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An organ built by J.L. van den Heuvel
style='font-weight:normal'>, Dordrecht, the Netherlands, has been installed at
the Church of the Holy Apostles, New York, NY. Originally installed at Castle
Shiloah, Fairview, TX, it was relocated by the Organ Clearing House, and
revoiced by Rosales Organ Builders. When a fire destroyed the Church of the
Holy Apostles in 1990, it also destoyed the church's Casavant organ. The parish
entered into an agreement with Rosales Organ Builders for a new instrument. As
the restoration of the building consumed available funds, it became apparent
that the congregation could no longer afford the new organ. In an effort to
make the best use of monies available, Rosales agreed to explore alternatives.
In 1991, Joseph and Marla Mooibroek of Fairview, TX, commissioned J.L. van den Heuvel
to build an organ for their home. The organ was installed in Castle Shiloah in
1994. In 1996 the Mooibroeks decided to sell their residence and organ. Manuel
Rosales examined the organ and notified Holy Apostles about its availability.
The Organ Clearing House, Alan Laufman, executive director, moved the organ to
its new home. After the two-month reassembly, Manuel Rosales revoiced the organ
for its new environment. The organ is housed in a Dutch Baroque-style case with
detailed sculpture and carvings. Tonally it is in early French romantic style.
The Organ Clearing House staff, Alan Laufman, executive director, included
Amory Atkin, Terence Atkin, William Dixon, Whitney Flecher, George Gibson,
Richard Hamar, Scott Huntington, and Joshua Wood. Manuel Rosales was assisted
by Peter Batchelder, Timothy Fink, and Scot Huntington. Donald Joyce is music
director of the church. Compass is 61/32. The nave of the church is used each
day for one of the parish's outreach programs--the Holy Apostles Soup Kitchen, which
serves over 1,000 meals per day. Photo by Amy Reichman.

GRAND ORGUE

16' Bourdon

8' Montre

8' Flûte a cheminée

8' Flûte harmonique

4' Prestant

2' Doublette

 Plein Jeu III-V

 Cornet IV (MC)

8' Trompette

 Tremblant

Pos/G.O.

Réc/G.O.

RÉCIT

8' Flûte traversière

8' Viole de Gambe

8' Voix céleste

4' Flûte Octaviante

2' Octavin

8' Basson-Hautbois

8' Voix Humaine

Tremulant

POSITIF

8' Bourdon

8' Salicional

8' Unda Maris

4' Flûte à fuseau

22/3' Nasard

2' Flageolet

13/5' Tierce

1' Piccolo

8' Clarinette

8' Trumpet Royal (horizontal)

   Tremulant

  Chimes

  Zimbelstern

  Réc/Pos

PÉDAL

32' Bourdon (electronic)

16' Soubasse (1-24 G.O.)

8' Flûte

8' Violoncelle

16' Basson

4' Chalumeau

  G.O./Péd

  Pos/Péd

  Réc/Péd

Bond Organ Builders, Inc., Portland, OR, has completed the restoration of the organ at St. Mary's
Cathedral of the Immaculate Conception, also in Portland. The organ was
originally built in 1904 by the Los Angeles Art Organ Co., opus 42, under the
direction of Murray M. Harris, for Holy Cross Catholic Church in San Francisco.
It was severely damaged in the 1906 earthquake. Falling debris largely
destroyed the Great and Choir divisions; the original Fleming windchests for
these divisions were replaced by new chests of the Spencer design. Repairs were
carried out by a local firm using new pipes, windchests, and other parts
supplied by Murray Harris. Some original stops survived, notably the Great 16'
and 8' Diapasons, most of the 4'Octave, and the Doppel Flute, as well as the
Choir Melodia. The Great Second Open Diapason was added at this time, and the
Choir tremolo deleted. By the 1980s, the organ was in need of a complete
restoration; nevertheless, it was heard at the 1988 OHS convention. The church
was damaged again by the Loma Prieta earthquake of 1989, and the parish closed
at that time. In 1995, the Archdiocese of Portland acquired the organ.
Disassembly and removal from Holy Cross Church began in September, 1995.
Smaller internal parts were carried by hand down a narrow staircase from the
balcony. Windchests, pedal pipes, reservoir, etc., were too large to handle in
this manner. A crane was erected outside the church, a hole was broken in the
roof just large enough to allow the crane hook to pass into the building, and
the large parts were lowered to the floor.

Restoration began with a thorough cleaning. All parts of the
original patented electro-pneumatic action were retained and restored,
including releathering. All pipes were washed and voiced for the new room.
Damaged pipes were repaired, missing pipes replaced. Front casework and console
were well preserved; it was necessary only to clean and repair scratches. Side
casework was re-engineered to provide access to the mechanism inside and
strengthened. The console mechanism was retained in its entirety, including 10
combination pedals. Stenciling on the facade pipes was copied, the pipes
stripped, and new paint applied using the original design. After much
deliberation, it was decided to add Mixtures to the Great and Swell, as well as
a Pedal 16'  Trombone. The
additions were carried out after study of extant mixtures and trombones built
by Murray Harris. 41 ranks, 37 stops.

GREAT

16' Double Open Diapason

8' Open Diapason

8' Open Diapason (2nd)

8' Viola da Gamba

8' Viola d'Amour

8' Doppel Flute

4' Octave

22/3 Octave Quinte

2' Super Octave

Mixture III-IV*

8' Trumpet

SWELL

16' Bourdon

8' Violin Diapason

8' Viol d'Orchestre

8' Aeoline

8' Voix Celeste

8' Stopped Diapason

4' Fugara

4' Harmonic Flute

2' Flautina

                        Cornet
IV*

8' Oboe

8' Vox Humana

                        Tremolo

CHOIR

8' Geigen Principal

8' Dulciana

8' Melodia

4' Violina

4' Flute d'Amour

2' Harmonic Piccolo

8' Clarinet

PEDAL

32' Resultant*

16' Open Diapason (wood)

16' Bourdon

16' Lieblich Gedeckt (Sw)

8' Violoncello

8' Flute Stop'd

16' Trombone*

*additions by Bond

Berghaus Organ Company, Inc., Bellwood, IL, has built a new organ for Trinity Lutheran Church,
Faribault, MN. The new organ comprises 23 ranks (1,263 pipes) on two manuals
and pedal. Slider windchests are used for the Great, Swell, and Pedal
divisions, with an all-electric action windchest for the Trompete stop. The
movable oak console has keyboards of maple naturals and rosewood sharps. Stops
and couplers are controlled by tilting tablets placed above the top keyboard.
Preparations have been made for future installation of MIDI. The Swell division
is located in wooden chambers to the left and under expression. Great division
is to the right of the Swell, and the Pedal is housed in a chamber behind the
Great.

