Cover feature

Cornel Zimmer Organ Builders, Inc., Denver, North Carolina
Media Presbyterian Church, Media, Pennsylvania

From the senior pastor
If one were to remove all that was sacred from the library of the great music of the Western world, one would be left with a very empty room. And while beautiful music certainly has merit in and of itself, that which is written sola gloria Dei has accompanied the faithful saying their prayers for nearly two millennia. The pipe organ has been at the center of this sacred enterprise for nearly half that time and is undergoing a kind of renaissance in our time. The Elizabeth Strine Memorial Organ is a wonderful instrument that represents the merging of the ancient mechanical art of organ construction with the new cutting edge of digital technology. This is an analogy of what Chesterton called the “romance of orthodoxy,” which is the timeless truth of the gospel heard anew in the language and thought world of every age. This beautiful instrument and renovated steeple are a renewed affirmation of a commitment to proclaim the good news of God’s reconciling work to this community and the world. It also says that we plan to continue saying our prayers at Media Presbyterian indefinitely.
This organ would not exist without the generous contribution of Walter Strine and his family in loving memory of their wife and mother, Elizabeth Strine. Elizabeth Margaret Sterling Strine faithfully served Media Presbyterian Church as organist for over 35 years. A Media High School and Philadelphia Conservatory of Music graduate, “Betty” was both an accomplished accompanist and a renowned piano and organ teacher who taught thousands of Delaware County students. A professional leader who helped to expand our area’s performing arts scene, she served as the first female president of the Media Community Concert Association and was later instrumental in developing the Media Theatre for the Performing Arts. Mrs. Strine died September 7, 2002 at the age of 94. The first question of the Shorter Catechism of the Westminster Confession of Faith asks “What is the chief end of man'” to which is answered: “Man’s chief end is to glorify God and to enjoy him forever.” May this organ be a tool by which this present and future congregations enjoy and glorify God as we move towards eternity.
—The Reverend William L. Borror

From the organ task team chair
Our former pipe organ was an instrument put together from several sources. It started life as a turn of the twentieth century orchestral transcription player for the Bock family mansion in Wyncote, Pennsylvania, built by the former Aeolian Company of Boston, Massachusetts. At that time, pipe organs were home entertainment systems for the wealthy. Although it had two manuals and pedals, it was never intended to be a church instrument. In the mid 1930s this instrument was acquired by Media Presbyterian Church and installed in the sanctuary’s front upper right hand chamber. The organ console was attached to the front wall beneath the chamber. To its side was seating for the choir. It served until about 1961, when the organ and choir were relocated to a larger space in the back gallery.
The relocated gallery organ was enlarged to three manuals by a local organ builder. A new console was fabricated by Austin Organs, Inc. of Hartford, Connecticut. Additional pipes and components from various unknown sources were incorporated into the instrument. Concurrently, a small Echo division consisting of five pipe ranks remained in the upper front chamber. Although this instrument served the church until February 2006, it was tonally deficient and incapable of creating a proper sound for worship and meditation. Three years ago, senior pastor Rev. William Borror requested that an organ task team be formed as part of the church capital campaign. The seven-person team assessed the former instrument’s condition and studied remediation alternatives. A busy two years followed, whereby the team considered the church’s musical requirements, studied proper organ design and tone, solicited proposals, and listened to and evaluated typical instruments by each builder. In an April 2006 presentation to the Session, the organ task team recommended that a new instrument be designed and built by Cornel Zimmer Organ Builders of Denver, North Carolina.
The new Zimmer organ, Opus 94, is a three-manual and pedal instrument comprising 96 stops, derived from 23 pipe ranks and 63 digital ranks. The solid walnut console controls five divisions: Great, Swell, Choir, Chancel and Pedal, and has 107 drawknobs, 21 tilting coupler tabs, tracker touch keyboards, an abundant multi-level combination capability to assist with stop registration, and full MIDI capability. The two-tone casework with walnut trim and gold accented pipes harmonizes with the sanctuary’s architectural themes. All new pipes were fabricated in the Zimmer shop or by Luc Ladurantaye of Canada. In addition, selected Aeolian pipe ranks from our former organ were refurbished, rescaled where applicable, and revoiced. The recycled pipes blend perfectly with the other new pipe ranks. All voicing and tonal finishing was done by the Zimmer staff.
The organ’s digital equipment was engineered by Walker Technical Company of Zionsville, Pennsylvania. Thanks to digital technology, we were able to acquire a more versatile organ than if we had adhered to an all-pipe instrument. Due to lack of space, an all-pipe instrument of this same specification would be impossible to install in the gallery.
The tonal orientation of our new organ is based on the American Classic design. Fundamentally, this instrument will allow the organist to perform music of all periods and play it in style. Due to the broad range of music performed in our church, the American Classic tonal design best fulfills our purposes. Upon examination of the stop specification, one can discover fully developed principal and flute choruses, an abundance of solo and chorus reed stops, and multiple celeste ranks. Also included are chimes, a harp and a zimbelstern. The twelve-stop chancel division is a self-contained organ designed to supplement the main gallery organ and provide accompaniment for small vocal ensembles. Hence, after 155 years of existence, Media Presbyterian Church now has an organ specifically designed for its sanctuary.
This new organ would not have happened had it not been for the very generous gift by Walter M. Strine, Sr. Given in memory of his wife, Elizabeth, longtime organist at Media Presbyterian Church and teacher of many piano students, this new instrument enables Media Presbyterian Church to enhance its worship and better serve the cultural community. We thank Cornel Zimmer and his highly talented staff for designing and building this fine organ. Their expertise and work ethic enabled the project to proceed very smoothly. We are grateful for this new relationship with the Zimmer organization.
Special thanks to the organ task team members who gave their time and skills to work with me and address the many questions and concerns that come with such a project: Martha Harriz, Harry Tully, Richard Zensen, Scott MacDonald, and Beth Kalemkarian. During the project, we mourned the loss of Don Harriz, team member and longtime choir member, who would have thoroughly rejoiced at the completion of this project. Additional thanks to the senior craftsmen who did a masterful job in preparing the back gallery to accommodate the new instrument. Special thanks to Michael Trinder, friend and organist colleague, who reviewed the specifications and contributed helpful suggestions. Thanks also to Art Kalemkarian, Jr. (BSEE) for his consultation on electrical and audio issues.
Finally, from my viewpoint as an organist, the installation of a new organ for our church was a very exciting and perhaps a once in a lifetime opportunity. It is an event in which I will always delight. I personally thank Rev. William Borror, the Media Presbyterian Church, and the Strine family for entrusting me to chair this project. May the end result bring glory to God both now and in the future.
—Arthur P. Kalemkarian, Sr.
Organ task team chairman
and curator of the Elizabeth M. Strine Memorial Organ

