Cover feature

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.)

Berghaus Pipe Organ Builders, Bellwood, Illinois
St. Jerome Catholic Parish, Oconomowoc, Wisconsin
Berghaus Pipe Organ Builders has built a new pipe organ for the people of St. Jerome Catholic Parish in Oconomowoc, Wisconsin. Opus 226 contains 53 ranks, 42 stops, and 3,019 pipes. The project was made possible by the generosity of the people of St. Jerome Catholic Parish, as well as other benefactors and contributors from the community.
Plans to relocate St. Jerome Parish began in the fall of 1997 as it became clear that the parish was expanding beyond the physical limitations of their historic downtown church. By August 1998, the parish had purchased 37 acres of land and begun planning for a parish-wide campaign. The school was constructed first, and was dedicated on September 11, 2004. A second parish-wide campaign began in January 2005, resulting in the dedication of the church on November 15, 2008. The new 1,000-seat nave nearly tripled the previous sanctuary’s capacity of 350, and provided the parish with a bright, modern worship space with a more favorable acoustical signature.
From the onset of the project, it was clear the existing 1918 Kimball organ would need to be incorporated into the new instrument to minimize new pipe costs. The two-manual, 15-rank organ, located in the center of the rear balcony, was entirely installed in a case against the rear wall. Despite additions in the early 1980s, the organ was of typical early twentieth-century liturgical design. The stoplist incorporated six stops at 8′ pitch, two stops at 4′, and a 16′ Bourdon in the Pedal. Added ranks included a 22⁄3′ Quinte, 2′ Octave, and Mixture IV in the Great. Original voicing and pressures were retained on the Kimball pipes at the time when the organ was augmented, which did little to bridge the gap between the old and new pipes. Thankfully, the new pipes were under-voiced, which would give Berghaus ample latitude in tonal finishing. Additionally, the bottom octave of the 4′ Flute d’Amour was abandoned, and the pipes were shifted down to create a 2′ Flute in the Swell.
In the new church, the organ was planned to occupy both ends of the nave. Great, Swell, and Pedal divisions would be entirely new, and located in the rear gallery. The Antiphonal division would be installed in one chamber, above and to the left side of the chancel. We chose not to divide the resources of the Kimball, but rather use them to create the new Antiphonal division. Furthermore, the Antiphonal chamber would be situated at the same height as the gallery organ to promote tuning stability.
Special consideration was taken in planning pipe scales for the gallery instrument, with the intent that the Antiphonal organ would not be a dark distraction to the new organ. Our present tonal philosophy reflects an eclectic approach, which is conducive to blending early twentieth-century voicing styles. We took our cues from the best elements of late nineteenth-century English organs, tempered somewhat by elements of romantic French and early romantic German organbuilding. All flue scales in the gallery are variable, changing throughout the compass for acoustic and practical reasons. The result is an instrument that, while separated by distance, successfully works as a whole tonal concept, which in turn is able to effectively provide the combinations necessary for liturgical music and beyond. Differing foundation and flute resources are available for cantorial accompaniment, projecting close to the lectern. The Antiphonal also contains the softest string sounds for tonal effects in anthems and voluntaries. When the full resources of the Antiphonal are coupled to the gallery organ, the Antiphonal “carries” the sound of the gallery organ forward down the nave, while at the same time seamlessly blending with the gallery without detracting from its timbre.

Great
The Great division consists of 15 stops, 16 ranks, and is divided between one large slider chest and one electro-pneumatic chest. The division is located directly above the Swell enclosure, and is based on the 8′ Principal, which is located primarily in the façade and constructed of 75% tin, with spotted metal in the treble. The 8′ Principal is scaled near Normalmensur plus two, which on 80mm wind pressure fills the nave with a warm yet gentle tone. It is voiced full in the bass, and has clarity in the treble to reinforce the melody line. The Principal chorus is complete through a four-rank mixture, and includes mutations that are meant to reinforce the plenum. Flues are primarily in spotted metal with the intent to add warmth to the overall tone, yet allow for brightness in finishing.
Additional 8′ stops (Flute Harmonique, Bourdon, Gemshorn, and Gemshorn Celeste t.c.) complete the standard fonds d’orgue, as well as add the unique flexibility of a third, unenclosed celeste. Tonal considerations were made to allow the scaling of this hybrid pair to be generous, yet with a low cut-up to provide clarity of tone. The 8′ Trumpet is designed with German shallots to provide a blending quality, which is meant to enhance the plenum. By contrast, the horizontal Trompette en Chamade, which is mounted on the front of the case, is scaled and voiced to blend with full organ registration, and can be used as a solo stop for processionals and fanfares. Both reeds are voiced on 100mm pressure.

Swell
The Swell division consists of 17 stops, 15 ranks, and is also divided between one large slider and one electro-pneumatic chest. The division is based on the 8′ Diapason of spotted metal, which provides foundation to a complete principal chorus through the Plein Jeu. The scale of the Swell Diapason is three steps smaller and completely different in tone than the Great Principal. The Swell contains a wide variety of stops, ranging from French-style strings to a liquid 8′ Rohrflöte, which is unified at 16′ and made of wood. Mutations are broadly scaled to provide for a rich Cornet decomposée. We elected to use English construction for the 8′ Trompette in the Swell in order to provide a contrast in tone to the Great Trumpet.

Antiphonal
Restoration of the Kimball pipework involved restoration of each pipe in one form or another. While minor repair and remedial voicing work was necessary, the general pipe-making was excellent. Few pipes had been physically altered in previous rebuild efforts, which allowed for maximum flexibility in finishing. We replaced the leather on the stoppers of all wood pipes, and in the spirit of the original Kimball, we provided twelve bass pipes to the Flute d’ Amour, and returned it to 4′ pitch. We also replaced the low twelve pipes of the Open Diapason, which replaced the badly damaged pipes of the original façade. All spotted metal pipes were dunked in a restorative solution, and fitted with new stainless steel sleeves. Finally, an 8′ Vox Humana was provided by Dr. Lee Erickson, friend to the project.
The 8′ Open Diapason of this division provides the organist with yet another Diapason tone. Made from a high-lead alloy, these pipes provide the tone one would expect from a Diapason of this vintage. The pipes are cut dead-length and scrolled. Undoubtedly they would have been originally over-length and slotted. Deep nicks in the languid and lower lip allow for open-toe voicing, which allows this stop to truly enhance the gallery instrument.