GREAT

8' Principal

8' Rohrfloete

4' Octave

4' Spillfloete

22/3' Nasat

2' Hohlfloete

13/5' Terz

IV Mixtur

8' Trompete

                        Tremulant

                        Chimes

                        Zimbelstern
(prep)

SWELL

8' Gedackt

8' Viola

8' Celeste

4' Spitzfloete

2' Principal

11/3' Quinte

III Scharf-Zimbel (prep)

8' Schalmei

Tremulant

8' Trompete

PEDAL

16' Subbass

8' Offenbass

4' Choralbass

II Rauschquinte (prep)

16' Still Posaune

8' Trompete

4' Trompete

Temple Organs, St.
Joseph, MO, has rebuilt the 1968/1986 Wicks organ at West Hills Presbyterian
Church, Omaha, NE. All original pipework was retained in new casework of oak
trim over birch panels, painted to match the church walls. A new 3-manual
console includes an Artisan control system, with preparation for future digital
additions. The Principal, Octave, and Subbass form the facade. The low octave
of the 16' Trumpet, by Killinger, was added as a donation by one of the
church's organists, Dr. Ted Holyoke. Music director is Dwaine Price.

Analysis

16' Subbass (44 pipes)

16' Gedeckt (97)

8' Principal (61)

8' Geigen (73)

8' Gemshorn (61)

8' Gemshorn Celeste (77)

8' Bourdon (73)

4' Octave (73)

22/3' Twelfth (61)

16' Trompette (85)

8' Oboe (61)

                        Chimes
(25 tubes)

GREAT

8' Principal

8' Bourdon

8' Gemshorn

4' Octave

22/3' Twelfth

2' Fifteenth

Mixture III

8' Trompette

Chimes

Couplers

SWELL

16' Gedeckt

8' Geigen Principal

8' Rohrgedeckt

8' Gemshorn

8' Gemshorn Celeste

4' Prestant

4' Bourdon

22/3' Quinte

2' Blockflöte

13/5' Tierce

Scharf III

16' Trompette

8' Trompette

8' Oboe

4' Clarion

Tremulant

Couplers

CHOIR

Digital preparation

10 knobs

Couplers

PEDAL

16' Subbass

16' Lieblich Gedeckt

8' Principal

8' Pedalflöte

4' Choralbass

4' Rohrflöte

2' Super Octave

Mixture III

16' Trompette

8' Trompette

8' Fagotto

4' Clarion

Aldo J. Baggia

Aldo J. Baggia is the retired chairman of the department of modern languages and instructor in French, Spanish, German and Italian at Phillips Exeter Academy in New Hampshire. He has studied and traveled extensively in Europe and has written numerous opera reviews for various publications as well as articles for The Diapason.

Niederrhein (Lower Rhine) is a small part of Westphalia that borders the Dutch cities of Arnhem and Nimegen, which had great importance in the Second World War because of their strategic locations as entrances to Germany. They are dealt with at great length in the well-known film, A Bridge Too Far. They are also culturally important because of their relationship with the towns of Niederrhein. Linguistically, one sees the relationship in the fact that the Dutch language is readily understood in the towns on the immediate border. It is very common for Dutch people to shop in a town such as Kleve, which is on the border, rather than in Holland, because the prices are better. It is normal to see the parking lot at the City Hall in Kleve with half of the cars having Dutch plates. When crossing into Holland, such as we did when going to ’s-Hertogenbosch to see the famous organ at Sint Jan’s Kathedraal, we saw very few cars besides our own with German plates.
The cathedral at Den Bosch is a magnificent gothic structure that dates from 1220, and the grand organ, III/48, with its Coptic oak case, dates from 1617, although it was not ready for use until 1622. Franz Symons, a carpenter from Den Bosch, and Georg Schysler, a sculptor from the Tirol, were responsible for the beautiful case. After work by various builders, the organ, which has 3,000 pipes, was completely restored in 1984 by Flentrop. The choir organ, II/29, by Verschueren, was installed in 1985. A recording by Jacques van den Dool shows the grand organ to very good effect in pieces by Bach, Reger, Messiaen, de Grigny, Guilain and van den Dool.1
Before going to Niederrhein, I tried to buy a guide book of the area in a large bookstore in the city of Bamberg. In the travel section, there were hosts of books dealing with what seemed to be every conceivable area of Germany, but, to my surprise, there were no guides of Niederrhein. I inquired at the desk and was told that there were no guides of Niederrhein because it was not a tourist area. I found this hard to believe, but had to accept the reality of the situation. Later, I did find a few guide books when I arrived in the city of Kleve, which, as mentioned previously, is right on the border with Holland. The whole area has towns that are quite similar, with an emphasis on pilgrimage churches (Wallfahrtkirchen) that serve as a common touch. The churches tend to be very large with good-sized organs and are the focal points of the towns.

Kevelaer
Kevelaer is the most famous pilgrimage place in Niederrhein, and its Marienbasilika has the largest organ in the area (IV/128). The town was bombed during the war, but not everything in the town center was destroyed, and the main street leading to the tower of the basilica looks as though it had not been touched for hundreds of years. The Marienbasilika organ originally had 124 stops, and additions were made in 1926, bringing the total to 131. At that time it received electric action, and a four-manual movable console was built. In the last days of World War II, the echo organ was destroyed, leaving the instrument with 110 stops. A restoration by Seifert in 1977 brought the organ of 10,000 pipes to its current total of 128 stops.2 The sound is quite dramatic because of the excellent acoustics that really enhance the power and majesty of the instrument. The recording mentioned in the endnotes features works by Reger, Liszt, Reubke (The 94th Psalm), and Karg-Elert. The airy quality of the sound is clear and leaves nothing to be desired.

Seifert & Sohn IV/128
Marienbasilika, Kevelaer
Unterwerk (I)
16' Pommer
8' Principal
8' Grobgedacht
4' Octave
4' Koppelflöte
2' Octävlein
2' Querpfeife
1-1/3' Spitzquinte
Sesquialter II
Scharff IV
Cymbel III
16' Cor anglais
8' Hautbois
Tremulant

Hauptwerk (II)
16' Principal
16' Bordun
8' Principal major
8' Principal
8' Fugara
8' Flaut major
8' Gamba
8' Gemshorn
8' Gedacht
8' Quinteviole
8' Doppelflöte
51'3? Quinte
4' Octave
4' Hohlflöte
4' Fugara
4' Flauto
4' Seraphon-Octave
3-1/5' Terz
2-2/3' Quinte
2' Octave
2' Flöte
1' Octavin
Cornett IV
Mixtur V
Scharff V
Rauschquinte II
16' Tuba
8' Trompete
4' Feldtrompete

Oberwerk (III)
16' Gedacht
8' Principal
8' Doppelgedacht
8' Rohrflöte
8' Flaut harmonique
8' Quintatön
8' Seraphon-Gamba
8' Cello
8' Dolce
8' Vox angelica
4' Octave
4' Rohrflöte
4' Violine
4' Flaut dolce
2-2/3' Nasard
2' Octave
2' Piccolo
1-3/5' Terz
Progressio III
Mixtur IV
Octavcymbel III
Scharff V
Rauschpfeife II
16' Fagott
8' Trompete
8' Clarinette
4' Schalmei

