8? Cornet V — (G.O.)
8? Trompette Royale — (G.O.)

POSITIF EXPRESSIF – Enclosed – Manual II. 31?4? wind pressure
8? Principal 61 pipes 75% tin throughout
8? Bourdon 61 pipes poplar
8? Flûte Celestes II (console preparation)
4? Octave 61 pipes 52% tin
4? Flûte à Fuseau 61 pipes 52% tin
22?3? Nasard 61 pipes 52% tin
2? Quarte de Nasard 61 pipes 52% tin
13?5? Tierce 61 pipes 52% tin
11?3? Larigot 61 pipes 52% tin
1? Cymbale IV 244 pipes 75% tin (26-29-33-36)
8? Trompette 61 pipes resonators of zinc and 52% tin
8? Cromorne 61 pipes resonators of zinc and 52% tin
Tremblant
8? Cornet V — (G.O.)
8? Trompette Royale — (G.O.)

PÉDALE – Unenclosed. Wind pressure 31?4? except Bombarde (4?)
32? Basse Acoustique — derived from 16? Montre and 16? Soubasse
16? Contrebasse (console preparation)
16? Montre (façade) 32 pipes 1–25 polished zinc, 26–32 75% tin
16? Soubasse 32 pipes poplar
16? Quintaton — (G.O.)
8? Octave 32 pipes 75% tin throughout
8? Cor de Chamois 32 pipes 1–12 zinc, 13–32 52% tin
8? Bourdon 12 pipes (extension of 16? Soubasse)
4? Basse de Choral 32 pipes 75% tin
4? Bourdon 12 pipes (extension of 16? Soubasse)
22?3? Fourniture IV 128 pipes 75% tin (12-15-19-22)
32? Contre Bombarde 12 pipes L/2 resonators of pine (extension of 16? Bombarde)
16? Bombarde 32 pipes L/1 resonators of pine
16? Basson — (Récit)
8? Trompette 32 pipes
4? Clairon 32 pipes
8? Trompette Royal — (G.O.)

Berghaus Pipe Organ Builders, Inc., Bellwood, Illinois
St. John’s Episcopal Church, Norwood Parish, Bethesda,
Chevy Chase, Maryland