Pedal
Consisting of 19 stops, 8 ranks, the Pedal provides a solid foundation to this full instrument. Through calculated borrowing and tonal finishing, this division provides an ample variety of timbres and volumes. The 16′ Principal in the Pedal division (façade) is made from a combination of zinc and 70% tin pipes, and is finished with a silver-tone patina. The Pedal is further supported by an impressive unit 32′ Kontra Posaune, which is voiced full in order to provide an equal blend of harmonics and fundamental. We used tin-faced German shallots throughout the compass of this reed, which provides unique overtones required to enhance the pedal plenum, particularly when considering this stop will be used in part in cantus firmus.

Chests and wind system
Flue pipes of the Great, Swell and Antiphonal sit on Berghaus slider and pallet chests. Reeds and offset chests are electro-pneumatic action. The entire organ is supported by an interior steel structure, which provides stability while allowing unimpeded access to interior parts of the mechanism. Wind to the pipes is supplied by two blowers—one blower for the gallery organ, and one for the Antiphonal. Our wind system provides absolutely steady wind through a balance of schwimmers and reservoirs. Wooden wind conductors help eradicate turbulence and are effective in eliminating noise. Slider chest wind pressures are 80 and 75mm, while reeds and Pedal are on 100mm.
The gallery organ case and organ console are constructed of maple, and are designed to incorporate architectural elements found throughout the worship space. Keyboards are in bone and rosewood, with African Kewazinga Bubinga stop jambs and coupler rail.
The construction of the organ at St. Jerome Parish was achieved through the dedication and teamwork of the entire Berghaus organization, which extends its sincerest gratitude to the people of St. Jerome Parish for enabling us to contribute to the life of their parish:

President: Brian Berghaus
Director of sales and marketing: David McCleary
Tonal design: Jonathan Oblander, tonal designer; Kelly Monette, head tonal finisher
Reed specialist: Steven Hoover
Structural and visual design: Steven Protzman
Shop foreman: Jeff Hubbard
Office manager: Jean O’Brien
Service coordinator: Joseph Poland
Construction/assembly/installation: Stan Bujak, Chris Czopek, Steve Drexler, Jeff Hubbard, Trevor Kahlbaugh, Kurt Linstead, Kelly Monette, David Mueller, Jonathan Oblander, Joseph Poland, Daniel Roberts, Tim Roney, Paul Serresseque, Ron Skibbe, Jordan Smoots, Paul Szymkowski, Mark Ber, Randy Watkins.

In addition, Berghaus Pipe Organ Builders gratefully acknowledges the invaluable assistance of Scott R. Riedel & Associates, Ltd. in the project, as well as the expertise and leadership of Fr. John Yockey, pastor, and Tom Koester, past organist of St. Jerome Parish.
­—Kelly Monette & Jonathan Oblander
Berghaus Pipe Organ Builders

Designing an organ presents many challenges, many of which are related to making the instrument fit tonally and visually into the building which will be its home.

Fratelli Ruffatti, Padua, Italy

Buckfast Abbey, 

Devon, United Kingdom

The sound

Designing an organ presents many challenges, many of which are related to making the instrument fit tonally and visually into the building which will be its home. The challenges connected with our recent installation at Buckfast Abbey, Devon, England, were, in many ways, out of the ordinary. We were asked to design two instruments of considerable size, tonally interconnected, for a building of moderate size and very kind acoustics that amplify sound in a dreamlike fashion. While it was not difficult to design an instrument to play a variety of literature, much attention was required to scaling the sound to the building without sacrificing the proper characterization of the many different stops.

The tonal palette was based on an initial draft by Matthew Martin, international recitalist, former organist at the London Oratory and now Fellow and Director of Music and College Lecturer at Keble College, Oxford. Further adjustments were coordinated between Philip Arkwright, Organist and Master of the Music at Buckfast Abbey, and Fratelli Ruffatti.

The main instrument, of four manuals and pedal, is located on two sides behind the choir stalls and partially on the triforium level (the upper arcaded gallery) above. Specifically, Great, Positivo (in the Italian style, hence the name), Swell, and Pedal are housed inside solid oak cases at nave level, while the Solo division is placed at triforium level, along with a whole series of “special effects” playable from the Positivo, some of which belong to the early Italian tradition.

The second instrument, comprising two manual divisions with full pedal, is located in the west gallery and partially in the triforium level areas that are closest to the west gallery. Two nearly identical four-manual consoles have been provided, one in each location. The difference between the two is that the Quire console is equipped with an electric lift that adjusts the height of the keydesk and stop jambs by more than four inches (10 centimeters). This feature, along with the two height-adjustable benches (one for concert use, and one for teaching purposes), makes it very easy for any organist to find comfortable playing space. 

As G. Donald Harrison, the Englishman who became tonal director of Aeolian Skinner, once stated, “To me, all art is international; one can draw from the best of all countries. I have used the technique at my disposal to produce instruments which I consider suitable for expressing the best in organ literature.” This instrument indeed embraces this philosophy. The requirements for the seven initial worldwide organbuilders that were asked to submit specifications included the need for the instrument to support a wide repertoire of accompanied music, as well as to successfully perform a wide range of organ literature. Such requirements were not taken lightly and, drawing from decades of experience and from different traditions, as Harrison advocated, Ruffatti introduced several tonal features that are new or rare to find in England, with the aim of sparking interest for improvisation and creative registration for the international repertoire. 