Schwellwerk (IV)
16' Lieblich gedacht
8' Principal
8' Geigenprincipal
8' Konzertflöte
8' Gedacht
8' Aeoline
8' Vox coelestis
8' Quintadena
4' Gemshorn
4' Traversflöte
4' Octave
4' Nachthorn
2-2/3' Quintflöte
2' Flautino
2' Superoctave
1-3/5' Terzflöte
1-1/3' Quinte
1' Sifflöte
Mixtur V
Carillon III
Terzcymbel III
Paletta III–VII
16' Tuba
8' Trompete
8' Krummhorn
8' Vox humana
4' Clairon
4' Celesta
Tremulant

Pedal
32' Contrabaß
32' Untersatz
16' Principalbaß
16' Octavbaß
16' Salicetbaß
16' Violon
16' Subbaß
16' Gedachtbaß
10-2/3' Quintbaß
8' Principal
8' Baßflöte
8' Dulciana
5-1/3' Quinte
4' Fugara
4' Octave
4' Flöte
2' Clarine
Mixtur VI

Hintersatz V
32' Bombarde
16' Posaune
16' Trompete
8' Trompete
8' Fagott
4' Clairon

Normal couplers
Crescendo
2 free combinations
Pedal combination
3 Tutti
Electropneumatic action
Source: Psallite CD 60131. Romantische Orgelmusik (an der großen Orgel der Marienbasilika zu Kevelaer – Orgelbau Romanus Seifert & Sohn)

Next to the basilica there is the Kerzenkapelle (the candle chapel), which has an outside collection of hundreds of candles that have been left by pilgrims. It includes an organ, II/28, which was originally installed in 1843, and rebuilt and cleaned by the firm Seifert & Sohn, which had moved to Kevelaer during the construction of the new organ for the Marienbasilika in 1906.3
The pilgrimages in honor of the Blessed Mother date from the middle of the seventeenth century, and the Kerzenkapelle was built during the years 1643–45. By the second half of the century there were from 18,000 to 20,000 pilgrims on feast days, and today Kevelaer is known as the largest pilgrimage center in northwestern Europe with over one million visitors per year.4
The organ of the parish church of Kevelaer, Sankt Antonius (III/42), was also built by the firm of Seifert & Sohn and dates from 1987. It has 2,915 pipes and benefits from the excellent acoustics of the church. This church was badly hit during World War II, but has been completely rebuilt in a manner that shows off its pre-war splendor.5

Xanten
One might wonder why a large cathedral was built in Xanten, a small town with the unusual name beginning in “X,” but its history is quite telling. In 15 B.C., the Romans built a large military camp called Castra Vetera I. This lasted until 69–71 A.D., when it was destroyed and replaced by Castra Vetera II. North of the military complex, a civilian settlement was planned and created in 105 A.D., with the name Colonia Ulpia Traiana, through the good graces of the emperor Marcus Ulpius Traianus. At the time, this was a fairly large area only 23 hectares smaller than the Colonia that was the provincial capital, known today as the city of Köln (Cologne).6
In October 1933, professor Walter Bader discovered two graves located in the present-day crypt that date from the years 348–350 A.D. They were identified as Christian soldiers in their thirties, who subsequently became the symbol of the strong faith of the people in this area.7 Martin Ahls indicated that the name “Xanten” is, in effect, a derivative from “Ad Sanctos,” which means “next to the saints.” He went further to answer his own question as to why a cathedral was built in this rather remote town on the Lower Rhine:

This question is answered when we go into the crypt. Although it is the most recent part of the cathedral, built after the excavations made in our century, it contains the very core of its history: the tomb of two Christians who were slain in the fourth century. This tomb of the Holy Martyrs is the center and the starting point of religion on the Lower Rhine and at the same time it is the key that helps us understand the construction of the cathedral and of the town: Here people wanted to pray and to live—next to the Saints. History gave the Martyrs a name: Viktor—the victor even beyond death.8
After the war, it was decided to add urns filled with ashes from the concentration camps of Auschwitz, Bergen-Belsen, and Dachau as memorials to all who suffered from the atrocities of the Nazi regime.9
The cathedral can be seen from afar, inasmuch as it is such a large edifice. The organ, III/45 with 3,293 pipes, is the largest that the cathedral has ever had and was built by Seifert & Sohn of Kevelaer in 1973–1975.10 The instrument has a free-standing case on the floor in the back of the church and can effectively play the repertoire from Bach through Messiaen. The symbolic nature of the cathedral is of paramount importance to the citizens of the town, and the restoration that was done after the severe damage of World War II fits in well with the original construction work. A curious aside is that Xanten is featured in the Nibelungenlied and was supposedly the birthplace of Siegfried.11

Seifert & Sohn, III/45
Dom St. Viktor, Xanten
Hauptwerk
16' Praestant
8' Prinzipal
8' Rohrpfeife
4' Oktave
4' Koppelflöte
2' Superoctave
Kornett V
2' Mixtur V
Cymbel III
16' Trompete franz.
8' Trompete franz.
4' Clairon

Schwellwerk
8' Holzflöte
8' Viola da gamba
8' Schwebung
4' Venezianerflöte
2-2/3' Nasat
2' Querflöte
1-3/5' Terz
1' Schwiegel
4/7' Septime
1-1/3' Mixtur IV
16' Basson
8' Hautbois
Tremulant

Rückpositiv
8' Metallgedacht
4' Prinzipal
4' Rohrflöte
2' Gemshorn
1-1/3' Quinte
Sesquialter II
Scharff V
8' Cromorne
Tremulant

Pedal
16' Prinzipal
16' Untersatz
102/3' Quintbaß
8' Oktavbaß
8' Rohrpommer
4' Choralbaß
4' Spitzgedacht
2' Nachthorn
5-1/3' Rauschwerk IV
2-2/3' Hintersatz V
16' Posaune
8' Trompete
4' Schalmei

Constructed 1973–1975
45 stops (3,293 pipes)
Mechanical key and stop action
Normal couplers, 3 free combinations, Pleno, Tutti
From the liner notes of Psallite CD 60161

Kleve
If one looks at a map, one can see how the towns of Niederrhein are interrelated; the concept of so many pilgrimage churches makes sense. Kleve, right on the Dutch border, suffered as much as the Dutch cities of Arnhem and Nimegen, the largest cities on the Dutch side. This area represented one of the Allied entry points into Germany, and it is quite clear that the towns on the German side suffered tremendously because of this.
A small book that was published in Kleve in 1964 alludes to one of the biggest problems the people in this area had.12 According to the author, “the British and Canadian troops advanced without having the slightest understanding of the many-sided problems a people living under a dictatorship had, and therefore on German soil they saw every German as a Nazi.”
The organ of the Stiftskirche or St. Mariä Himmelfahrt, III/45, was built by the Austrian firm Rieger in 1991 and is primarily used to accompany congregational singing during Mass. However, a recording by Martha Schuster playing romantic and post-romantic works shows what heights the organ can achieve.13 The case, as one can see, is quite modern. Kleve is known in legends as having a relationship with Lohengrin, who is certainly well known because of Wagner’s opera. A modern fountain in the pedestrian zone of the city shows a swan pulling at Lohengrin. The symbol of the city is the Schwanenburg (the Swan’s castle), which dominates the city along with the towers of the Stiftskirche nearby.