From the organbuilder
St. John’s Episcopal Church, Norwood Parish, is located just minutes away from Washington National Cathedral on the border between Bethesda and Chevy Chase, Maryland. St. John’s began in 1873 as a small mission congregation in what was then rural Bethesda. By 1895, the church had been elevated to parish status within the newly formed Diocese of Washington. Throughout its history, St. John’s has been dedicated to “building community at the crossroads of faith and life.” Today, the parish continues to honor this tradition by offering beautiful, liturgically oriented worship services and by providing a wide variety of programs that minister to the diverse needs of the congregation and community.
Prior to the renovation of St. John’s 500-seat Georgian-style sanctuary, the nave presented a feeling of light-filled openness, while the deep and narrow chancel appeared both dark and restrictive. In typical fashion, choir stalls were divided on both sides of the chancel, with the high altar placed against the front wall. The existing organ consisted of three manual divisions with the Great, Swell, and Pedal installed in chambers along the east wall, and the Choir placed on the west wall. Throughout its history and despite the best intentions of the parish, the organ suffered several major incidents involving water damage. With the east wall of the chancel positioned directly beneath the bell tower, it was determined that the tower was, in fact, the root of the problem. Although the tower had previously undergone extensive renovation, water was continuing to find its way into the chambers. At the urging of then director of music Douglas Beck, an organ committee was formed and charged with the task of identifying possible solutions. The committee was also asked to investigate and recommend several organ builders. The committee also felt that it would be wise to engage an organ consultant and did so by involving Donald Sutherland from the Peabody Institute. The initial findings of the committee can be summed up in the following two recommendations. First, the repair of the existing organ would not represent a sound artistic or economic option. Second, a new instrument should not be returned to the existing chambers. Based on these parameters, the committee proceeded to identify a select group of organ builders and to ask each builder to submit their vision for an instrument that would not only meet the liturgical requirements of the parish, but allow the parish to further expand its role in offering artistic expressions of faith to the greater community.
As discussions continued relative to the placement of the organ, it became increasingly clear that installing the organ in any other area of the sanctuary would require changes to the structure of the building. It was also at this point that the clergy and many of the parishioners suggested that the parish consider a comprehensive renovation of the chancel. Given this suggestion, a second committee, called the Architectural Review Committee, was formed to oversee the process and to investigate potential architects and contractors. With the selection of Kerns Group Architects and Forrester Construction, the “ARC” noted that a final decision regarding an organ builder should be made so that all parties could work in a collaborative fashion. On the recommendation of the organ committee, Berghaus Pipe Organ Builders, Inc. was selected to build the new instrument. Recognizing that the combined project including renovations to the building and the construction of a new pipe organ would require a significant financial commitment, St. John’s vestry authorized the formation of a third committee to oversee the fund raising process. The combined efforts of the Organ Committee, Architectural Review Committee, and the Capital Campaign Committee were incorporated under the theme “Enhance, Renew, Rejoice!”
Early in the process of examining the space, it was determined that placing the organ in the gallery would be difficult and limiting. The lack of height and depth would require that the entire rear portion of the church be rebuilt. There was also a great deal of concern expressed about the necessity of moving the choir to the gallery. Although some members of the parish had initially favored this approach, they quickly grasped the complexities involved and shifted their support to the possibilities represented by the chancel. Above and beyond the issue of the organ, enhancing the worship space was an important ingredient in St. John’s view that worship should involve a greater sense of community. One option was to open and enlarge the chancel, creating an inviting space for various forms of worship. Another was to bring the altar forward and install a new communion rail such that it would bring the communion experience closer to the congregation and enable more of those present to take communion at the rail. The ARC was also hopeful that natural light could find its way into the chancel so that the space would have the same warm, inviting feel currently attributed to the nave. This eventually led the architect to modify two of the former organ chambers and add skylights so that the chancel is bathed in soft, natural light. Another transforming suggestion involved moving the choir out of its traditional split arrangement and facing them towards the congregation. With the adoption of these suggestions, it was decided that the ideal placement of the new pipe organ was along the central axis of the building. The new organ would thereby occupy approximately 12 feet of the existing depth at the front of the chancel. This effectively moved the chancel forward placing parishioners, clergy, musicians, etc. in closer proximity. Obviously this change also provided the means for both music and the spoken word to be heard in a clear and full fashion.