From the organbuilder
It is indeed a thrilling opportunity for an organ builder to work in a warm and inviting space, especially one with the historical significance of Media Presbyterian Church. From the beginning of the project, honoring the architecture of the church was of great importance. The organ was to be primarily an instrument to support the many musical needs of a vibrant congregation, but would also be required to serve as a solo instrument. All of this needed to be accomplished while not overwhelming the choir, which shares the gallery space with the organ. With these requirements in mind, we set out to design an organ with a broad dynamic range, capable of appropriately interpreting a wide variety of musical styles.
Considering the organ’s location, it was important to achieve an audible balance to lead the congregation and to fill the sanctuary without overwhelming the choir. Fortunately, the sanctuary’s acoustics work in the organ’s favor, and the sound projects well from the balcony with normal relaxed voicing. The new casework and pipe façades, designed and built by our company, spread the Great, Swell, Choir and Pedal divisions over three locations in the choir gallery. This spreading of sound sources creates a broader spatial projection of the organ’s resources, and yet the blend heard in the sanctuary is quite pleasing.
The organ has a broad tonal palette of contrasting yet compatible choruses and solo voices. Moderate pipe scales in the Great and Pedal principal choruses react well with the room’s acoustics to provide a solid foundation for congregational singing. Along with the new Great and Pedal principal choruses, the Swell contains six ranks of Aeolian pipework from the previous organ. These diapasons, flutes and strings work well in the accompaniment role of the Swell. The Choir division is of great importance as it is centered directly behind the choir. It has a wealth of accompaniment stops, including several sets of soft celestial stops and a complete principal chorus. Also found in the Choir division is the Tuba, a powerful reed voice that lends itself to solo lines as a crowning reed over full organ.
The Chancel organ provides another visual and spatial aspect to the organ’s presence. It can support choirs that may perform in the chancel area, reinforce the quieter registrations of the main organ for congregational singing with sound sources at two locations in the sanctuary, and lend itself to music that employs echo or antiphonal effects. The Festival Trumpet found in the Chancel division is an appropriate foil to the Tuba found in the Choir, and is extremely flexible as it is under expression with the other stops of the Chancel organ.
We chose to retain several stops from the previous organ that were quite beautiful and would blend well with the new organ. Tonal director Jim Twyne and his assistant, Sheldon Kargis, voiced these pipes, as well as the new pipes built by our own pipe maker, Tommy Linder, and Luc Ladurantaye of Canada. The stunning casework and console were designed by Cornel Zimmer and built by master cabinetmaker George Zong with assistance from David Caldwell. Eric Molenaar completed the wiring of the console and windchests with assistance from Nathan Bryson.
Cornel Zimmer Organ Builders is deeply grateful to Media Presbyterian Church and the Strine family for the opportunity to build a new instrument for this wonderful setting. It is our sincere hope that it will serve this congregation for many generations and will stand as a testament to the glory of God.
—Nathan Bryson, project manager, and Jim Twyne, tonal director
Cornel Zimmer Organ Builders, Inc., Denver, North Carolina

GREAT (Unenclosed, Manual II)
16' Gemshorn*
8' Principal 61 pipes
8' English Diapason (Choir)
8' Harmonic Flute*
8' Bourdon 61 pipes
8' Gamba*
8' Gemshorn*
8' Gemshorn Celeste*
4' Octave 61 pipes
4' Prestant (Choir)
4' Flute Ouverte 61 pipes
2  2/3' Twelfth*
2' Fifteenth 61 pipes
1 1/3' Mixture IV 244 pipes
16' Posaune*
8' Festival Trumpet* (non-coupling)
8' Tuba (Choir) (non-coupling)
8' Trumpet*
8' Cromorne* (enclosed with Choir)
Chimes*
Tremulant

SWELL (Expressive, Manual III)
16' Lieblich Gedeckt*
8' Geigen Diapason 61 pipes+
8' Rohrflute 61 pipes
8' Viola 61 pipes+
8' Viola Celeste 61 pipes+
8' Still Gedeckt 61 pipes+
8' Flute Celeste 61 pipes+
4' Principal 61 pipes+
4' Flute Triangulaire*
22'3' Quint*
2' Octavin 61 pipes
13'5' Terz*
2' Plein Jeu IV 244 pipes
16' Basson*
8' Festival Trumpet (Great) (non-coupling)
8' Tuba (Choir)
8' Trompette*
8' Hautbois*
4' Clairon*
Tremulant
Swell to Swell 16'
Swell Unison Off
Swell to Swell 4'

CHOIR (Expressive, Manual I)
16' Dulciana*
8' English Diapason*
8' Gedeckt*
8' Concert Flute*
8' Dulciana*
8' Unda Maris*
8' Erzahler*
8' Erzahler Celeste*
4' Prestant*
4' Koppelflute*
2 2/3' Nazard*
2' Blockflute*
1 3/5' Tierce*
1 1/3' Larigot*
1' Sifflute*
1' Scharff III*
16' Corno di Bassetto*
8' Festival Trumpet (Gt) (non-coupling)
8' Tuba* (non-coupling)
8' Petite Trompette*
8' English Horn*
4' Musette*
Tremulant
Choir to Choir 16'
Choir Unison Off
Choir to Choir 4'
Harp*

CHANCEL (Expressive, floating)
8' Cor de Nuit*
8' Dolcan*
8' Dolcan Celeste*
4' Spitz Principal*
4' Flauto d’Amore*
4' Unda Maris II*
2' Flautino*
8' Flugelhorn*
8' Vox Humana*
Tremulant

CHANCEL PEDAL
16' Bourdon*
8' Bourdon*

PEDAL
32' Contra Bourdon*
32' Contra Violone*
16' Principal*
16' Violone 32 pipes
16' Bourdon*
16' Gemshorn (Great)
16' Lieblich Gedeckt (Swell)
16' Dulciana (Choir)
8' Octave Principal 32 pipes
8' Lieblich Flute (Swell)
8' Gemshorn (Great)
8' Rohr Bourdon*
4' Choral Bass 12 pipes
4' Doppel Flute*
2 2/3' Rauschpfeife II*
32' Contra Basson*
16' Posaune*
16' Basson (Swell)
8' Trumpet (Great)
8' Festival Trumpet (Great)
8' Tuba (Choir)
4' Rohr Schalmei*
4' Clairon*
Chimes (Great)

*Stops by Walker Technical Co.
+Aeolian pipework

 

Cover feature

Cornel Zimmer Organ Builders, Denver, North Carolina

Aldersgate United Methodist Church, Wilmington, Delaware

Like the vast array of Möller instruments spread
throughout the country, Möller opus 9745 served its congregation admirably
and capably for more than three decades. After years of faithful service,
however, mechanical problems plagued the organ of Aldersgate United Methodist
Church in Wilmington, Delaware. Mechanical failures and ciphers made
accompanying a service challenging at best. yes"> 

The original organ installed in January of 1963 comprised 29
ranks across three manuals, but lacked adequate tonal resources to fill the
large cubic volume of the sanctuary. Fortunately, placement of the organ,
speaking directly down the center axis of the sanctuary, allowed for proper
tonal egress into the nave. 