It is along these lines that the Gallery Organ was designed. It draws from the French Romantic tradition of Cavaillé-Coll. Dedicated studies were conducted on several organs in Paris and other locations in order to ensure as close a proximity as possible to the Cavaillé-Coll style, by carefully copying pipe measurements and voicing methods, without pretentious claims of authenticity. The instrument is designed as a two-manual, but it can also be used as a large cohesive division, part of which is under expression, that can be played against, or in tandem with, the main Quire Organ. 

Along the same line of thought, the Italian Positivo was introduced in the Quire. With the tonal consistency of an early Italian instrument and the trademark low-pressure voicing, it provides all tonal resources needed to faithfully perform classical Italian literature from the Renaissance up to the early Romantic period, an ingredient that is indeed rare to find in an instrument in England. It is also ideal for playing in alternatim with the monastic choir. This is not just a nice “toy” to have, but serves convincingly as a Positiv division, in dialogue with the Great for access to a broader classical repertoire.

Another note of interest concerns the Solo division, which includes stops that have been drawn from the Skinner tradition, as well as other orchestral stops of Ruffatti design.

One of the aspects characteristic of Fratelli Ruffatti is that we manufacture almost everything in house, including flue and reed pipes. This is the best guarantee for quality control. At the same time, it provides the opportunity to carefully select all the ingredients that are necessary in the mind of the tonal designer. The difference is in the details. Being able to pass any requirements that experience dictates on to the pipe shop enables the voicers to exactly tailor the sound to the room, resulting in that perfect blend for which Ruffatti is famous.  

Versatility is only partially the product of having a variety of stops on hand; what really makes the difference is the ability of each stop to combine successfully with all others to produce countless tonal combinations. Open-toe voicing for principals and flutes is the key, as it favors blending of sounds, as well as promptness and precision of speech, an aspect that is of paramount importance, especially when there is no close proximity of the player to the pipes (as there would be with a mechanical action instrument). An old misconception still flies around, deriving from the early neo-Baroque times of the Orgelbewegung, or Organ Reform Movement of the mid-twentieth century, where the open-toe voicing technique was sometimes used to produce excessively harsh sounds. Open-toe voicing is instead quite versatile, ideal for the effective voicing of a rank of pipes in a variety of styles, regardless of the chosen wind pressures. 

Materials for the construction of pipes include the ultra-shiny alloy of ninety-five percent tin, used for the pipes in the façade as well as for a high number of larger internal pipes. Its structural strength and incredible resonance properties make it ideal for pipes of larger size. Other internal pipes are made with a tin percentage ranging from 75 to 30 percent.

Many pipes are made of wood, including the resonators of the two majestic 32′ reeds, the Bombarde, and the Fagott. Only the finest African Sipo mahogany has been used, varnished inside and out to enhance resonance. The Pontifical Trumpet, which projects horizontally from the front of the Gallery Organ, has highly polished solid brass resonators.

This organ was featured in the press for the first time in the March 2018 issue of the British magazine Organists’ Review with an article by Philip Arkwright, Organist and Master of the Music at Buckfast Abbey. It was inaugurated on April 20, 2018, with a splendid concert performed by Martin Baker, Organist and Master of Music at Westminster Cathedral, which I had the good fortune to witness. The improvisation that closed the performance was stunning: a perfect demonstration of creativity and a kaleidoscopic use of musical color.

The opening organ series also includes concerts by Vincent Dubois, titular organist of Notre Dame Cathedral, Paris; David Briggs, Artist-in-Residence at St. John the Divine, New York City; Matthew Martin, Director of Music at Keble College, Oxford; Richard Lester, international recitalist; and in-house organists Richard Lea and Matthew Searles.

—Francesco Ruffatti

 

Architecture and technical features

The east and west organs at Buckfast Abbey are aesthetically quite different. The east organ (Quire) is intended to be discreet, as the client’s desire was that the front of the building should not have the imposing presence of an intricate organ design. For this reason we chose a very simple layout for the façade, with pipes recessed into three arches that crown the stalls on both sides of the Quire. The pipes are hardly visible from the center of the building, but clearly show the brightness of the tin they are built from when they are seen from the side.

The central pipe of each bay, with its diamond-shaped embossing, reflects the light in all directions, providing a touch of richness within the simplicity of the design scheme.

The west organ (Gallery) gave us the opportunity to offer a more sophisticated architectural solution. The full visibility of the splendid stained glass windows being paramount, we built two symmetrical oak organ cases against the side walls of the gallery, with tunnels to grant access to the balcony from the doors in the back corners. The aim was for a design of lightness and richness at the same time—not an easy task, as the two qualities are normally in conflict.

To achieve this goal, we chose a case design where the façade pipes are not topped by a ceiling. Instead, there is an alternation between bays having pipes with unobstructed tops and pipes with carved elements defining the top line. The richness is provided by the carving, which is also used to separate façade pipes within the same bay. In the general scheme, it gives visual continuity to the various bays. These elements have been hand-carved from European oak by a gifted artist, from a Ruffatti design inspired by the intricate and elaborate carved wood of the Abbey’s choir stalls. Even the panels of the lower part of the case are enriched by carvings in the Gothic style. 

The sunlight coming through the stained glass windows is reflected by the shiny surface of the tin pipes, adding a touch of color to the façade, an effect that is remarkably spectacular.

The signature Ruffatti horizontal trumpets, with their flared brass bells, extend from the lower part of the cases, projecting their shining beauty into the Abbey’s central bay.

The most frequent comment we have received on the design is that the organ looks like it has always been there. I believe that this is the biggest compliment that can be paid to the designer, because it proves that the organ belongs to the building, without imposing its presence. The initial aim has been reached: a light yet elegant result.

On the strictly technical side, African Sipo mahogany is widely used for functional parts, such as all of the windchests. The main units are of the slider type, which are controlled by solenoids of the latest generation, featuring self-adjusting power for the initial stiffness of the slider movement and reduced power at the end of the travel, for maximum silence.