St. John’s began its journey to rejuvenate the life of the congregation not only by overhauling the chancel and replacing the organ, but also by enhancing and renewing their relationship with the Creator. Staying close to its roots as a mission congregation, the early parish embraced a low-church form of worship. In the 1970s, under rector William A. Beal, the congregation experimented with a variety of new worship styles, including the Episcopal Church’s trial liturgies. This “new tradition” included the use of the 1979 Prayer Book. The move towards higher church expression continued into the 1980s and 1990s under Rev. Duane Stuart Alvord, and continues today under the leadership of the current rector, Rev. Susan M. Flanders, and the associate rector, Rev. Harrison West. The beautiful construction of the current worship form and the growing excellence of the music program as initially developed under the auspices of former director of music, Douglas Beck, and built upon by the current director of music, Anne Timpane, made it apparent that the new instrument would be required to provide ample support for congregational singing, but must also be an instrument that supports the Anglican choral repertoire. The organ committee’s visits to a wide variety of instruments across the full spectrum of builders pointed to the fact that the parish desired an instrument of great breadth of tone and timbre, with a sound that would fill the space, but not entirely overpower it. It was also important that the organ contain the subtle stops necessary to accompany children’s choirs while having the ability to uphold the congregation with a sense of majesty and power. However, it was also the desire of the former director of music that the instrument should be French-inspired, both in its specification and in its appearance. Given the design of the building, we chose to represent the visual aspect of this request in the design of the console.
The new Berghaus pipe organ at St. John’s Episcopal Church contains 58 speaking stops and 63 ranks over three manuals and pedal. The placement of the instrument along the central axis of the nave allows for optimal sound projection while enhancing the visual impact of the chancel space, most notably as natural light from the skylights reflects off the polished zinc façade. The painted, incised hardwood case is accented with solid walnut trim and gold-leafed pipe mouths. The case also features columns that emulate the columns found throughout the nave. The layout of the organ was intended to give each division its proper musical placement while providing easy access for tuning and service. The Grand-Orgue and Pédale are situated just behind and at the top of the façade, while the expressive Récit and Positif divisions are at the mid or impost levels. This arrangement establishes a leadership role for the Grand-Orgue and Pédale in accompanying congregational singing, while the Récit and Positif, placed at a lower level, are suitable for accompanying choral literature. Set at the very top of the case is a large semicircular arch that continues the barrel vault design of the nave, and allows for full projection of the Grand-Orgue chorus. While not strictly adhering to a particular historical period, the organ, both in terms of its stoplist and tonal approach, is a synthesis of the classical and romantic styles. This synthesis emphasizes a clear, singing quality in the individual stops, while providing depth and warmth when stops are used in combination. Each division contains a complete principal chorus, characteristic flute stops and a full battery of reeds that range from the very subdued to the fiery. Those who have experienced this instrument firsthand remark on how the organ increases in fullness as more stops are drawn. The favorable, but not overly reverberant acoustic is obviously helpful in this instance. The use of Berghaus custom slider and pallet windchests for the majority of the fluework and for certain reeds allows for a natural, unforced sound that ensures favorable blending qualities and excellent tuning stability. Much of the pipework in the organ is scroll and cone tuned. Stops on slider windchests are voiced on 3¼' of wind, while the majority of the reeds are voiced on pressures that range between 3½' and 4'.
The Grand-Orgue is based on a large-scaled 8' Montre constructed from 75% tin. This stop has a rich, full, singing quality, while at the same time providing articulation and clarity to the rest of the chorus. The 8' Gambe is a soft string with moderate sizzle. When combined with the full-bodied 8' Bourdon, it creates a secondary principal-like timbre. The 8' Flute Harmonique is an open flute throughout the compass and becomes harmonic at g32. It is well suited as a blending stop in the jeux de fonds combination, or as a solo stop when required by the Romantic repertoire. The 4' Flute Octaviante is a lighter and softer alternative to the 8' Flute Harmonique. Mutations in this division are based on principal scales and constructed from 52% tin. These stops are voiced to enhance the harmonic series present in the plenum. When used in combination with the flutes, the mutations provide a lighter, brighter cornet in contrast to the Mounted Cornet. The 8' Trompette is constructed from 52% tin, and contains English tapered shallots. Since the organ has a strong solo trumpet, this Trompette was voiced to blend with the flue stops within the division. The Mounted Cornet is scaled and constructed based on the French classical school. The 8' rank is a bourdon, with subsequent ranks being open. The 13'5' rank is proportionally the largest in scale. This stop, with its compass from c13 to g56, is musically successful in literature ranging from Byrd and Buxtehude, to Couperin and DuMage. The Trompette Royale is the organ’s crowning solo reed. Voiced on 10' of wind, the stop contains resonators that are hooded for maximum projection. Overall, the Grand-Orgue sets the tone of the entire instrument. Its placement at the center of the long axis provides an ideal vantage point for strong musical leadership, particularly in accompanying congregational singing. One stop from the former instrument was used in the new instrument. A 16' mahogany Quintaton was extensively rebuilt and revoiced to add a light 16' timbre to the Grand-Orgue.