In the spring of 2002, the congregation, led by its organist
of 20 years, Brad Winters, chose Cornel Zimmer Organbuilders to complete the
rebuilding of the instrument as their opus 80. The work envisioned by the
church covered several principal areas including rebuilding/refurbishing the
existing pitman chests, releathering all reservoirs, rescaling and revoicing
existing pipework, making additions to the organ to fill in tonal gaps in the
specification, and providing a new four-manual console to control the organ.

Work began on the organ in the summer of 2004 with the
removal of all pipework and the dismantling of the winding system. Pipework was
transported back to Denver, North Carolina to be revoiced and rescaled by tonal
director Jim Twyne. When rescaling or repairs were necessary, pipemaker Tommy
Linder provided the needed pipework. Reservoirs were also transported back to
the shop to be releathered. Leather in the windchests was replaced or treated
as needed to ensure superior performance for many more decades.
style="mso-spacerun: yes"> 

While the organ was absent from the sanctuary, the
congregation implemented the suggestions of the organbuilder to improve the
acoustics. High-pile carpet covered the entire chancel area, greatly hampering
the sound of both the organ and the choir. The carpet was removed and porcelain
tile flooring was installed, providing a notable improvement in sound
projection.

While the acoustics improved dramatically, congregants had
always experienced difficulty in hearing the organ in the rear of the lengthy
sanctuary. To overcome this difficulty, a floating antiphonal division,
complete with festival trumpet and pedal division was added at the rear of the
nave. A broad range of echo and dialogue effects may be achieved using this
division. 

In the main organ pipe ranks were largely straight ranks.
The pipework was in good condition and capable of being revoiced, refined and
in some cases rescaled to reach its maximum potential for the room. Principal
choruses were added in the Swell and Choir divisions as were color stops not
provided for in the original specification. The Great principal chorus was
reinforced with new voices at 16’, 8’ and 2’ pitch, and a chorus
trumpet, absent from the original organ, was also added. The pedal division was
expanded greatly to provide the organ with a full foundation. A fourth manual
was added to play a new Solo division to further increase the tonal palette
available to the organist. In divisions where pipework could not be added,
Walker digital voices were used for their superior sound and flexibility in
voicing.

Eric Molenaar and Nathan Bryson of the electrical department
wired the new console and supervised and assisted in the rewiring of the
existing windchests. Pipework was returned and the windchests rewired in September
of 2004. At the same time, the winding system was rebuilt, silencing the many
leaks that had developed over the life of the organ. Master cabinetmaker George
Zong constructed a new console of mahogany, which was finished to match the
existing woodwork in the church by our finishing expert, Marty Lemons. Existing
artistic elements found in the church were incorporated into the panels of the
console as well as the music desk. The console was delivered in early November.
Jim Twyne and assistant Nathan Bryson completed final voicing on site, enabling
the church to use the organ for Advent and Christmas. yes"> 

The completed organ consists of five manual and two pedal
divisions. A full array of couplers and over one hundred levels of memory
afford the organist unlimited flexibility in registration. The organ was
dedicated in an afternoon service on January 30, 2005, and Stefan Engels played
the inaugural recital on April 10.

--Nathan Bryson with contribution from Cornel Zimmer
and Jim Twyne

GREAT

Unenclosed, Manual II

16’          Sub
Principal (WTC)

8’             Diapason
(WTC)

8’             Violone*

8’             Bourdon*

8’             Gemshorn*

4’             Octave*

4’             Spitzflute
(WTC)

2’             Superoctave
(WTC)

2’             Grave
Mixture II*

1’             Fourniture
III*

8’             Trumpet
(WTC)

8’             Tuba
Mirabilis (Solo)

8’             Harmonic
Trumpet (Solo)

                   Chimes
(WTC)

                   Antiphonal
on Great

SWELL

Expressive, Manual III

16’          Rohrgedeckt*

8’             Geigen
Principal (WTC)

8’             Salicional*

8’             Voix
Celeste*

8’             Flute
Celeste II (WTC)

8’             Rohrflute*
(ext)

4’             Prestant
(WTC)

4’             Nachthorn*

22/3’      Quint
(WTC)

2’             Principal
(WTC)

2’             Waldflute
(WTC)

13/5’      Terz
(WTC)

1’             Plein
Jeu III*

16’          Contra
Trompette (WTC)

8’             Trompette*

8’             Oboe*

8’             Vox
Humana (WTC)

4’             Clairon
(WTC)

8’             Tuba
Mirabilis (Solo)

8’             Harmonic
Trumpet (Solo)

                   Tremulant

                   Swell
to Swell 16’

                   Swell
Unison Off

                   Swell
to Swell 4’

                   Antiphonal
on Swell

CHOIR

Expressive, Manual I

16’          Dulciana
(WTC)

8’             English
Diapason (WTC)

8’             Gedeckt*

8’             Viola
Pomposa (WTC)

8’             Viola
Pomposa Celeste (WTC)

8’             Erzahler*

8’             Erzahler
Celeste*

4’             Principal
(WTC)

4’             Koppelflute*

22/3’      Nazard*

2’             Blockflute*

13/5’      Tierce*

2’             Choral
Mixture IV (WTC)

16’          Fagotto
(WTC)

8’             Clarinet
(WTC)

8’             Krumhorn*

8’             Tuba
Mirabilis (Solo)

8’             Harmonic
Trumpet (Solo)

                   Tremulant

                   Harp
(WTC)

                   Zimbelstern
(WTC)

                   Choir
to Choir 16’

                   Choir
Unison Off

                   Choir
to Choir 4’

                   Antiphonal
on Choir

SOLO

Expressive, Manual IV

8’             Harmonic
Flute (WTC)

8’             Cello
(WTC)

8’             Cello
Celeste (WTC)

8’             English
Horn (WTC)

8’             French
Horn (WTC)

8’             Orchestral
Oboe (WTC)

8’             Tuba
Mirabilis (WTC)

8’             Harmonic
Trumpet (WTC)

                   Tremulant

                   Solo
to Solo 16’

                   Solo
Unison Off

                   Solo
to Solo 4’

                   Antiphonal
on Solo

ANTIPHONAL

Expressive, Floating

16’          Violone
(WTC)

8’             Principal
(WTC)

8’             Bourdon
(WTC)

8’             Gemshorn
(WTC)

8’             Dolce
Celeste II (WTC)

4’             Octave
(WTC)

4’             Hohlflute
(WTC)

2’             Spitzflute
(WTC)

11/3’      Mixture
IV (WTC)

8’             Cornopean
(WTC)

8’             Festival
Trumpet (WTC)

                   Tremulant

                   Antiphonal
to Antiphonal 16’

                   Antiphonal
Unison Off

                   Antiphonal
to Antiphonal 4’

ANTIPHONAL PEDAL

Unenclosed

16’          Violone
(Antiphonal)

16’          Bourdon
(WTC)

8’             Principal
(Ant)

8’             Gedeckt
(Ant)

4’             Choral
Bass (WTC)

16’          Posaune
(Ant)

8’             Cornopean
(Ant)