The twin consoles feature identical controls and can be played simultaneously, as they often are. The control system is operated by the organist from a touch-screen panel, and it offers a large number of functions. The huge memory provides separate password-protected storage folders for many organists, where stop combinations, personal crescendo, and tutti settings can be stored. The system also features, among many other useful tools, a transposer, a record/playback function, and on-board diagnostics, a useful tool for maintenance.

The height adjustment of the keydesk of the Quire console is controlled by a push button, operating a heavy-duty electric motor. Adjusting the level of the keydesk allows maximum comfort for the player, regardless of that person’s physical height and build.

The organ is distributed over several locations and, true to Ruffatti philosophy, uses several different wind pressures to optimize the tonal result of the various stops. As a result, nine separate blowers, twenty traditional reservoirs, and nine schwimmers have been used to provide adequate and stable wind at the many different pressures, ranging from 40 to 185 mm.

—Piero Ruffatti

 

Builder’s website: www.ruffatti.com/en/

Church’s website: www.buckfast.org.uk/

 

QUIRE ORGAN

Location: Quire and Triforium 

POSITIVO (unenclosed–Manual I)

8′ Principale 61 pipes

8′ Bordone 61 pipes

8′ Voce Umana (tenor G) 42 pipes

4′ Ottava 61 pipes

4′ Flauto Veneziano 61 pipes

2′ Decimaquinta 61 pipes

11⁄3′ Decimanona 61 pipes

22⁄3′ Sesquialtera II 122 pipes

2⁄3′ Ripieno III 183 pipes

8′ Cromorno 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Glockenspiel (tenor C) 30 bells

Tremulant

Nightingale 5 pipes

Cymbelstern 12 bells

Drum 3 pipes

6′ Bagpipe F 1 pipe

4′ Bagpipe C 1 pipe

22⁄3′ Bagpipe G 1 pipe

GREAT (unenclosed–Manual II)

16′ Bourdon 61 pipes

8′ Principal 61 pipes

8′ Bourdon 61 pipes

8′ Spitzflöte 61 pipes

4′ Octave 61 pipes

4′ Blockflöte 61 pipes

22⁄3′ Quint 61 pipes

2′ Superoctave 61 pipes

11⁄3′ Mixture IV 244 pipes

1⁄2′ Terz Zimbel III 183 pipes

8′ Trumpet 61 pipes

4′ Clarion 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Sub Octave

Unison Off 

SWELL (enclosed–Manual III)

8′ Flûte à Cheminée 61 pipes

8′ Gemshorn 61 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Céleste (tenor C) 49 pipes

4′ Prestant 61 pipes

4′ Flûte Creuse 61 pipes

22⁄3′ Nazard 61 pipes

2′ Octavin 61 pipes

13⁄5′ Tierce 61 pipes

2′ Plein Jeu IV 244 pipes

16′ Basson 61 pipes

8′ Trompette Harmonique 61 pipes

8′ Hautbois (ext 16′) 12 pipes

4′ Clairon Harmonique (ext 8′) 12 pipes

Tremulant

Sub Octave

Unison Off

Super Octave

SOLO (enclosed–Manual IV)

16′ Lieblich Bourdon 61 pipes

8′ Orchestral Flute 61 pipes

8′ Doppelflöte 61 pipes

8′ Salicional 61 pipes

8′ Unda Maris (tenor C) 49 pipes

8′ Flûte Douce 61 pipes

8′ Flûte Céleste (tenor C) 49 pipes

4′ Flauto d’Amore 61 pipes

22⁄3′ Harmonic Nazard 61 pipes

2′ Harmonic Piccolo 61 pipes

13⁄5′ Harmonic Tierce 61 pipes

8′ Bassett Horn 61 pipes

8′ Vox Humana 61 pipes

8′ Pontifical Trumpet* 61 pipes

8′ Abbatial Trumpet** 61 pipes

Tremulant

Sub Octave

Unison Off

Super Octave

* mounted horizontally from the front of the Gallery Organ cases, divided at both sides. Not affected by couplers

**located in the Triforium, unenclosed. Not affected by couplers

PEDAL

32′ Contra Bourdon digital

16′ Contrabass 32 pipes

16′ Subbass 32 pipes

16′ Bourdon Great

16′ Lieblich Bourdon Solo

102⁄3′ Quintflöte 32 pipes

8′ Octave 32 pipes

8′ Flûte Ouverte 32 pipes

51⁄3′ Nazard (ext 102⁄3′) 12 pipes

4′ Superoctave 32 pipes

2′ Flûte 32 pipes

22⁄3′ Mixture IV 128 pipes

32′ Fagott 32 pipes

16′ Bombarde 32 pipes

16′ Basson Swell

8′ Trompette (ext 16′) 12 pipes

4′ Schalmei 32 pipes

 

GALLERY ORGAN

Location: West Gallery

GRAND-ORGUE
(unenclosed–floating) 

16′ Bourdon 61 pipes

8′ Montre 61 pipes

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

4′ Prestant 61 pipes

4′ Flûte Octaviante 61 pipes

22⁄3′ Cornet III (tenor G) 126 pipes

2′ Doublette 61 pipes

2′ Plein Jeu III–V 264 pipes

8′ Clarinette 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Tremblant

Sub Octave

Unison Off

EXPRESSIF (enclosed–floating)

8′ Violoncelle 61 pipes

8′ Violoncelle Céleste (TC) 49 pipes

8′ Cor de Chamois 61 pipes

8′ Cor de Chamois Céleste (TC) 49 pipes

4′ Prestant 61 pipes

8′ Trompette 61 pipes

4′ Clairon 61 pipes

Tremblant

Sub Octave

Unison Off

Super Octave

 

PÉDALE

16′ Soubasse 32 pipes

16′ Bourdon Grand-Orgue

8′ Basse 32 pipes

8′ Bourdon (ext 16′) 12 pipes

4′ Flûte (ext 16′) 12 pipes

32′ Bombarde* 32 pipes

16′ Bombarde (ext 32′)* 12 pipes

8′ Trompette (ext 32′)* 12 pipes

* located in the Gallery Organ Triforium

 