The musical demands of the Anglican service require that an instrument have a wide variety of voices and dynamic possibilities, particularly in music for choir and organ. Given this situation, entire tonal divisions were designed to work as a unified whole. The Positif Expressif is also based on an 8' Principal of 75% tin and is designed to function as a secondary chorus to the Grand-Orgue. The gentle and singing nature of these principals provides ideal color for Baroque and Renaissance literature. Because of its enclosed placement, the chorus is extremely useful in accompanying choirs and instrumental ensembles. Flute stops include an 8' Bourdon (wood) and a 4' Flûte à Fuseau. In contrast to the Grand-Orgue, the mutations of the Positif are scaled to blend well with flutes versus principals. The 22'3' Nasard relies on Koppelgedackts in its bass octave. The 2' Quarte de Nasard is essentially a hybrid stop, beginning as a light principal, than taking on a bright flute tone in the treble range. The four-rank 1' Cymbale is useful as a chorus mixture, as well as offering a bell-like timbre to lighter textures. The two reeds include a narrow-scale 8' Trompette designed to blend with the principal chorus and an 8' Cromorne, which can be used successfully in either classical or romantic repertoire.
The Récit contains a wide variety of stops, each with its own unique construction. The Salicional and Voix Celeste are small in scale and slotted to give the pair a decidedly French sound. The 8' Flûte à Cheminée features long, wide chimneys for optimal harmonic development. The 4' Flûte Conique is of the Spitzflöte variety and is made of 40% tin. Perhaps one of the most unique stops is the 2' Flûte à Bec, or Block Flute, which incorporates large-scale pipework. Another unique feature of the Récit is the ability to combine the 8' Flûte à Cheminée with the 8' Voix Celeste. The separation that exists between the two ranks provides the slow undulating pattern typically heard in flute celestes. Since an 8' Principal does not exist in this division, the five-rank, 2' Plein Jeu is designed to reinforce the 8' and 4' pitches at earlier points than generally found in typical mixture compositions. The 8' Trompette and 4' Clairon are fiery reeds in the Cavaillé-Coll style, featuring ring and nut construction and resonators of 70% tin. The 8' Hautbois is reminiscent of the English variety. The 16' Basson is voiced to add gravity to the Swell reed chorus while introducing a lighter reed character in the Pédale. The entire reed chorus is placed at the back of the expression chamber with reeds voiced on 4' of wind.
The Pédale is based on the 16' Montre located in the façade. Given the variety of independent stops of varying dynamics and timbre, the Pédale division provides unusually full support for the demands of the manual divisions. The 32' Basse Acoustique is derived from the 16' Montre (unison) and the 16' Soubasse (quint). As an alternative to the 8' Pedal Octave, the 8' Cor de Chamois (Gemshorn) is suitable for giving the 8' line a more pointed emphasis, especially in Baroque combinations. The 32' and 16' Bombarde have wood resonators for maximum fundamental.
All aspects of the organ console, including the bench and music rack, were specifically designed for this instrument. The detail associated with the console complements not only the casework but many of the features that exist within the worship space. Since the director of music at St. John’s is both organist and choirmaster, the profile of the console needed to be low enough to allow the organist to direct the choir from the console. The low-profile French terraced design is constructed from solid walnut with added walnut veneers to insure the consistency of the grain pattern. Curved terraces are made from book-matched, burled walnut and are home to the oblique-face, pau ferro drawknobs. Stops are logically laid out with plenum and major reeds to the organist’s right; flutes, strings, mutations, and minor reeds to the left. Keyboards with maple naturals and walnut sharps feature top-resistant touch for maximum responsiveness. To keep the console free of electronic clutter, the memory level, record/playback and clochette controls are contained in a swivel drawer located on the right-hand side of the console.
The blessing of the new Berghaus organ and the newly renovated chancel was presided over by Bishop John Bryson Chane of the Diocese of Washington. In attendance were representatives from the Lift High the Cross Capital Campaign, the Organ and Architectural Review committees, Kerns Group Architects, Forrester Construction, and Berghaus Pipe Organ Builders. The organ itself was dedicated on Saturday, May 10, and featured nine prominent organists from the greater Washington area.
The completion of the organ is the culmination of many years of planning, preparation, and hard work by the individuals and committees at St. John’s, as well as the organ builder, architect, and general contractor. The result of this work is a grand worship space that uniquely fits the needs of the parish, and an instrument that will serve and inspire the congregation as well as the larger community for generations to come. Berghaus Pipe Organ Builders wishes to thank all those who helped make this project possible. We wish to thank The Reverend Susan Flanders, rector; The Reverend Harrison West, associate rector; Christine Walz-Dallaire, senior warden 2006–07; Ken Lee, senior warden 2007–08; Cynthia Stroman, organ committee chair; Suzanne Welch, architectural review committee chair and project manager; Bill Fry and Richard Saltsman, co-chairs of the Lift High the Cross capital campaign committee; Mike McConihe, chancellor; Douglas Beck, former director of music ministries; Anne Timpane, director of music ministries; Brian Briggs, parish administrator; and the many parishioners who gave of their time, talent, and treasure. Berghaus also wishes to thank Tom Kerns and Koji Hirota of Kerns Group Architects and Bassem Melham, Bill Morrissette, and Will Durham of Forrester Construction.
Berghaus Pipe Organ Builders also wishes to thank members of its staff for their countless hours and dedication to this project:
Brian Berghaus, president
David McCleary, director of sales and marketing
Tonal design: Jonathan Oblander, Kelly Monette
Visual design and layout: Steven Protzman
Voicing and tonal finishing: Kelly Monette, Jonathan Oblander, Mitch Blum
Construction: Stan Bujak, Chris Czopek, Steve Drexler, Jeff Hubbard, Trevor Kahlbaugh, Kurt Linstead, David Mueller, Daniel Roberts, Tim Roney, Paul Serresseque, Ron Skibbe, Jordan Smoots, Paul Symkowski, Mark Ber, Randy Watkins, Andy Schach.
—Jonathan Oblander
Tonal director
Berghaus Pipe Organ Builders