PEDAL

Unenclosed

32’          Contra
Prestant (WTC)

32’          Contra
Violone (WTC)

32’          Contre
Bourdon (WTC)

16’          Open
Wood (WTC)

16’          Contrebasse*

16’          Bourdon*

16’          Sub
Principal (Great)

16’          Rohrgedeckt
(Swell)

16’          Dulciana
(Choir)

8’             Octave*
(ext)

8’             Bourdon*
(ext)

8’             Gemshorn
(WTC)

51/3’      Quint*

4’             Choralbass*
(ext)

4’             Flute*
(ext)

22/3’      Rauschpfeife
II*

2’             Nachthorn
(WTC)

11/3’      Mixture
II (WTC)

32’          Contra
Posaune (WTC)

32’          Contre
Basson (WTC)

16’          Posaune
(WTC)

16’          Contre
Trompette (Swell)*

16’          Basson
(WTC)

16’          Fagotto
(Choir)

8’             Tuba
Mirabilis (Solo)

8’             Harmonic
Trumpet (Solo)

8’             Trumpet
(WTC)

4’             Rohrschalmei
(WTC)

WTC = Walker Technical Co. digital voices

* Existing pipes revoiced

Total stops: 84

Total ranks: 98

Pipe ranks: 29

Digital voices: 60

Builders/voicers on this project

Nathan Bryson

David Caldwell

Marty Lemons

Thomas Linder

Eric Molenaar

Jim Twyne

Anne Zimmer

Cornel Zimmer

George Zong

A. E. Schlueter Pipe Organ
Company, Lithonia, Georgia
First United Methodist Church, Atlanta, Georgia
Atlanta First United Methodist Church was originally organized as Wesley Chapel in 1847, and has maintained a long tradition of excellence in worship. The present church was built in 1903, when Mr. Asa Candler purchased the former church site for the headquarters of Coca-Cola. After moving to the new location, the church changed its name to Atlanta First United Methodist Church. Many Methodist luminaries have served this congregation, including the venerable Pierce Harris.
The first pipe organ known to be installed in the church was a two-manual Roosevelt in 1885. When the present church was built, this instrument was moved. In 1919, the organ was re-actioned and rebuilt by Möller. Further changes occurred in 1953 when the organ was enlarged to 46 ranks by another firm. A new façade was built from new and existing pipes in a “pipe fence” array; while commanding in stature, the new façade did not pay homage to the architecture of the building and was poorly constructed. Fortunately, during the 1950s work, ten stops from the former Roosevelt instrument were retained; unaltered, they could be considered for inclusion in the new 2008 instrument. Over the succeeding years, the organ was rebuilt as sections failed and generally kept in working order. The organ provided the basic needs for service playing, but, quite simply, was too small for the space.
Jump forward to 2003 when senior pastor Rev. Wayne Johnson commissioned a feasibility task force to redefine the church’s mission and plan for future ministry. As with many downtown churches, the community around the church was displaced as office buildings replaced homes. Yet this church saw opportunity. The feasibility task force determined it needed to continue its television ministry, continue its education through the Candler School (founded at Atlanta FUMC, but now only affiliated through the denomination), and renovate and restore the church building. It was noted that the organ needed to be addressed as part of the building infrastructure. The task force engaged an architect to provide possibilities for the chancel renovation. J. Donald Land, director of music and organist, led the charge to consider the organ and its renovation or replacement.
A. E. Schlueter Pipe Organ Company was one of several firms interviewed for the project. We viewed this as a real opportunity to build an instrument of significance in our hometown. It is not often that an opportunity develops to build a “Magnum Opus” in the same city as a firm’s location. The Schlueter family decided that the building of this instrument was more important than simple financial gain. Trust that our pencils were very sharp because of this unique opportunity to create art. In our interview, we discussed with the committee the opportunity for an organ of multiple divisions and a wide palette of colors, in an organ case that would complement the church. Specific emphasis was placed on preserving the stewardship of the past. In our design, pipework from the two previous instruments was incorporated in the various departments of the organ.
Quality organbuilding is never the result of one individual but of the synergy of a team. In this respect, our firm was ably assisted by the Atlanta First United Methodist Church clergy, music staff, church staff, and feasibility task force. These individuals readily gave of their time and talents and provided invaluable assistance from the inception of the organ project to its installation and tonal finishing. Specifically we would like to recognize Dr. Bob Smith, chair of the feasibility task force, who was charged with the selection of the architect and organbuilder; J. Donald Land, director of music and organist; Wally Colly, church liaison; senior pastor Rev. Wayne Johnson, deceased, whose vision propelled this project forward even in his absence; and current senior pastor Dr. Jim Ellison.
As part of the building renovation, the choir loft was to be lowered (it was eight feet above the pulpit). This meant that the organ case would need to begin from a much lower plane than the actual organ chamber. We designed the lower case walls to begin below the main organ chassis and act as a reflective shell for the choir. The interior layout of the organ was designed to allow the choir to hear the organ without taking the full brunt of large registrations. In effect, the organ “blooms” just forward of the choir loft.
At the center point of the organ, the chamber is only nine feet deep, so modest cantilevers were designed into the organ case to grow the chamber space without creating a large shelf above the choir that would hamper hearing the organ. Visually, these forward pipe towers give the illusion of a more forward presence.
The engineering that developed would require the organ divisions to be stacked one on top of another. Often stacked organs rely on the division above to form the ceiling for the lower division. This is a problem because the sound speaks into windlines, reservoirs or schwimmers, organ actions, or other parts. It is also mechanically difficult to service the above division because of the sea of pipes located below it; this is often remedied by placing additional perch boards over the pipes, thus adding more impediments to sound reflection. Our solution was a careful design that built dedicated floors and ceilings in each division.
The layout of the organ finds the Swell, String and Choir divisions located on the bottom level. The Solo and Great divisions are located in the top level of the organ, with the Pedal in an open two-story chamber in the center of the case. The Great is enclosed with a ceiling that allows it to speak into the center of the case and to blend with the lower divisions in the chancel, rather than going completely over the musicians’ heads. This purposefully built chamber has proved very effective in coalescing the many divisions of the organ and eliminates geographic specificity of the individual organ stops. The rear of the church houses the Antiphonal, Antiphonal Pedal and Trompetteria divisions of the organ. The Antiphonal is situated at the same height as the Great organ, thus promoting tuning stability.
Because the church has a very active television ministry, there was a concern about the console being exposed and commanding behind the pulpit. A lift was designed that allows the console to be lowered to reduce its visual signature, and, when not needed for other church events, the console can be lowered down and rolled into a side parking location. The platform then can be raised to increase the available space in the chancel.
The console and organ case are constructed of quarter-sawn white oak. We made a conscious effort to incorporate elements of the church building into the console and organ case. Our design engineers, Howard Weaver and Robert Black, saw to it that arches, quatrefoils, and acanthus leaves became part of our vocabulary. It was clear that portions of the organ case would require large grille openings to provide maximum divisional egress into the room. We did not desire to use cloth grilles in the organ case. These impede airflow, are long-term maintenance issues, and affect sound. We designed wood grilles with an open quatrefoil pattern, which allow both the free passage of sound and airflow for tuning stability.
In designing the console, we were very concerned about the ergonomics of its layout. Those who have had the opportunity to sit at larger consoles are aware of their visual and physical challenges. To overcome some of the issues of actually reaching the playing surfaces, we foreshortened the organ sharps as the keys ascended from Manual I to Manual V. The keyboards are not sloped, but with subtle adjustment to the manual relationships even Manual V is comfortable to reach. A similar consideration was given to the pedalboard and expression shoes, which were designed using proportions normally found in our three-manual consoles. Special attention was given to the layout of the pistons, toe studs, drawknobs, and tilting tablets. The end result is that all of the controls can be used and seen without the leaning and craning about that occurs on a large console. It is a very comfortable console to play.
Some interesting facts about the organ:
• the organ contains 93 ranks with 5,360 pipes represented in nine divisions;
• in excess of 10,000 board feet of lumber were used to build this instrument;
• the organ contains over 10 miles of wiring for switching and control;
• the organ uses wind pressures that range from 3½" to 11";
• the main manual windchests are slider, with reeds on electro-pneumatic windchests;
• three divisions of the organ are located in the rear chambers;
• the Trompette en Chamade in the rear of the sanctuary is made from brass;
• the organ weighs over 44,000 lbs.;
• the front organ case stands over 43 feet tall;