Positivo special effects located in the Quire Organ Triforium

 

Solo located in the Quire Organ Triforium

 

Four-manual movable Quire console, with electric height-adjustment for keyboards and stop knobs

Four-manual movable Gallery console

The consoles can be used simultaneously to perform repertoire for two organs

 

CONSOLE CONTROLS

Identical for both consoles

 

COUPLERS (tilting tablets)

Solo to Swell 16-8-4

Expressif on Manual III

Solo to Great 16-8-4

Swell to Great 16-8-4

Positivo to Great 8

Grand-Orgue on Manual II

Gallery* on Manual I

Solo to Positivo 16-8-4

Great to Positivo 16-8-4

Swell to Positivo 16-8-4

Solo to Pedal 8

Swell to Pedal 8

Great to Pedal 8

Positivo to Pedal 8

Grand-Orgue to Pedal 8-4

Expressif to Pedal 8-4

* Grand-Orgue and Expressif combined

 

Reeds Off (for entire organ)

Mixtures Off (for entire organ)

 

Gallery* on Manual I on key cheek

Grand-Orgue on Manual II on key cheek

Expressif on Manual III on key cheek

*including both Gallery Organ manual divisions

 

Quire Organ Tutti

Full Organ Tutti

Pédale Off on key cheek

 

Sustain for Solo, Swell, Great, Positivo

 

Great and Pedal combinations coupled

Grand-Orgue and Pédale combinations coupled

 

All Swells to Swell

 

Quire Organ On – on key cheek

Gallery Organ On – on key cheek

 

Record and Playback

 

COMBINATION ACTION:

Twelve general pistons for Quire and Gallery organs

Eight Quire Organ divisional pistons

Six Gallery Organ divisional pistons

Set, General Cancel

Previous (-), Next (+) in several locations

Thousands of memory levels for the “common memory area”

Thousands of private memory folders accessible by password or magnetic sensor

 

Touch-screen control panel featuring multiple functions, including:

• Transposer

• Five “insert combinations” possible between each general piston for all available folders

• Option of automatic re-numbering of combinations after inserts have been introduced 

• In addition to conventional piston storage, both the common area and the individual folders offer:

Storage of piston sequences in “piece”-labelled folders

Storage of several “piece”-labelled folders to form “concert”-labelled folders

 

Swell, Expressif, Solo expression pedals

 

Crescendo Pedal: standard and multiple personalized settings 

 

MIDI In, Out, Through

 

SUMMARY OF PIPE MATERIALS:

95% tin alloy for all façade and most larger pipes inside

Bagpipes in the Positivo with walnut resonators, blocks and shallots in the traditional style

 

All other wooden pipes, including 32′ reed resonators, made of African Sipo mahogany

Principal choruses 75% tin alloy 

Flutes: 8′ octaves 95% tin alloy, rest 30% tin alloy (spotted)

Reeds, Strings: 8′ octaves 95% tin alloy, rest 52% tin alloy (spotted)

 

SUMMARY OF WIND PRESSURES:

 

QUIRE ORGAN

Positivo 40 mm for Principal chorus, 50 mm for flutes and reed

Great 80 mm for all stops, 95 mm for offsets only

Swell 90 mm for all stops, 100 mm for offsets only

Solo 160 mm for all stops except Pontifical and Abbatial trumpets, 185 mm

Pedal 100 mm and 80 mm upperwork

 

GALLERY ORGAN

Grand Orgue 90 mm

Expressif 100 mm

Pédale 120 mm

 

STATISTICS

81 real stops

100 ranks of pipes

5,542 pipes and 42 bells

J.H. & C.S. Odell Opus 645

United Methodist Church of Westport and Weston,

Westport, Connecticut

From the builder

I first looked over the 1968 Angell pipe organ at the United Methodist Church of Westport and Weston in the winter of 2005, having been recommended to the church by our friend K. Bryan Kirk. What we found in Westport was an organ with many pipes that were well made, but in some cases unusually constructed and, by our standards, only roughly voiced. The flue pipes were made mostly with a high content of tin. We suspect Tim Koelewijn was the original pipemaker. Just about everything else in the organ had been made by domestic and foreign supply houses. Overall, quality varied widely. Some things were very neatly done.

Though by our standards not altogether under-scaled, the organ did suffer in just about every other way from the prevailing trends of the era when it was built. Wind pressures were low: less than two inches in the Great and three in the Swell. Looking at the original stoplist, we noted that none of the choruses in the organ were complete, though the organ did boast two Célestes and a triple-overblowing Zauberflöte. The reed complement for the organ consisted of a double-blocked French style 8’ Trompette (extended to 16’ in the Pedal) and a 4’ Rohr Shalmei.

The windchest mechanism was a problematic plunger-type solenoid system that had been giving trouble for years. The console was a veneered plywood supply house unit already years beyond its life expectancy. The open contact switching system was dispersed throughout the organ; some of its components had already failed. The wind supply for the entire Great division was provided by a single 18≤ by 24≤ reservoir whose internal volume was largely dedicated to its curtain valve.
After an initial tuning of the organ, the church’s new music director and organist, Todd Simmons, pressed me as to what could be done to make the organ better. I pointed out that the organ had mechanical and tonal issues, to be sure, but there was something to work with here, some raw material, which with proper attention could be the basis for a good pipe organ. In my wife Holly’s words, the existing pipework possessed “unrealized potential.”

Weeks later we met with the trustees to present our findings, expecting that at some point in the future funds could be raised to finance the organ project. One can imagine my surprise when Mr. Simmons called me a few weeks later to say that a single anonymous donor had stepped forward. How soon could we start? Thus we found ourselves sweating in the summer heat on a stretch of days the following July, packing and removing the pipes that would become the basis for our Opus 645.
In the design process we developed a new specification with input from K. Bryan Kirk. We instinctively sought first to meet the essential requirements of a liturgical instrument, something we believe to be utterly crucial, especially in the case of smaller pipe organs. Given the limited space for the organ, we felt a two-manual scheme with few frills would be best. We resisted a request for digital augmentation, instead focusing on a design that would be pipe only.