From the director of music ministries
In January 2007, St. John’s signed a contract with Berghaus Pipe Organ Builders to build a new instrument that would fulfill and expand the music ministry’s mission and vision:

to explore the journey of faith and life through music; unite parishioners . . . by embracing and cultivating talents and gifts . . . enliven liturgy and community, nourish the musical and creative spirit . . .; inspire the people of St. John’s . . . strengthening relationships with God and one another.

St. John’s has had a pipe organ for more than 80 years. Organ music has enhanced important events in the life of the parish, from weekly worship services, to special holiday music, to baptisms, weddings, funerals and other occasions. However, progressive structural deterioration of the existing organ had caused significant wear and damage to the instrument’s infrastructure. The organ became increasingly unreliable, and so the decision was made not only to replace the instrument but also to think creatively about the chancel’s architectural design. Taking into consideration the size of the room, the number of people that the room will accommodate, and the desired uses of the instrument, it was decided to place the new organ on the central axis of the church for optimal sound projection and flexibility within the space. Berghaus worked in conjunction with our architectural review committee to find a harmonious blend of the advantages and challenges associated with the organ placement and chancel reconfiguration. The result is our stunning new three-manual custom-made work of art.
Berghaus was chosen by our organ builder selection committee after extensive information gathering and evaluation of the proposals submitted by several prominent organ builders. Berghaus’s excellent reputation, design philosophy, and character made them the stand out choice for St. John’s. Their attention to detail, dedication to craftsmanship, and ability to work within our timeframe and cost considerations resulted in an instrument that is not a reflection of me, or Berghaus, but of St. John’s and its parishioners.
Through the generosity of our donors, the work of Berghaus Pipe Organ Builders, and the talents of the guest organists who helped dedicate the instrument, we have built an instrument that will enrich our worship and give music to lift our spirits for year to come.
—Anne Timpane
Director of music ministries