• the instrument contains pipes of lead, tin, zinc, brass, and wood;
• the wind for the organ is created by three blowers;
• the organ is controlled with a five-manual console.
The tonal design of this organ was the result of many discussions. Prior to scaling this instrument, organist Don Land and I were able to visit a number of recent instruments built by our firm. Doing this in a short time frame was very helpful to determine tonally where we had gone and where we were going. Don brought in local organists Tom Alderman, David Stills and Richard Morris for their input to the specification and console layout. Tom Alderman worked as a consultant to Don. As a triumvirate, we worked through the myriad of decisions involving the final stoplist, drawknob layout, couplers, pistons, toe studs, and other controls. In the end, I recognize that I was offered a tremendous level of trust and generally an unfettered hand in the tonal design and scaling of the organ.
As the final specification became the math of scales, halving ratios, metal thickness, mouth widths, cut-ups, and languid bevels, I had the good fortune of having Daniel Angerstein and John Tanner to look over my notes. We have worked together on many projects over the years.
For tonal finishing, I was very ably assisted by a team led by Daniel Angerstein, with the assistance of John Tanner, Lee Hendricks, and Bud Taylor. I want to thank Daniel, John, Lee, and Bud for their input regarding division balance, dynamics, color, neutrality, fundament, harmonics, chiff (or lack of), treble ascendancy, and so many other factors. There must always be a final arbiter of design and direction and, in those instances where I followed a different path or tonal treatment, the civility for further discourse remained. I would like to personally single out Daniel Angerstein for his contribution to this project.
It is the daily give and take and discussion that allows art to flourish. It is a rule of organbuilding that you will not make everyone happy with your choices and decisions. The most important question is not “what will others think?” but “have I completed the work to the best of my ability and the charge or commission that I was given by my client to achieve their vision?” As a builder, it is important always to remember what the service role of the instrument will be, and that in the end, the instrument you are building is a tool for worship and is part of the church fabric. Just as your thumbprints are on the instrument, so must be the thumbprints of the church members.
On a project of this size, one challenge was keeping the organ in tune and making adjustments called for during tonal finishing. To make this happen, the voicers would work from 8 am to noon and then break. During lunch hour, members of our staff would take the opportunity to “punch-list” final items and adjustments. When the voicers returned, the room again would settle into the silence of single tones and “louder, softer, more flue, less flue,” etc. After the voicers left in the evening, the crew was again released to make adjustments until 9 pm, when the tuning crew arrived to perform the nightly vigil of preparing the organ for the voicers in the morning. Where stops required work beyond a reasonable ability to perform it in the chamber, we would prepare sample Cs and remove the stop for voicing in our shop. The completed stop would then be installed into the organ for final finishing. This ballet of work went on for weeks on end, and I wish to thank the dedicated members of my staff for the completion of this instrument and for the internal support provided from one staff member to another.
Special recognition must go to our craftsmen, Marc Conley and Robert Black, who were ever present in overseeing the design, engineering, and building of all of the myriad parts that constitute an instrument of this stature. They ensured that the final fit and finish met our standards of quality in engineering and execution. Marc served on the “sharp end of the stick” and worked untold hours at the church to see the project to its completion.
Tonally, this instrument reflects our desire to create organs that possess warmth and clarity. In this room, which promotes clarity of tone and gentle unforced voices, we found wonderful bass presence but the need for an ascendant treble. In the tonal design, all of the divisions of the organ are based on an 8' principal chorus. We differentiated these principal choruses, in addition to the vast array of flutes, strings, and mutations to allow the performance and support of many schools of repertoire. The organ was designed with numerous strings and celestes. It is an absolute joy to hear a transcription on the organ or the subtle undergirding of a choir. With the plethora of solo reeds in the organ, we were able to provide differing reed choruses in the various divisions and pure ensemble function for some of these departments. The organ has reeds designed after English, German, and French styles. The completed instrument pays homage to the important organbuilders and organbuilding styles of the past but is not a copy of any particular builder or style.
This instrument was designed to play a role in all musical styles of worship, from traditional to contemporary. To support the non-traditional role, the instrument is equipped with MIDI capability and a separate chamber audio system. This allows other tones not normally associated with the organ to be generated and controlled by the console. In this manner the organ can blend its voices with other sounds and participate in services that might normally exclude the pipe organ.
Early on, the client had discussed the inclusion of some digital voices in the organ. There was a desire for some stops in the organ that would be considered secondary or tertiary in nature and were the type of stops that might normally be drawn out of a MIDI sound module. They did desire that these stops be voiceable and individually tunable, which specifically excluded MIDI voices. In our interview, we were asked if we would consider working with Walker Technical Company in the installation of these voices. Even though the majority of our experience had been limited to 32' and 16' extensions and percussions, we were aware of the high quality of engineering and sound quality provided by Walker.
As we considered the inclusion of digital voices, the primary question was how? It is probable that, in consultation with the client, we could have left prepared-for stops in the console, to be completed by a third party without our direct involvement. In effect, the stops could have been added in a “don’t ask, don’t tell” fashion, which we considered unpalatable. I am well aware that this method of installing digital stops has allowed some firms to remain “intellectually honest,” but I consider this method to be, at best, morally untenable. If you are providing for additions to the organ in the console and relays, which forces a digital solution because the chamber, winding system, or structure could never accommodate the proposed installations, you cannot pretend you simply did not know, and worse, you have ceded part of your tonal vision to a third party. We considered that if this were the desire of the client, we would work to ensure as seamless an integration of the adjunct stops as possible and to consult on the stops and their voicing.
One fundamental concern with the inclusion of digital stops is where does one start and where does one end once the genie is “out of the bottle.” Our consideration was simple—even though there was a possibility to use digital voices, we strongly desired the organ to be able to stand on its own with the speakers and amps unplugged. There were instances where it would have been much easier to leave out that additional 16' register of pipes in lieu of a digital voice. I am proud to say we resisted this temptation and made organbuilder choices.
Bob Walker worked directly with our firm and Daniel Angerstein in voicing and tuning these stops, and we were very pleased with the final results. Where we desired the voicing and balances to be altered and changed, Mr. Walker was accommodating and worked to achieve a result in keeping with our overarching tonal philosophy for this instrument. The digital stops are as seamless as we had hoped, and the stops contribute around the periphery, as planned by the client, without overtly placing their presence on the stoplist. To the critics, I would say that our firm approached this instrument with integrity of design, and you can indeed play the organ successfully without any digital stop. There are now 93 ranks of wind-blown pipes where there were 46 ranks, and we have completed the tonal vision of our clients in a unified, cohesive manner.
In the end, how do we view this project? In truth, we are still overwhelmed by the opportunity presented to us and the fine work completed by our staff. It is as if we have been so close to the project it is difficult to see what we have done. Analytically, we are aware that the instrument is stunning to hear and see, and yet it will take time to back away far enough from the façade, console, and thousands of pipes to see and hear what others already know of this instrument.
Personally, I do know this—our firm was gifted with an opportunity to build an instrument that we could only have dreamed of at the beginning of our career. We are grateful for the trust placed in us by Atlanta First United Methodist Church and so very fortunate to have the talented and skilled staff that we enjoy. Our tonal philosophy is to “build instruments that have warmth not at the expense of clarity and clarity not at the expense of warmth.” We are thankful to have been given such a grand canvas upon which to express our tonal ideals.
In summation, I would like to thank my father and our company founder, Arthur E. Schlueter, Jr. He is the foundation upon which our company was built and continues to thrive. His continuing role as artist, mentor, and president provides the ongoing oversight of our firm. I am humbly proud to call him both Boss and Dad, as we together work to build instruments for worship.
—Arthur E. Schlueter III