Rieger III/45
Stiftskirche St. Mariä Himmelfahrt, Kleve
Grand Orgue (I)
16' Montre
8' Montre
8' Flûte harmonique
8' Salicional
8' Bourdon
4' Prestant
2' Doublette
2' Fourniture IV
1' Cymbale III
8' Cornet V
16' Bombarde
8' Trompette
4' Clairon

Positif (expressive) (II)
8' Principal
8' Bourdon
4' Octave
4' Flûte douce
2-2/3' Nasard
2' Doublette
1-3/5' Tierce
1-1/3' Larigot
1' Plein jeu IV
8' Trompette
8' Clarinette
Tremblant

Récit Expressif (III)
16' Quintaton
8' Flûte traversière
8' Viole de Gambe
8' Voix céleste
4' Flûte octaviante
2' Octavin
III Carillon (2-2/3' + 1-3/5' + 1')
16' Tuba magna
8' Trompette harmonique
8' Basson-Hautbois
8' Voix humaine
4' Clairon harmonique
Tremblant

Pédale
32' Soubasse
16' Contrebasse
16' Soubasse
8' Basse
8' Bourdon
4' Flûte
32' Contrebombarde (ext)
16' Bombarde
8' Trompette

Mechanical key action
Electric stop action

Kalkar
Very near Kleve lies the small town of Kalkar, which profits from a quaint setting. The Nicolai Kirche’s intricately cut wood carvings make up much of the decoration that surrounds the different altars, as well as the elaborate casework of the organ (Seifert & Sohn, III/34). The first organ of the church dated from 1457, and from 1684 there was a baroque instrument. That was replaced in 1867–72 by a two-manual and pedal organ of 30 stops by the Rheinberg builder Bernhard Tibus (1815–1896). The Cologne architect Heinrich Wiethase designed a late-gothic case that is still in use today. Holger Brülls writes about this organ and the subsequent ones in an article cited below. One notes the influence of Aristide Cavaillé-Coll, and the Dombauinspektor (cathedral building inspector) Friedrich Schmidt praised the organ for its workmanship. The placement of the organ varied from the west tower to the south portal, where it is currently situated. The instrument was replaced in 1904 by Franz Tibus, but retained the Wiethase case. The two-manual and pedal organ on pneumatic cone chests was in line with German organ building of the late romantic years. In the late 1960s, Seifert & Sohn (Kevelaer) built an electric-action slider chest three-manual and pedal organ of a neo-baroque character and retained the Wiethase case. The organ has 2,450 pipes. It received some additions in the year 2000 during the course of interior renovation work in the church; two octave couplers and a new stop (Trompette-harmonique 8') were added. Jan Szopinski is the Cantor of St. Nicolai Kirche. Typical of the towns in the area, near the main square there is a picturesque windmill that was converted into a restaurant.14

Wesel
Driving directly west from Kleve, one encounters the city of Wesel, which has a very large Protestant cathedral (Dom) in the city center. The destruction during the war was substantial, and it is sad to see the pictures on display in the interior. It is a church of enormous scope, and the rebuilding was done over the span of many years, i.e., from 1947 to 1994, with the support of the Willibrordi-Dombauverein (Dom building association). The intent was to bring back the medieval nature of the Dom.15
The steeple stands high over the center of the town, and the only drawback is the fact that most of the windows are of plain glass. I don’t know what the situation was before the bombing, but there is no question that stained glass would have been extraordinary. It would have created a remarkable image in the interior because of the height of the windows. The organ, built by Marcussen & Søn of Denmark in 2000–2001 (III/54), is a very impressive instrument in a freestanding position in the west part of the church, and the case is striking. The acoustics are very good, and two recordings feature the instrument in repertoire from Buxtehude, Pachelbel, Bach, and Mozart through Franck, Mendelssohn, Reger, Brahms, and Messiaen. I found particularly impressive the Reger Introduction and Passacaglia in D minor, Boëllmann’s “Carillon” from Douze Pièces, and Dieu parmi nous by Messiaen.16

Marcussen & Søn III/54
Wesel Dom
Hauptwerk (II)
16' Prinzipal
8' Oktave I–III*
8' Hohlflöte
8' Rohrgedacht*
8' Gambe
4' Oktave I–III*
4' Spitzflöte
2-2/3' Quinte
2' Oktave I–III*
2' Waldflöte
Hintersatz VI–IX*
Scharf VI–VII
16' Trompete
8' Trompete
8' Spanische Trompete

Schwellwerk (III)
16' Rohrpommer*
8' Salizional
8' Voix céleste
8' Rohrflöte
8' Quintatön
4' Prestant*
4' Flüte octaviante
2-2/3' Nazard
2' Octavin
1-3/5' Tierce
Plein jeu V–VII
16' Basson*
8' Trompette
8' Vox humana
8' Oboe
4' Clairon

Rückpositiv (I)
16' Bordun*
8' Prinzipal
8' Gedacht
8' Spitzgambe*
4' Oktave*
4' Rohrflöte
2-2/3' Nasat
2' Gemshorn
Cornet II
Sesquialtera II*
1-1/3' Quinte
Mixtur V–VI
16' Dulzian*
8' Cromorne

Pedal
32' Untersatz*
32' Prinzipal*
16' Subbaß
8' Oktave
8' Spitzflöte
4' Oktave*
2' Nachthorn
Mixtur V*
16' Posaune
16' Fagott
8' Trompete

* all or partially made from pipes of the previous organ by Walcker

Bocholt
A very short distance from Wesel lies the city of Bocholt, which is in Westphalia but just outside the geographical limits of Niederrhein. The Liebfrauenkirche has a magnificent Klais organ, III/38, from 1979. I had been in touch with the Kantorin, Irmhild Abshoff, before going to Germany, and I knew something of its features from a recording that was issued in 1996 to commemorate 95 years of the parish’s work. When I arrived in Bocholt, the Kantorin was good enough to demonstrate the organ. There is no question that this is an extraordinary instrument capable of playing the entire repertoire for the organ. The recording opens with Bach’s Prelude and Fugue in G major, BWV 541, and the organ has a true baroque sound. The Kantorin also plays Karg-Elert’s Choralimprovisation für Orgel “Nun danket alle Gott,” which really shows the power and majesty of the instrument. It would be difficult to look for more. Bernhard Ratermann plays Franck’s Choral No. 2 in B minor, and here fonds d’orgue passages effectively contrast with a powerful reed-dominated tutti.17

Klais III/38
Liebfrauenkirche, Bocholt
Oberwerk (I)
8' Holzgedacht
8' Gamba
8' Unda maris
4' Principal
4' Traversflöte
2' Waldflöte
1-1/3' Larigot
2-2/3' Sesquialter II
2/3' Scharff IV
16' Basson Hautbois
8' Cromorne Trompete
Hauptwerk (II)
16' Quintade
8' Principal
8' Holzflöte
8' Gemshorn
4' Octave
4' Koppelflöte
2-2/3' Quinte
2' Superoctave
8' Cornet V
1-1/3' Mixtur IV
8' Trompete
4' Trompete

Brustwerk (III)
8' Rohrflöte
4' Blockflöte
2-2/3' Nasard
2' Principal
1-3/5' Terz
1' Sifflet
8' Vox humana

Pedal
16' Principal
8' Subbaß
8' Octave
8' Spielflöte
4' Tenoroctave
2-2/3' Rauschpfeife IV
16' Posaune
8' Holztrompete

6 couplers, 2 tremulants, 6 adjustable combinations
Mechanical key action, electric stop action

One could continue to visit other instruments in the area, but it is clear that this area is fairly typical of what one finds in Germany. The organ history in Germany is a long one and emphasizes the importance of music in the country.