Certain early decisions seemed obvious. Given the dry acoustic of the church, the baseline scale of the Great chorus needed to be increased. This chorus was also completed with the addition of appropriately scaled new pipework from 22⁄3’ pitch upward. The cutup schedule of the existing Great capped flute was raised, arched, and the stop entirely revoiced. A new independent 4’ Harmonic Flute (based on the unique and very successful scale found in our historic Opus 178 at St. Charles Borromeo in Brooklyn) was constructed and voiced. Over the course of the project nearly every zinc pipe in the organ made its way through our pipe shop: frozen metal caps were freed, tuning inserts and toes replaced, seams and scrolls repaired. Being left in a raw state, many of the zinc pipes had an unsightly powdery white oxidation. We removed this, and gave all zinc basses a sealing coat of varnish to protect them.
The wind pressure of all manual divisions was raised to a more moderate four inches. Holly, then pregnant with our son Caleb, did her usual superb job of revoicing all the other existing and new flue pipework, managing to do so before reaching her final trimester. During this past winter we joked more than once: which would be given birth first, our son Caleb or the organ for Westport?

Where, before, the Great division of the organ had seven ranks, it had now eleven. To provide for this expanded division adequately, we built a new, larger reservoir. The rest of the organ’s wind system was rebuilt and reengineered as the new design required.

In dealing with the Swell division, again certain decisions seemed obvious. The 4’ Rohr Shalmei, only marginally useful, was replaced with an 8’ Oboe, expertly voiced by Sam Hughes. Proceeding as she did in the Great, Holly revoiced all of the existing Swell flues and voiced the new pipework for the Swell flute chorus, which was completed to 13⁄5’ pitch. The existing Trompette was kept, though carefully cleaned up and regulated in a cooperative effort between Sam and Holly.

In our recently expanded East Hampton shop I concentrated on the construction of the console, while our shop foreman John Williams constructed new windchests whose design was first developed for our organ at St. Ann’s in Bridgehampton. The unusually short feet of the 8’ old flute basses made for some interesting pipesetting. New offset chests were provided for everything save the original Pedal Subbass, a mammoth mahogany affair that only needed rebuilding.

The new console was based on our current terrace-jamb design with several embellishments. Improvements on the existing design include a slightly deeper cabinet with an added horizontal stile, raised panel work, additional applied moldings, hand-carved brackets, a two-piece knee panel and solid walnut music desk, the latter being picture-framed with the same quarter-sawn white oak used for the carcass and façade.

The console features an integrated solid-state capture and control system with fully programmable features, MIDI interface, and our standard complement of rear-fulcrum keyboards with basswood levers. The oblique drawknob heads are a reproduction of our 19th-century design. Respected organists who have played it have described our console at Westport as “elegant and comfortable.”
My design of the façade was in part born of necessity. Since both the manual and pedal principal stops were being rescaled, new bass pipes would be required. We naturally needed to make the most of the existing chamber space, and one of the simplest ways to do that was by moving the basses of these stops out into a façade.

Every pipe in the façade is functional. The bass notes of the Great and Pedal principals are polished aluminum, made to our specifications by Matters, Inc. of Hermosa, South Dakota. The pipes are arranged in three towers and two flats and the overall height of the case tops out at 15 feet, mounted roughly 10 feet above the sanctuary floor. The style of the casework is deliberately simple, so as to be in harmony with the appointments of the church sanctuary.

The façade performs a very important function in giving one a visual focal point. It declares the organ present, and urges one to consider it rather than wonder from where behind the grille cloth the organ might be. Its cruciform arrangement also reflects elements of sacred numerology: three towers with three pipes each for the Trinity, ten pipes located within the inner flats for the Commandments.

The sanctuary space in Westport could be described as a postwar-modernist take on the “Akron Plan,” less the adjoining Fellowship Hall. Four sets of pews radiate from the altar and pulpit up front, with organ and choir off to the left. The space over the altar is open with a ceiling height of approximately 35 feet. This intersects with a lower A-frame suspended transversely over the pews. From there the ceiling slopes downward to the rear of the pews to meet a northeasterly facing wall that is mostly glass. The floor is a simple concrete aggregate. Thankfully, carpet was absent. More simply described, it is a space with a great deal of cubic volume, but not overly reverberant.

Throughout the process we gave a great deal of thought to what levels of power would be appropriate for the various tonal resources of the organ. Our concerns about sufficient tonal egress from the chambers were put to rest when we experienced how well the organ spoke into the room. In the tonal finishing process we were pleased to discover how our scaling and voicing decisions suited the space. With a well-balanced variety of 8’ tone available, the organ easily leads congregational singing in a variety of settings.

Overall, we are very happy with what we have achieved in Westport. I would be remiss not to mention others who have contributed to this project: my wife and business partner Holly Odell was responsible for revoicing all existing pipework and voicing of new pipework. John Williams built nearly all the windchests and was responsible for all pipesetting. John and I collaborated on the wind reservoirs and organ case elements. In addition to overall mechanical design and layout, I milled, built and finished the console and casework as well as handling most other finishing duties. Working out of our pipe shop, Stewart Skates handled all pipe repairs. Luc Ladurantaye of Lac Saguay, Quebec, built the new metal pipes to our specifications. Gordon Auchincloss assisted in the wiring and final assembly of the console, and Thomas White assisted in windchest construction and wiring. John Williams, Thomas White, and myself handled the installation. Tonal finishing duties were divided between Holly and myself, with occasional assistance from Richard Hamar and Fred Heffner.

—Edward Odell



From the music director

In my third year as choir director and first year as organist of the United Methodist Church of Westport and Weston, I was introduced to Edward Odell by K. Bryan Kirk, as we were in search of someone local to assume the maintenance of our Angell pipe organ. While I was not dissatisfied with the firm maintaining our organ at that time, I knew it was only a matter of time before a major overhaul was needed, and no one had ever made a complete inspection and report on our instrument. Given the current condition of our organ, I felt comforted in knowing someone local could resuscitate it at a moment’s notice.