A.E. Schlueter Pipe Organ Company wishes to thank its staff including:
Arthur E. Schlueter Jr., president
Arthur E. Schlueter III, vice president/tonal and artistic direction
John Tanner, vice president of production/tonal finisher
Howard Weaver, senior design engineer
Rob Black, master cabinet-maker/organ engineer
Marc Conley, production supervisor
Bud Taylor, assistant production supervisor
Shan Dalton, office manager
Bob Parris, executive assistant
Barbara Sedlacek, office support
Mike Norris, woodshop foreman
Tony DiLeo, console builder
Bob Black, BSME, mechanical engineer
Joe Sedlacek, console wiring
Jeffery Chilcutt, CAD operator
Michael DeSimone, leathering and assembly
Dustin Carlisle, organ assembly
Sam Polk, organ assembly, tuning assistant
Kelvin Cheatham, organ assembly
Wilson Luna, assembly and wiring
Norma Renteria, leathering, assembly and wiring
Rockshawn Owens, organ assembly
Ruth Lopez, leathering and assembly
Kevin Cartwright, tuning & tonal assistant
Bob Weaver, leathering, assembly, tuning and service
Othel Liles, electrical engineer
Patty Conley, relay wiring
Herb Ridgely, Jr., sales & support
Mike Ray, electronics technician
David Stills, sales & support
Rick Stewart, sales & support
Dave Kocsis, program manager

The cover photo is by Michael Mitchell of Creative Expressions. Other photo credits as indicated.

GREAT (Manual II, unenclosed)
32' Contre Bourdon (Pedal)
16' Bourdon (Pedal)
16' Violone 73 pipes
8' First Open Diapason 61 pipes
8' Second Open Diapason 61 pipes
8' Violone (ext)
8' Harmonic Flute 49 pipes
(common bass from Rohrflote)
8' Rohrflote 73 pipes
5-1/3' Gross Quint 61 notes+
4' Octave 61 pipes
4' Prestant 61 pipes
4' Rohr Flute (ext)
3-1/5' Gross Tierce 61 notes+
2-2/3' Twelfth 61 pipes
2' Super Octave 61 pipes
2' Waldflote 61 pipes
2-2/3' Cornet III 183 notes+
1-1/3' Fourniture V 305 pipes
2/3' Scharf IV 244 pipes
16' Contra Trompete 85 notes+
8' Trompete (ext)
4' Clarion (ext)
16' Trombone (Solo)
8' Tromba (Solo)
8' Festival Trumpet (Solo)
Tremulant
Chimes (enclosed with Solo)
Cymbalstern
Great to Great 4'
MIDI on Great A
MIDI on Great B

SWELL (Manual III, enclosed)
16' Lieblich Gedeckt 73 pipes
8' Violin Diapason 61 pipes
8' Traverse Flute 61 notes+
8' Stopped Flute (ext)
8' Viola de Gambe 61 pipes
8' Viola Celeste 49 pipes
8' Viol Dolce Celeste II 122 notes+
8' Flute Celeste II 122 notes+
4' Prestant 61 pipes
4' Harmonic Flute 61 pipes
4' Unda Maris Celeste II 122 notes+
2-2/3' Nazard 61 pipes
2' Flageolet 61 pipes
1-3/5' Tierce 61 pipes
2' Plein Jeu Grave IV–VI 330 pipes
2/3' Plein Jeu Acuta III–IV 208 pipes
16' Bombarde 61 notes+
16' Contre Fagotto 85 pipes
8' Trompette 73 pipes
8' Oboe 61 notes+
8' Vox Humana 61 notes+
4' Clarion (ext 8')
4' Fagotto Clarion (ext 16') 24 pipes
Tremulant
Swell to Swell 16'
Swell Unison Off
Swell to Swell 4'
MIDI on Swell A
MIDI on Swell B

STRING ORGAN
(Manual III, enclosed with Swell)
16' Viol Celeste II 122 notes+
8' Viol d’Orchestra 61 notes+
8' Viol Celeste Sharp 61 notes+
8' Viol Celeste Flat 61 notes+
8' Dulcet Celeste II 122 notes+
4' Violina Celeste II 122 notes+
4' Dulcet Celeste II 122 notes+
8' Vox Mystique 61 notes+
Tremulant
String Unison Off