 

Wicks Organ Company,
Highland, Illinois
Bethel Lutheran Church,
Rochester, Minnesota
On a pleasant evening in July 2007, five members of Bethel Lutheran Church climbed into a van for a trip to Highland, Illinois. It was the next step in a process that had been going on for years. We had a dream: ever since our new worship space was being designed, we dreamed of filling it with music. Now the Wicks Organ Company—currently building their 6400th organ—had a unique proposal for us. In 1964 Wicks had built their 4400th instrument for themselves, to showcase their work to prospective customers. They had built a climate-controlled room for it, and maintained and updated it ever since.
In Highland we met with representatives of Wicks who told us about their company and Opus 4400. We listened as Dale Mundahl, our principal organist, sat down at the console. We heard the beautiful tones and the awe-inspiring low notes that our temporary organ could not produce. We delighted in the variety of different tone colors available; quintessential pipe organ, sweet strings, melancholy flutes, vibrant reeds, stirring brass and majestic festival trumpets, even a set of chimes. It sounded fantastic and looked stunning.
So what was the unique opportunity? Well, this instrument had a list of pipes very similar to that of our hoped-for ideal, with all the features we had dreamed of—and this meticulously maintained and updated organ, with a replacement value of $1.2 million, was being offered to Bethel for less than half of that. In January 2008 the people of Bethel approved a proposal to purchase it.
Then came the day when our new instrument was delivered. Twenty-five members of Bethel joined the Wicks staff in unloading the two trucks. Three hours later our narthex and several other areas were covered with all the pieces that make up Opus 4400—what an interesting, informative, and enjoyable labor of love. Throughout the installation process we were impressed with the willingness of the Wicks personnel to include us and answer questions.
After a process of tonal finishing and final adjustments, the space above our choir has been filled with a magnificent instrument that will be a blessing to our worship for present and future generations of Bethel—well worth an extended road trip in a rented van.
—Gary G. Thorn
Minister of Music & Worship

GREAT (unenclosed)
16′ Quintaton 61 pipes
8′ Prinzipal 61 pipes
8′ Gedeckt 61 pipes
4′ Prestant 61 pipes
4′ Waldflöte 61 pipes
2′ Oktave 61 pipes
II Tertian 122 pipes
III Mixtur 183 pipes
8′ Trompette en Chamade 61 pipes
8′ Krummhorn Pos
Chimes

SWELL (enclosed)
8′ Rohrflöte 61 pipes
8′ Salicional 61 pipes
8′ Voix Celeste TC 49 pipes
4′ Spitz Prinzipal 61 pipes
4′ Koppelflöte 61 pipes
22⁄3′ Nazard 61 pipes
2′ Hohlflöte 61 pipes
1′ Flautino 61 pipes
III Scharff 183 pipes
16′ Posaune 12 pipes
16′ Bassoon 61 pipes
8′ Trumpet 61 pipes
8′ Oboe digital
4′ Rohrschalmei 61 pipes
Tremolo

CHOIR (enclosed)
8′ Geigen Principal 61 pipes
8′ Gemshorn 61 pipes
8′ Erzähler 61 pipes
8′ Erzähler Celeste TC 49 pipes
8′ Viole 61 pipes
8′ Viole Celeste 61 pipes
4′ Gemshorn 12 pipes
2′ Harmonic Flute 61 pipes
II Rauschpfeife 122 pipes
8′ Clarinet 61 pipes
4′ Hautbois 61 pipes
8′ Trompette en Chamade Gt
Tremolo

POSITIV (unenclosed)
8′ Holzgedeckt 61 pipes
4′ Spillpfeife 61 pipes
2′ Flachflöte 61 pipes
11⁄3′ Quint 61 pipes
1′ Nachthorn 61 pipes
II Sesquialtera 110 pipes
III Klingende Cymbel 183 pipes
16′ Krummhorn 61 pipes
8′ Holzregal 61 pipes
Cymbelstern

PEDAL (unenclosed)
32′ Bordun digital
32′ Violone digital
16′ Kontra Bass 32 pipes
16′ Bordun 32 pipes
16′ Quintaton Gt
8′ Prinzipalbass 32 pipes
8′ Gedeckt 32 pipes
8′ Gemshorn Ch
4′ Choralbass 32 pipes
4′ Copula 12 pipes
2′ Oktavbass 12 pipes
III Mixture 96 pipes
32′ Contra Bombarde digital
32′ Sordun 32 pipes
16′ Bombarde 32 pipes
16′ Posaune Sw
16′ Bassoon Sw
8′ Trumpet 12 pipes
4′ Cromorne Pos
8′ Trompette en Chamade Gt
Chimes

65 stops, 59 ranks

=========================

Nichols & Simpson, Inc., Organbuilders, Little Rock, Arkansas
West Side Presbyterian Church, Ridgewood, New Jersey
The journey towards a Nichols & Simpson pipe organ for West Side Presbyterian Church began in 1999, when a contract was signed for an instrument to replace the church’s Austin organ, reusing many pipes from the existing instrument. On January 8, 2002, the church was totally destroyed by fire. In the ensuing months, friends and fans of West Side Presbyterian watched in amazement as this courageous and faith-filled congregation made the decision to rebuild. Nichols & Simpson, Inc. was chosen to build the pipe organ for the new worship space.
The West Side Presbyterian organ is unique in many ways. Its striking visual appearance was designed by the church’s architect, Herbert S. Newman and Partners, PC, and the unusual cylindrical case pipes were constructed by A. R. Schopp’s Sons, Inc. The case was designed by Frank Friemel and executed by QLF Custom Pipe Organ Components, LLC. The chest actions are electric-slider with pneumatic-cylinder stop actions and electro-pneumatic/electro-mechanical actions for unit and duplexed stops. The swell boxes are two inches thick, with hollow shades featuring sound-trap joint construction. Shade movement is controlled by 12-stage pneumatic-cylinder whiffletree swell engines.
The moveable console is constructed of mahogany finished to match the interior of the church, and features an interior of burl eucalyptus, bone natural keys with rosewood sharp keys, rosewood expression and crescendo shoes, rosewood drawknobs with bone faces, rosewood thumb pistons with bone faces, and bone tilting tablets to operate the intermanual couplers. The organ utilizes a Peterson ICS 4000 control system and incorporates 256 levels of memory.
The instrument was dedicated on Sunday, October 9, 2007, during a recital by Dr. Catherine Rodland, daughter of Joanne Rodland, the church’s director of music, and the late John Rodland.
—C. Joseph Nichols
Photo credit: David C. Scribner

Nichols & Simpson, Inc.,
West Side Presbyterian Church,
Ridgewood, New Jersey
48 stops, 59 ranks