GRAND-ORGUE – Unenclosed – Manual I. 31'4' wind pressure
16' Quintaton 61 pipes existing, mahogany, revoiced
8' Montre 61 pipes 75% tin throughout
8' Gambe 61 pipes 1–12 zinc, 13–61 52% tin
8' Flûte Harmonique 61 pipes 1–12 zinc, 13–61 52% tin, harmonic @ g32
8' Bourdon 61 pipes 52% tin
4' Prestant 61 pipes 52% tin
4' Flûte Octaviante 61 pipes 75% tin, harmonic @ c25
22'3' Quinte 61 pipes 52% tin
2' Doublette 61 pipes 75% tin
13'5' Tierce 61 pipes 75% tin
8' Cornet V 220 pipes 52% tin, c13–g56
11'3' Fourniture IV 244 pipes 75% tin (19-22-26-29)
8' Trompette 61 pipes resonators of zinc and 52% tin
Tremblant
16' Trompette Royale 1–12 from Ped 16' Bombarde; 13–61 from 8' Trompette Royale
8' Trompette Royale 61 pipes hooded resonators, voiced on 10' wind
Clochettes 5 bells (with adjustable delay, speed, and volume)

RÉCIT EXPRESSIF – Enclosed – Manual III. 31'4' (flues) and 4' (reeds) w.p.
8' Salicional 61 pipes 1–12 zinc, 13–61 52% tin, slotted
8' Voix Céleste FF 56 pipes 6–12 zinc, 13–61 52% tin, slotted
8' Flûte à Cheminée 61 pipes 52% tin
4' Prestant 61 pipes 52% tin
4' Flûte Conique 61 pipes 40% tin
2' Flûte à Bec 61 pipes 52% tin
2' Plein Jeu V 305 pipes 75% tin (15-19-22-26-29)
16' Basson 61 pipes resonators of zinc and 52% tin, 1–18 L/2
8' Trompette 61 pipes resonators of 70% tin, parallel open shallots
8' Hautbois 61 pipes resonators of zinc and 52% tin
8' Voix Humaine 61 pipes resonators of 52% tin
4' Clairon 61 pipes resonators of 70% tin, parallel open shallots
Tremblant
8' Cornet V — (G.O.)
8' Trompette Royale — (G.O.)

POSITIF EXPRESSIF – Enclosed – Manual II. 31'4' wind pressure
8' Principal 61 pipes 75% tin throughout
8' Bourdon 61 pipes poplar
8' Flûte Celestes II (console preparation)
4' Octave 61 pipes 52% tin
4' Flûte à Fuseau 61 pipes 52% tin
22'3' Nasard 61 pipes 52% tin
2' Quarte de Nasard 61 pipes 52% tin
13'5' Tierce 61 pipes 52% tin
11'3' Larigot 61 pipes 52% tin
1' Cymbale IV 244 pipes 75% tin (26-29-33-36)
8' Trompette 61 pipes resonators of zinc and 52% tin
8' Cromorne 61 pipes resonators of zinc and 52% tin
Tremblant
8' Cornet V — (G.O.)
8' Trompette Royale — (G.O.)

PÉDALE – Unenclosed. Wind pressure 31'4' except Bombarde (4')
32' Basse Acoustique — derived from 16' Montre and 16' Soubasse
16' Contrebasse (console preparation)
16' Montre (façade) 32 pipes 1–25 polished zinc, 26–32 75% tin
16' Soubasse 32 pipes poplar
16' Quintaton — (G.O.)
8' Octave 32 pipes 75% tin throughout
8' Cor de Chamois 32 pipes 1–12 zinc, 13–32 52% tin
8' Bourdon 12 pipes (extension of 16' Soubasse)
4' Basse de Choral 32 pipes 75% tin
4' Bourdon 12 pipes (extension of 16' Soubasse)
22'3' Fourniture IV 128 pipes 75% tin (12-15-19-22)
32' Contre Bombarde 12 pipes L/2 resonators of pine (extension of 16' Bombarde)
16' Bombarde 32 pipes L/1 resonators of pine
16' Basson — (Récit)
8' Trompette 32 pipes
4' Clairon 32 pipes
8' Trompette Royal — (G.O.)