CHOIR (Manual I, enclosed)
16' Quintaton 61 notes+
8' Weit Principal 61 pipes
8' Voce Umana 61 notes+
8' Bourdon 61 pipes
8' Gemshorn 61 pipes
8' Gemshorn Celeste 49 pipes
8' Unda Maris II 122 notes+
4' Principal 61 pipes
4' Nachthorn 61 pipes
2-2/3' Nasat 61 pipes
2' Wald Flute 61 pipes
1-1/7' Septieme 61 notes+
1-3/5' Terz 61 pipes
1-1/3/ Quint 61 pipes
1' Sifflote 61 pipes
8/9' None 61 notes+
2' Choral Mixture IV 244 pipes
1/2' Terz-Cymbal III–IV 208 pipes
16' Corno di Bassetto 61 notes+
8' Clarinet 61 pipes
16' Dulzian 61 notes+
8' Holzregal 61 notes+
4' Rohr Schalmei 61 notes+
8' Tromba (Solo)
8' Harp 73 notes+
4' Celesta (ext)
Tremulant
Choir to Choir 16'
Choir Unison Off
Choir to Choir 4'
MIDI on Choir/Pos A
MIDI on Choir/Pos B

ANTIPHONAL (Manual I, enclosed)
16' Bourdon 97 pipes
8' Principal 61 notes+
8' Gamba 61 pipes
8' Salicional 61 pipes
8' Voix Celeste 49 pipes
8' Gedeckt (ext)
8' Flute Celeste II 122 pipes
4' Principal 61 pipes
4' Harmonic Flute 61 pipes
2-2/3' Nazard (ext 16')
2' Blockflote (ext 16')
2' Mixture IV 244 pipes
16' Contre Trumpet 61 notes+
8' Harmonic Trumpet 61 pipes
8' Flugel Horn 61 pipes
Tremulant
Antiphonal to Antiphonal 16'
Antiphonal Unison Off
Antiphonal to Antiphonal 4'

SOLO (Manual IV, enclosed)
8' Major Open Diapason 61 notes+
8' Violincello 61 pipes
8' Violincello Celeste 49 pipes
8' Doppelflote 61 pipes
8' Flauto Mirabilis 61 notes+
4' Claribel Flute 61 pipes
4' Eclat V 305 notes+
8' Tromba 61 pipes
8' English Horn 61 pipes
8' Harmonic Trumpet 61 pipes
8' Festival Trumpet 61 notes+
8' French Horn 61 notes+
16' Tuba Magna 73 notes+
8' Tuba Mirabilis (ext 16')+
4' Tuba Clarion (ext 16')+
Tremulant
Solo to Solo 16'
Solo Unison Off
Solo to Solo 4'
MIDI on Solo A
MIDI on Solo B

TROMPETTERIA
(Manual V, enclosed with Antiphonal in gallery)
8' Tuba Mirabilis (Solo)
16' State Trumpet 85 notes+
8' State Trumpet (ext)+
4' State Trumpet (ext)+
2' Tierce Mixture V 305 notes+
16' Trompette en Chamade TC
8' Trompette en Chamade 61 pipes
4' Trompette en Chamade 49 notes

PEDAL (unenclosed)
32' Contre Diapason 32 notes+
32' Contre Bourdon 32 notes+
32' Contre Violone 32 notes+
16' Principal 44 pipes
16' Wood Open 32 notes+
16' Violone (Great)
16' Bourdon 44 pipes
16' Lieblich Gedeckt (Swell)
16' Quintaton (Choir)
8' Octave (ext 16')
8' Violone (Great)
8' Bourdon (ext 16')
8' Gedeckt (Swell)
4' Choralbass 32 pipes
4' Nachthorn 32 pipes
4' Rohr Flute (Great)
2' Octavin 32 pipes
2-2/3' Mixture V 160 pipes
32' Contre Bombarde 32 notes+
32' Contre Basson 32 notes+
16' Ophicleide 32 notes+
16' Trombone 12 pipes
16' Bombarde (Swell)
16' Contre Fagotto (Swell)
16' Corno di Bassetto (Choir)
8' Festival Trumpet (Solo)
8' Bombarde (ext 32')
8' Tromba (Solo)
4' Clarion (Solo)
4' Clarinet (Choir)
MIDI on Pedal A
MIDI on Pedal B

ANTIPHONAL PEDAL (enclosed)
32' Echo Bourdon 32 notes+
16' Principal 32 notes+
16' Bourdon (Antiphonal)
8' Octave 32 notes+
8' Gedeckt (Antiphonal)
16' Contre Trompette (Antiphonal)

+ Walker stops

Coupler Rail
Great to Pedal 8, 4
Swell to Pedal 8, 4
Choir to Pedal 8, 4
String to Pedal 8
Antiphonal to Pedal 8
Trompetteria to Pedal 8
Solo on Pedal (couplers follow through)
Swell to Great 16, 8, 4
Choir to Great 16, 8, 4
String to Great 8
Antiphonal to Great 16, 8, 4
Trompetteria to Great 8
Solo on Great (couplers follow through)
Swell to Choir 16, 8, 4
String to Choir 8
Antiphonal to Choir 8
Trompetteria to Choir 8
Solo on Choir (couplers follow through)
Antiphonal to Swell 16, 8, 4
Trompetteria to Swell, 8
String on Solo 8 (couplers follow through)
Trompetteria to Solo 8

Cover

Buzard Pipe
Organ Builders, Champaign, Illinois

Opus 29,
completed November, 2003

All Saints
Episcopal Church, Atlanta, Georgia

Some years ago I was contacted about a new organ for All Saints Episcopal
Church by the assistant organist, Jefferson McConnaughey. We seemed to be
speaking the same language concerning how we thought organs should sound, and I
was eager to meet him, music directors Ray and Elizabeth Chenault, and to visit
the church. Our conversations were put on hold while the parish called a new
rector and undertook other projects. At the time we were blessed with
commissions to build the organ at St. Paul's Episcopal Cathedral, Oklahoma
City, and large instruments for Glenview Community Church (III/71) and Holy
Family Catholic Church of Rockford, Illinois (III/56).

A few years went by, and I was invited to visit the church. Judging from the
size of the instrument under discussion, I expected to enter a huge space.
Instead, the church was more modest than vast, the acoustic more understated
than generous. At first blush, it seemed that 40 stops could have adequately
met their needs. But, no real lady ever gives up all her secrets at once, and
so I patiently looked and listened.

I listened to their former instrument while walking around the room, and
observed the acoustical phenomena under which the musicians had been laboring
for so long. The organ, although installed in the chancel in relatively close
proximity to the congregation, diminished drastically in volume in the nave. I
concluded that a part of the organ had to be installed in the body of the
church, to support singing and "pull" the sound out of the main part
of the organ installed in the chancel. Additionally, sound generated in the
nave lost its energy quickly; sound simply didn't travel well without becoming
garbled.

The musicians wanted to be able to properly register an organ to
"text-paint" Anglican Chant, choral anthems and ceremonial music in
the Anglican musical tradition. They needed a wide variety of accompanimental
tone colors at every dynamic level so that the organ could always support the
singers, even at pianissimo volume levels. It was equally important that the
organ musically render the great body of organ literature, even that of the
French Baroque school, of which Mr. McConnaughey seemed quite fond. And, the
Chenaults are duo organists; the literature which has been (and has yet to be)
commissioned for them had to be accommodated. This requires a large organ, as
coloristic stops outside the component voices for the essential choruses had to
be included and integrated into the design. Fortunately, these stops were never
in competition for space or funding, nor were our classic concepts of the
hierarchical scaling of divisions within the instrument ever compromised. Some
specific organs were studied: The Temple Church, London; King's College,
Cambridge; and St. Paul's Cathedral, London.