GREAT
16′ Double Geigen
8′ Principal
8′ Geigen (extension)
8′ Harmonic Flute (expressive)
8′ Bourdon (expressive)
8′ Gamba (expressive)
4′ Octave
4′ Nachthorn (expressive)
22⁄3′ Twelfth
2′ Fifteenth
13⁄5′ Seventeenth
IV–V Fourniture
8′ Harmonic Trumpet (expressive)
8′ Cromorne (expressive, preparation)
4+8′ Clairon (expressive)
Tremolo
8′ Tuba (expressive)
Chimes

SWELL
16′ Bourdon
8′ Diapason
8′ Chimney Flute
8′ Salicional
8′ Voix Celeste
8′ Flauto Dolce
8′ Flute Celeste GG
4′ Principal
4′ Flute Octaviante
22⁄3′ Nasard
2′ Octavin
13⁄5′ Tierce
11⁄3′ Larigot
IV–V Plein Jeu
16′ Double Trumpet
8′ Trompette
8′ Hautbois
8′ Vox Humana
4+8′ Clarion
Tremolo
8′ Tuba (Great)

CHOIR
16′ Erzahler (extension, preparation)
8′ Geigen Diapason
8′ Bourdon
8′ Erzahler
8′ Erzahler Celeste GG
4′ Octave
4′ Koppelflote
2′ Flautino
IV Mixture
8′ English Horn
8′ Clarinet
Tremolo
8′ Tuba (Great)
Cymbelstern
16′ Trombone (Pedal)
8′ Tromba (Pedal)
4′ Tromba Clarion (Pedal)

ANTIPHONAL
8′ Principal (console preparation)
8′ Gedeckt (console preparation)
4′ Octave (console preparation)
8′ Trompette (console preparation)

ANTIPHONAL PEDAL
16′ Gedeckt (console preparation)

PEDAL
32′ Contra Bourdon (extension)
16′ Open Wood
16′ Subbass
16′ Double Geigen (Great)
16′ Bourdon (Swell)
16′ Erzahler (Choir)
8′ Gross Flute (extension Open Wood)
8′ Octave
8′ Geigen (Great)
8′ Gross Bourdon (extension Subbass)
8′ Bourdon (Swell)
8′ Erzahler (Choir)
4′ Choral Bass
4′ Gross Flute (extension Open Wood)
IV Mixture (preparation)
32′ Ophicleide (extension)
16′ Trombone
16′ Double Trumpet (Swell)
8′ Trumpet
8′ Tuba (Great)
4′ Clarion (extension Trumpet 8′)
Chimes

Fabry, Inc., Antioch, Illinois
First Presbyterian Church,
Lincoln, Illinois
Nestled in the geographic center of Illinois, Lincoln enjoys having the distinction of being named before Abraham Lincoln became president. While old Route 66 continues to weave through downtown, I-55 now bypasses the town as new development draws travelers on their way to and from Springfield. During the middle part of last century, Gratian Organ Builders installed an 18-rank, electro-pneumatic pipe organ in the sanctuary that has served the church well. Within the past 10 years the church remodeled the front of the church and at that time an 8′ Pedal Principal comprising 32 notes was added as a façade.
As is the case with many churches whose instruments are used regularly but receive little or no major maintenance, First Presbyterian found that resources would best be spent on a major overhaul rather than on small, stop-gap measures. The church elected to have Fabry, Inc. completely rebuild the organ. While the initial plan was to save the windchests, this proved to be impossible.
The organ encompasses two chambers that sit at right angles to each other at the front corner of the sanctuary. Both of these chambers were packed to the gills with pipework and chestwork. It was decided to remove everything and place it in a more logical manner. As it turned out, new chests were constructed and this allowed the elimination of all but the necessary offset chests. In all, the following was completed: complete replacement of the relays, both console and chamber, a rebuilt console with a Peterson ICS-4000 system, new chests with Peterson electric pipe valves, new tuners on washed pipework, releathered reservoirs with reconfigured curtain valves, three additional reservoirs, a new blower and new chamber lighting.
Fabry, Inc. would like to thank Julie Kasa, music director; Janis Klockenga, secretary; and the Rev. Phillip Blackburn, pastor, for their cooperation and patience with all the facets of this very involved project. Fabry employees that worked on this project included David G. Fabry, David J. Fabry, Philip A. Spressart, Steven Ellis, and Clem Wirfs.
—Phil Spressart

GREAT
8′ Open Diapason
8′ Gamba
8′ Melodia
8′ Dulciana
4′ Octave
4′ Flute Harmonic
22⁄3′ Twelfth
2′ Fifteenth
Mixture III
8′ Trumpet
Tremolo
Chimes (25 tubes)
Zimbelstern

SWELL
16′ Bourdon
8′ Violin Diapason
8′ Quint
8′ Gedeckt
8′ Salicional
8′ Vox Celeste (TC)
8′ Aeoline
4′ Principal
4′ Flute d’Amour
22⁄3′ Nazard
2′ Flute
8′ Oboe
Tremolo
Chimes

PEDAL
32′ Lieblich Gedeckt
16′ Subbass
16′ Lieblich Gedeckt
8′ Flute
8′ Dolce
8′ Principal
4′ Choral Bass
4′ Flute
Mixture III
16′ Trumpet
8′ Trumpet
8′ Oboe
Chimes

Great to Great 16, UO, 4
Swell to Great 16, 8, 4
Pedal to Great
MIDI to Great
Swell to Swell 16,UO, 4
MIDI to Swell
Great to Pedal 8, 4
Swell to Pedal 8, 4
MIDI to Pedal

Konzelman Pipe Organs,
Hoboken, New Jersey
St. Francis Episcopal Church, Stamford, Connecticut
James Konzelman first became interested in organ building in the mid 1960s after a friend loaned him The Contemporary American Organ by William H. Barnes. He made minor repairs in his home parish of St. Henry’s, Bayonne, New Jersey, and helped several organist friends with minor repairs on their church pipe organs. In the late 1960s Konzelman worked for Westinghouse Aerospace, Baltimore, Maryland, troubleshooting radar guidance and missile control systems. Later, while in the army, he taught a course in radar at Fort Bliss, Texas. This background in electronics became valuable later on as more and more electronic circuitry was introduced into the pipe organ.
In 1972, Konzelman went to work for the Church Organ Company, Edison, New Jersey, where he studied voicing and tuning techniques with Russell W. VanCamp. When VanCamp retired in 1974, Konzelman became the tonal director, designing and voicing many organs for that firm until the establishment of his own company in 1977.
Since 1977, Konzelman Pipe Organs has built and rebuilt many organs. Major rebuilds and new organs include the Cathedral-Basilica of St. James, Brooklyn, NY; Church of Our Lady of Grace, Hoboken, NJ; Church of the Heavenly Rest, NYC; Second Presbyterian Church, NYC; Blessed Sacrament Church, NYC; Union Congregational Church, Upper Montclair, NJ (chapel organ); Nativity Lutheran Church, East Brunswick, NJ; Newark Abbey, Newark, NJ; Emmanuel Lutheran Church, New Brunswick, NJ; St. Anne Church, Rochester, NY; St. Henry’s Church, Bayonne, NJ; St. Vincent’s Church, Bayonne, NJ; Mount Carmel Church, Bayonne, NJ; Grace Lutheran Church, River Edge, NJ; and Larchmont Avenue Presbyterian Church, Larchmont, NY.
The assistance of John A. Stokes, Louis Scarpa, David Fedor and Paul-Martin Maki is gratefully acknowledged by the builder. The organ at St. Francis Episcopal Church has two manuals and pedal, 18 voices, 24 ranks, and 1519 pipes.
Photo credit: Helen Neafsey