After a thorough tuning and evaluation of the organ, I was encouraged by Mr. Odell’s report that although there were serious electrical and tonal issues present, the pipes themselves were well made and could be repaired and voiced (apparently for the first time ever) if we had the means to fund an organ project. Having just completed a fund-raising campaign for a new grand piano, our church did not have extra money to start an organ building fund-raiser, and we felt uncomfortable asking the congregation to dig into their wallets again so soon. This was discouraging as we knew that time was close at hand; in recent years our organ had become increasingly undependable.

Not long after we began exploring these issues, it happened one Sunday morning that the entire organ pedalboard suddenly made itself unusable. Having little alternative, I decided to play that morning’s service on the piano. This coming just a few weeks after Mr. Odell’s presentation to our trustees, there was (understandably) a certain degree of panic, since we were totally unprepared financially to fund an organ project this soon. Even though our organ was one of the longest surviving Angell pipe organs in the area, we had hoped (and expected) it to last longer. It was more and more apparent that something had to be done soon. Before we even had a chance to strategize, I received a call the next day from the pastor informing me that a donor wishing to remain anonymous had left a very large check on his desk with the intention of funding the organ project.

As has been elsewhere stated, our previous instrument suffered from a lack of tonal finishing and the pipes themselves had never been voiced properly. The pipes being of relatively small scale, we were used to a thin, shallow sound that did not possess enough power to adequately fill our worship space, even when I registered full organ. At the start of the project, I had doubts as to whether any new organ would be strong enough, given the room’s difficult acoustics and the location of the organ chambers. Mr. Odell assured us that once the new organ was installed, we would be amazed at the difference.
One of the most impressive enhancements with the new organ, aside from the exquisite façade, is the quality of sound as well as the power behind it. We now have an instrument that adequately leads our congregation in singing, as well as providing full, but subtle, accompaniment for the choir anthems. I can honestly say that at every step of the way, Mr. Odell and his firm have not only met but exceeded my expectations with our new organ and have gone above and beyond the call of duty to deliver an instrument that is even better than the original proposal stated.

It is a testament to his excellent work that not only do the trained musicians in the congregation appreciate this new pipe organ, even the untrained listeners have noticed a huge improvement over the previous instrument. One member (who at one time happened to be unsupportive of the project) admits that now she could not imagine our service without a pipe organ. The church is well pleased, as am I, and we celebrate at every Sunday service this work of art courtesy of the firm of J.H. & C.S. Odell.

—Todd Simmons, organist and music director, United Methodist Church of Westport and Weston



From the consultant

When I began teaching in 1988 at a music school in Westport, Connecticut, I was naturally curious about local pipe organs. Over the years, I became more familiar with the organ at a nearby church: the United Methodist Church of Westport and Weston. The instrument was in poor mechanical condition: it exhibited a failing combination action, frequent ciphers, tuning instability and other frustrations, even though periodic maintenance was given. Being a product of its time, it was very thin in sound, had little bass response (as did the room) and few solo colors. Most importantly, there was no sense of real ensemble, even when the tutti was drawn. The instrument was also limited in its dynamic range for choral accompaniment and congregational singing, and was weak when trying to blend with other instruments. Overall, the organ did not make a strong impact.

A few years later a new organist and choir director was hired, Todd Simmons, one of my teaching colleagues from the music school. As the organ continued to deteriorate, he and the church became even more disappointed with the organ’s unreliability and marginal tonal resources. Knowing I had done other consulting work, Todd asked me to work with him and the church regarding the organ. Realizing the inherent problems, both musical and mechanical, we began an in-depth study of what could be done to either rebuild or replace the organ with something that would not only offer more tonal possibilities but also fill the room and excite the strong congregational singing potential we knew was there.

As we talked, it was apparent that virtually a new organ would be the best option, although much of the existing pipework could be retained if it were rescaled, revoiced and placed on a new, reliable chassis. The organ needed to be reliable and have a wider dynamic range, more tonal colors and a strong sense of presence in the room. It had to strongly lead and accompany congregational singing and sensitively render choral, solo and instrumental accompaniment.

From the outset, one of my pervading concerns was the church’s acoustic, which, while fine for chamber music, was a bit dry for organ and choral music and congregational singing. Having noted the difference in the acoustic when the room was more fully occupied, I knew the challenge of filling the room efficiently would be a mandate for the builder.

Our task began to take shape. Meetings were held and candidate builders were vetted. As work continued, a stop-list began to emerge, while we kept in mind budget and space limitations. One of my thoughts was to ask for a façade, as the previous organ had nothing visible but for a console in a lowered pit in the choir area. I reasoned that a façade would reinforce the impression that the church was getting something new, better and different. We agreed from the beginning that the organ should remain an all-pipe instrument.

After naming a few candidates, one firm was clearly the most interested, experienced and willing to work with us and on this organ. Having known the Odells and their fine lineage of historic instruments as well as their excellent work on new organs and various projects over many years, I was happy to welcome their presence.

The church had Edward and Holly Odell give the organ a full tuning and submit a proposal for either rebuilding or a new organ. As the Odells looked through the organ, they determined that a new console, chassis and electrical system would be required, and that it would be possible to rebuild one small windchest, but otherwise new windchests would be required throughout. By adding a façade for visual interest, some new pipework and retaining about half the existing pipework (though carefully rescaled and revoiced), the organ could take on a new character that would be far more flexible and of greater quality than its predecessor. This concept, coupled with their thorough proposal, helped to land them the contract.

As the new organ design was developed, the specification was refined. Among the ideas we discussed was the clever suggestion to borrow the Great 4’ Octave as an 8’ Second Principal stop on the Great, creating a secondary 8’ Principal for smaller combinations. The stop could also be used to fill out foundation tone when needed. As we continued to explore various tonal issues, it was noted that the old organ had no soft reed color or solo flute color. Among other things, Odell suggested adding an 8’ Oboe and building a new Harmonic Flute, patterned after historic Odell examples, but carefully adapted for the flute scales at Westport.