GREAT (expressive)
16′ Viola (Swell)
8′ Principal 61 pipes
8′ Rohrflöte 61 pipes
8′ Viola (Swell)
8′ Viola Celeste TC (Swell)
4′ Octave 61 pipes
4′ Koppelflöte 61 pipes
2′ Super Octave 61 pipes
11⁄3′ Mixture IV 244 pipes
8′ Trompette (Swell)
8′ Hautbois (Swell)
8′ Krummhorn 61 pipes
Tremulant
Chimes prepared for
Great to Great 16, UO, 4
Swell to Great 16, 8, 4
Antiphonal to Great

SWELL (expressive)
16′ Viola 73 pipes
8′ Gedeckt 61 pipes
8′ Viola (ext)
8′ Viola Celeste TC 49 pipes
4′ Principal 73 pipes
4′ Nachthorn 73 pipes
22⁄3′ Nasat 61 pipes
2′ Octave (ext)
2′ Nachthorn (ext)
13⁄5′ Terz 61 pipes
2′ Plein Jeu IV 244 pipes
16′ Basson (1–12 half length) 73 pipes
8′ Trompette 73 pipes
8′ Hautbois (ext)
4′ Clairon (ext)
Tremulant
Swell to Swell 16, UO, 4
Great to Swell
Antiphonal to Swell

ANTIPHONAL
16′ Festival Trumpet prepared for
8′ Festival Trumpet prepared for
4′ Festival Trumpet prepared for

PEDAL
32′ Resultant (from Subbass 16 and
Swell Gedeckt 8)
16′ Subbass 56 pipes
16′ Rohrgedeckt (Great, ext)
16′ Viola (Swell)
8′ Principal (Great)
8′ Bourdon (ext)
8′ Rohrflöte (Great)
8′ Viola (Swell)
51⁄3′ Quint (Great)
4′ Choral Bass (Great)
4′ Bourdon (ext)
32′ Bombarde (Sw ext, 1–12 electronic)
16′ Bombarde (Swell, ext)
16′ Basson (Swell)
8′ Trompette (Swell)
8′ Hautbois (Swell)
4′ Krummhorn (Great)
Great to Pedal 8, 4
Swell to Pedal 8, 4
Antiphonal to Pedal

Solid-State capture combination action with 25 levels of memory, 12 general pistons, 8 pistons per division, general pistons and pedal pistons are duplicated by toe pistons. Reversibles for: Great to Pedal, Swell to Pedal, Swell to Great, Tutti. Set and General Cancel, and Scope pistons. Crescendo pedal with one standard and three settable crescendos. Two-manual and pedal drawknob console with bone naturals, ebony sharps, and tracker touch.

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois, Opus 35
St. Peter’s Episcopal Church,
Chicago, Illinois

A new divided Choir Organ in twin cases on either side of the entry door, combined with the existing McManis organ of 1982

The artistic concept
Buzard organ Opus 35 is a new choir accompanying organ, housed in two mirror-image cases, located at the rear of the church, framing a large stained glass window and the entry doors. The impetus for installing a portion of the church’s pipe organ at the narthex was the expansion of the parish’s music program, in which the choral singers were moved to the rear of the church from their former location in the chancel. Horizontally mounted solo trumpets have been planned for future installation immediately under the stained glass window.
The organ cases complement and respect the church’s architecture and interior design. The tonal specification was designed to provide a succinct service-playing and accompanimental organ in our mature Anglican style, and complement the existing McManis organ in the chancel, creating an instrument that is both an integral part of the room and an active participant in the liturgy.
The Choir Organ is divided into two sections, one inside each of the cases. Both may be played together, to form a single Choir Organ, playable from the bottom manual keyboard. However, each section of the Choir Organ can be independently coupled to either the Great or Pedal keyboards, and the unison of either shut off, so that one can use the Choir Organ to accompany itself, as though it were a small two-manual organ (much as in the divided Swells in other of our organs).
A lightly voiced 16' Pedal Gedeckt is located in the Choir Organ’s right case, to provide this division with independent pedal sounds, and an independent 8' Open Diapason and 4' Principal are located in the front and façade of the left case, and played from the Great manual keyboard.
This achieves several goals. The new organ in the back fills the entire church when leading hymns, leaving the front organ for antiphonal effects or to add color and brightness to the registrations; the pipes in the back of the church can be played from two keyboards for musical flexibility; the unenclosed Great Diapason chorus in the back of the church allowed us to voice the enclosed Choir Organ’s chorus at a softer volume for accompaniment, so it would not have to serve the differing functions of choral accompanying versus supporting congregational singing.
Both instruments are controlled from a new three-manual and pedal English drawknob wing-style console. The console’s visual design is consistent with the organ cases and complements the church’s architecture and interior design. It is located near the new Choir Organ at the back of the church.

Scope of renovations to the
McManis organ
All the pipes above 8' pitch were brought to the shop for repair, cleaning, and regulation of their voicing. All the zinc basses were replaced with tin/lead metal pipes. The original McManis voicing was respected and restored wherever possible.
The two ranks of reed stops were also replaced with new pipes of stout lead and tin pipe metal for darker, fuller, and more consistent tone. We added a full-length Pedal 16' Trombone and a full-compass Swell 16' Bassoon, which was not originally installed. The new reeds are racked in multiple-level European reed traces of steel and felted wood for permanence.
The stop names of the McManis organ have been slightly altered in some instances to more accurately reflect the new tonal context; however, the scaling and overall tonal design of the McManis work was revered and respected. Prior to the re-installation of the McManis pipework, the existing McManis windchests were cleaned to minimize the recurrence of ciphers in the organ.
—John-Paul Buzard

39 stops, 50 ranks, incorporating 1982 McManis organ
John-Paul Buzard Pipe Organ Builders Opus 35 & 35R

GREAT ORGAN 3¼' wind
16' Gemshorn
8' Open Diapason (new, in Choir Organ
case, 4' wp)
8' Principal
8' Chimney Flute (new basses)
8' Gemshorn (ext 16')
8' Unda Maris (old Dulciana tuned
celeste)
4' Principal (new, in Choir Organ case, 4' wp)
4' Octave
4' Spire Flute
22'3' Nazard
2' Doublette
13'5' Tierce
11'3' Mixture III–IV
8' Trumpet (Sw)
Chimes (25 notes)

SWELL ORGAN 3½' wind
16' Lieblich Gedeckt
8' Open Flute (new basses)
8' Spitz Gamba (new basses)
8' Gamba Celeste (tc)
4' Principal (new)
4' Koppel Flute
2' Principal
1' Mixture III (new)
16' Bassoon (new)
8' Trompette (new)
8' Oboe (new, ext 16')
4' Clarion (new, ext 8')
Tremulant

CHOIR ORGAN “A” 4' wind
(New Opus 35)
8' English Open Diapason
8' Salicional
8' Voix Celeste (tc)
4' Principal
2' Full Mixture IV
16' English Horn
8' Cornopean
Tremulant

CHOIR ORGAN “B” 4' wind
(New Opus 35)
8' Stopped Diapason (wood)
8' Flute Cœlestis II (“Ludwigtone”)
4' Harmonic Flute
2' Recorder
11'3' Larigot
8' Clarinet
Tremulant

PEDAL ORGAN 3½' wind
32' Subbass (1–12 digital)
32' Lieblich Gedeckt (1–12 digital)
16' Open Diapason (wood, Kimball)
16' Bourdon (wood, Kimball)
16' Lieblich Gedeckt (Sw)
16' Gemshorn (Gt)
16' Choir Gedeckt (new, in Choir Organ
case)
8' Principal
8' Bourdon (ext 16')
8' Gedeckt Flute (Sw)
8' Gemshorn (Gt)
4' Choral Bass (ext 8')
4' Gedeckt Flute (Sw)
22'3' Mixture IV
16' Trombone (new)
16' Bassoon (new)
8' Trompette (Sw)
4' Clarion (Sw)

Karl Wilhelm Inc., Mont St. Hilaire, Québec, Canada, Opus 157

St. John’s Catholic Church, Fenton, Michigan

This new 44-stop organ, Opus 157 by Karl Wilhelm Inc., was made possible by the generosity of longtime parishioner Mrs. Alvesta Veness and the William Bowman and Ann McGuire estates, as well as other benefactors and contributors from the congregation and the community. The organ project was led by Rev. David W. Harvey with the assistance of several other parishioners. Dr. David Wagner performed the dedication recital.

The organ consists of four divisions: the Great is in the center above the impost, the Swell is right behind the Great and is enclosed in its own case, the Rückpositiv is in the gallery rail, and the Pedal is on either side of the main case. There are 3,017 pipes in this instrument. The metal façade pipes are 70% tin and 30% lead, metal flute pipes are 40% tin and 60% lead. Open pipes are cone tuned; stopped pipes have fixed caps. The temperament is Bach-Kellner A440. The playing action of the organ is direct mechanical (suspended tracker). There are two manual couplers and three pedal couplers. Manual/pedal compass is 56/30. The stop action is electric and offers a complete set of registration aids featuring 32 levels of solid-state memory. Two cuneiform bellows and one electric blower provide the winding.

— Karl Wilhelm Inc.

Facteurs d’Orgues-Organbuilders

Karl Wilhelm Opus 157

St. John’s Catholic Church

Fenton, Michigan

GREAT C–g’’’

16’ Bourdon

8’ Prinzipal

8’ Rohrflöte

8’ Flute Harmonique

4’ Oktave

4’ Spitzflöte

22⁄3’ Quinte

2’ Superoktave

8’ Cornet V (c’–d’’’)

11⁄3’ Mixtur IV

1’ Zimbel III

8’ Trompette

4’ Clairon


SWELL C–g’’’ (enclosed)

8’ Principal

8’ Gambe

8’ Celeste TC

8’ Hohlflöte

4’ Principal

4’ Flute Harmonique

2’ Waldflöte

22⁄3’ Cornet III (TF)

2’ Mixtur IV

16’ Basson

8’ Trompette

8’ Hautbois

Tremolo


RÜCKPOSITIV C–g’’’

8’ Prinzipal

8’ Gedackt

4’ Prinzipal

4’ Rohrflöte

22⁄3’ Nasard

2’ Doublette

13⁄5’ Terz

11⁄3’ Larigot

1’ Scharf IV

8’ Cromorne

Tremolo


PEDAL C–f’

16’ Prinzipal

16’ Subbass

8’ Prinzipal

8’ Bourdon

4’ Choralbass

22⁄3’ Rauschpfeife IV

16’ Posaune

8’ Trompete

4’ Clairon



Note:

Prinzipal 16’ in the Pedal: C–E, open 8’ wooden pipes and common with Subbass 16’; F–f’, 70% tin and located in the façade.

Prinzipal 8’ shares the first octave with the Prinzipal 16’ in the Pedal.

Prinzipal 8’ of the Positiv has common pipes from C–G# with Gedackt 8’.

Dobson Pipe Organ Builders, Lake City, Iowa

Calvary Lutheran Church, Brookfield, Wisconsin

Dobson Pipe Organ Builders, Lake City, Iowa, has completed its Op. 72 for Calvary Lutheran Church, Brookfield, Wisconsin. Despite the low ceiling height at the rear of the church, a balcony was a part of the original design of the building. As part of a renovation project, the congregation removed the balcony and resolved to place a mechanical action organ in a free-standing position on the main floor. The choir and handbells would then be arranged about the organ.

Even without the hindrance of the balcony, fitting an organ into the broadly V-shaped space proved a challenge. Many different plans were made, finally resulting in a design in which the Swell is located behind and above the choir seating, the Great is placed forward in a separate case and the Pedal is situated behind the Great. The console, placed in the Great case, is so located that the organist can direct the choir. In spite of its seemingly scattered arrangement, the mechanical design of the organ is quite straightforward and all parts are readily accessible for tuning and maintenance. The design of the curving white oak casework echoes the arcing lines of the ceiling, which rises toward the front of the sanctuary.

The tonal design of the organ is intended to inspire enthusiastic congregational singing and to accompany a wide variety of choral literature. The instrument is voiced on a wind pressure of 76 millimeters, which is supplied from a large, parallel-rise reservoir. Tuning is in equal temperament. Metal pipes are made of the usual alloys of tin and lead; all wood pipes are made of poplar and cherry. The key action is mechanical; an electric stop action and multi-level combination action are provided. Several Pedal stops are made available at two pitches through a system of mechanical duplexing.
Calvary was assisted in this project by John Behnke, organ consultant, and Scott Riedel, acoustical consultant. Suzanne and Steve Hibbard were director of music and organist, respectively, at the time of the organ’s construction. Bill Bravener is the current director of music.

—John Panning



Photo credit: Lynn Dobson


GREAT (58 notes)

16’ Bourdon

8’ Prestant

8’ Chimney Flute

4’ Octave

4’ Nachthorn

2’ Fifteenth

11⁄3’ Mixture IV

8’ Trumpet

Swell to Great


SWELL (58 notes, expressive)

8’ Gedackt

8’ Salicional

8’ Celeste FF

4’ Principal

4’ Traverse Flute

22⁄3’ Nazard

2’ Piccolo

13⁄5’ Tierce

11⁄3’ Quinte

8’ Oboe


PEDAL (32 notes)

16’ Subbass

16’ Bourdon (Gt)

8’ Principal

8’ Gedackt (ext)

4’ Choralbass (ext)

16’ Posaune

8’ Trumpet (ext)

Great to Pedal

Swell to Pedal



Tremulant

Zimbelstern