My early recommendations had included new 22⁄3’ and 2’ principal stops to replace the existing flute-scaled 2’ in the Great. The Odells suggested going further to install a new Mixture to create a full Principal chorus, giving the organ a sense of ensemble, a true plenum, something it never had.
Having listened to the result, I can state these stops create a truly full-sounding principal chorus, finally integrating the instrument into the room. The organ as conceived by the Odells has made a huge difference for hymn and repertoire playing and can now “ring the room” more effectively.

The Great also contains the revoiced 8’ Bourdon, now sounding more like a continuo stop, suitable in choral music or to accompany the Swell’s cornet decomposée. The Gemshorn and its Celeste were retained for flexibility in accompanying and providing more soft colors.

The Swell received “the Odell treatment,” in that all the pipework was revoiced. The flues, strings and mutations were all transformed by voicer Holly Odell, and the reeds were reworked to make a dramatic difference. The strings and 8’ Rohrflute now have more presence and can fully support the choir, as well as contribute to the ensemble. The Swell cornet decomposée is now nicely balanced, and the flutes have a more piquant character.

The new 8’ Oboe offers a nice color for softer choral accompaniment and foundation combinations, as well as providing a new solo stop. The existing 8’ Trompette, originally extended to 16’ for the Pedal, was also cleaned, revoiced and regulated into a stop that now serves a dual-purpose chorus/solo reed. The 16’ octave, now reconditioned, adds more gravitas to the Pedal and the full ensemble.
The full ensemble now fills the church worship space with a richer, warmer and well-blended tone. The softer sounds are more usable and possess a wider dynamic range, so the possibilities for choral, vocal and instrumental accompaniment are greatly enhanced.

As a concerned observer, I paid close attention to the project throughout the building process. The Odells always welcomed my inquiries and kept all parties informed with frequent photographs from their shop. Once the installation commenced, it was exciting to see how beautifully designed and well made all components of the organ were, both inside and out. During the tonal finishing, it was gratifying to witness the attention to detail in balancing each stop and the various ensembles. Further, it was refreshing to hear from the builder that materials and workmanship were never an issue; they simply insisted that in every aspect things be done thoroughly, with the highest level of attention to detail.

The organ is now in regular use and a series of dedication concerts have been planned. My thanks go to Edward and Holly Odell, their associates, to Todd Simmons and the United Methodist Church of Westport and Weston, Connecticut, and the donor for having me work with them in a collaborative effort to complete this important project to enrich the worship and outreach of this vibrant congregation.

—K. Bryan Kirk, advisor/consultant

J.H. & C.S. Odell Opus 645

United Methodist Church of Westport and Weston, Westport, Connecticut

Great (Wind pressure 4")

8’ Principal CC–AA en façade, otherwise 70% tin, 61 pipes

8’ Second Principal 1–12 from Principal 8’, 13–49 from Octave 4’

8’ Bourdon 70% tin, arched cutup, 61 pipes

8’ Harmonic Flute 1–12 from Bourdon 8’, 13–61 from Harmonic Flute 4’

8’ Gemshorn 70% tin, 2/3 taper, 61 pipes

8’ Gemshorn Céleste 70% tin, 2/3 taper, 49 pipes

4’ Octave 70% tin, 61 pipes

4’ Harmonic Flute 55% spotted metal, special Odell scale, harmonic at
middle C, 61 pipes

22⁄3’ Quint 55% spotted metal, 61 pipes

2’ Super Octave 55% spotted metal, 61 pipes

III Mixture 55% spotted metal, 19-22-26, 183 pipes

Chimes. 25 tubes


Swell (Expressive, in existing chamber, wind pressure 4")

16’ Rohr Gedeckt wood, 13–61 from Rohr Flute 8’, 12 pipes

8’ Rohr Flute 70% tin, chimneyed, 61 pipes

8’ Gamba 70% tin, bearded, 61 pipes

8’ Gamba Céleste 70% tin, bearded, 49 pipes

4’ Spitz Principal 70% tin, 2/3 taper, 61 pipes

4’ Flute 55% spotted metal, 2/3 taper, 61 pipes
22⁄3’ Nazard 70% tin, capped and chimneyed to middle C, 61 pipes

2’ Block Flute 70% tin, 61 pipes

13⁄5’ Tierce 55% spotted metal, 2/3 taper, 61 pipes

8’ Trompette double blocked, French shallots, 56 reeds, 61 pipes

8’ Oboe dual taper resonators, English shallots, 49 reeds, 61 pipes

Tremulant


Pedal

16’ Subbass wood, 32 pipes

16’ Rohr Gedeckt from Swell

8’ Octave CC–GG# en façade, otherwise 70% tin, 32 pipes

8’ Bourdon extension, Subbass, 12 pipes

8’ Rohr Flute from Swell

4’ Choralbass extension, Octave 8’, 12 pipes

4’ Flute from Swell

16’ Trompette extension to Swell Trompette, 12 pipes

8’ Trompette from Swell

8’ Oboe from Swell

4’ Clarion from Swell

Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

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

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

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

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

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

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

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

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal  (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

                        Great
to Great 4

                        Swell
to Great 16-8-4

                        Choir
to Great 16-8-4

                        Zimbelstern

SWELL

16'  Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola  (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4       

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave  (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass  (32 pipes)

II Rauschquint (64 pipes)

II Mixture  (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

 

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

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

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

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

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

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

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

                        Positiv
to Hauptwerk

                        Hauptwerk
to Pedal          

                        Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

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

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

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

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

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

                        Gt
& Sw to Ped 8

                        Sw
to Gt 16-8-4

                        Gt
4

                        Sw
16-UO-4

                        Antiph
to Ped 8

                        Antiph
to Gt 8

                        Antiph
to Sw 8