There is a beautiful chapel behind the Epistle side choir stalls, at 90
degrees to the axis of the church, which also serves as an overflow room on
Sundays. Worshippers there were relegated to viewing services on a small
closed-circuit TV, and could not participate in the hymn-singing because, being
outside the body of the church, they couldn't hear the organ. If the new organ
were to address and meet all the musical and acoustical requirements of the
church, then the chapel also needed to have some pipes in it, so that those
seated there could feel a part of the worshiping community.

All of these requirements were brought to bear upon a single instrument. Yes,
I agreed, this instrument has to be large--very large. Even if the room seats
only 550 souls, the musical and physical requirements dictated an organ of a
size which one might initially think out of proportion.

The position and installation of the new Main Organ was relatively
straightforward. The Great, Swell, Choir, Tuba, and Pedal would have to be
installed in the chancel, in an enlarged version of their existing chamber,
plus spaces created by cantilevering steel platforms into the chancel space on
both Epistle and Gospel sides.

The antiphonal division, a romantic Solo Organ including a Diapason Chorus
which mirrors the Great, had to be installed in the nave. But there was no
floor space for cases, no desire to see columns, and windows everywhere, many
of them signed by Louis Comfort Tiffany. By clever engineering of the diatonic
windchest layouts (which we had first used at St. Paul's Cathedral in Oklahoma
City) we were able to tuck the Solo Organ cases up in the rafters of the church
above the narthex, on either side of a central great window. By creative use of
perspective, we were able to engineer the location of the supporting steel
platforms so that they wouldn't block the view of the Tiffany windows in the
side aisles, yet give us sufficient height for the pipes inside the cases.

As conversations concerning the tonal design took shape, Ray, Elizabeth, and
Jeff fell in love with our tonal style which, while embracing eclecticism, has
its own unique personality. They visited both our large organs, and Jeff
actually played Sunday services on our Opus 7 organ at The Chapel of St. John
the Divine in my wife Linda's stead. The All Saints organ is a very logical
outgrowth of our style as practiced in our smaller organs, and as our two
larger organs have led us. The humble beginnings of Opus 7 at the Chapel, in
which we made 29 stops into a cathedral organ, can be seen all over this much
larger organ. Well-informed national and historical inspirations are
distributed throughout, so that the whole is at unity with itself. No German
Hauptwerk, French Récit or English Chair Organs for us. For example the
Great includes the mature English practice of 8' First & Second Open
Diapasons, married nicely to the French Fonds d'Orgue. A voluptuous Full English
Swell has continental fire by virtue of the authentic (but modified) French
reed battery, but the lyrical soft solo reed is a plaintive English Oboe. No
quirky nomenclature either. Although rooted in 19th-century English practice of
"Diapason, Principal, Twelfth, Fifteenth," etc., the stops in our
organs are what they say they are. If the Swell reed is spelled
"Trompette," you can be assured that you will hear a Trumpet with
French shallots and pipe construction.

The Great is based upon a 16' Double Open Diapason of tin which stands
proudly in the Gospel side case along with the rest of the division. A complete
Diapason chorus through Mixture, flutes at 8' & 4', and a Viola da Gamba
make up the flue work, and the reeds are Trombas, brought up to the manuals from
the Pedal Trombone. The Mixture breaks at octaves, rather than at fifth
intervals. In this way, one doesn't hear alternating unison and fifths playing
as the top rank, and the breaks are virtually unheard.

The Great also incorporates an harmonic corroborating stop which was more at
home in English and American concert organs of the early part of the last
century. Our four-rank Harmonic Mixture has in it a unison, a quint, a tierce,
and a flat-seventh. These are all the harmonics present in Tromba class reeds,
which are on the Great at 8' and 4' pitches. We originally included the
Harmonic Mixture as a way to prevent the dark Trombas from covering the
brightness of the mixture work in full organ, but have found that when used
sans Trombas, the ancient flavor of 18th-century Dutch organs is perceived in
an uncanny way. One could even imagine the wind to be unsteady--but of course
it's not!

The Solo has a Diapason Chorus nearly mirroring the Great, and despite its
distance from the Main Organ, it can exactly balance the Great Plenum in
certain contexts. The Solo contains a pair of E. M. Skinner-inspired Gambas,
the celesting rank in the case across the church from its unison pair. Now
that's a Celeste! The Flügel Horn, while a lyrical romantic solo reed, has
just enough harmonic interest to function beautifully as a chorus reed. The
Bassett Horn is certainly at home playing obbligato parts in Elgar, but has
just enough Cromorne in it to play Daquin with a French nose in the air.

One can use the Choir in a classic context, as a Positiv when a lighter foil
to the Great is desired. But this division is the real choral accompanying
workhorse. It's one of the most elegant, light, but profound Choir divisions we
have created. The Choir features a flute chorus from 16' up, and a proper
Diapason chorus complete with a four-rank quint mixture, a fifth interval
higher than the Great. But the luxurious feature in this day and age is our
Dulciana Chorus, which includes a three-rank mixture in which the 4' enters
early on at tenor C. Our Dulcianas are truly small Diapasons, and there is
nothing like the effect of accompanying voices with Diapason color, but at such
a soft volume. The Dulciana Mixture has many uses in coloring and painting
texts, 90% of which I would never have envisioned. Our Cornopeans are
small-scaled, but fundamental Trumpets as the original prototypes were, not the
horn-like Cornopeans one would otherwise love to hate. The Clarinet is truly of
English style, and the English Horn is orchestral in color with enough body to
be the foundation of the Choir reed battery, yet enough jazz in the color to
differentiate itself from the more fundamental Swell English Oboe.

The Chapel Organ includes a small-scaled Diapason Chorus at 8' and 4' to
lead the hymn-singing, and an 8' Aeoline and Vox Angelica. These very, very
soft string-toned stops allow the worshippers there to feel connected, and also
provide a powerfully effective pianissimo "wrap-around" effect as the
softest sounds concluding a smooth decrescendo. These little strings can just
be barely heard in the nave as the expression box closes on the Solo Flute
Cœlestis. When they play alone, they are literally in another room, off in
the distance.

In the All Saints organ, the Great, Swell, Choir, Solo, and a portion of the
Pedal divisions play upon 4 inches of wind pressure. The Trombones and Trombas
play upon 7 inches of wind, the Solo Festival Trumpets on 6 inches, and the
Major Tuba plays upon 20 inches of wind. The Tuba is housed in its own
expression box, and the organist can easily select which expression shoe may be
used to operate the Tuba's expression (or whether it is to remain open) by a
simple rotary switch. We aim to expand the color and dynamic range of the pipe
organ, while keeping the console controls simple and straightforward.

Before I was selected as their builder, Ray, Elizabeth, and Jeff charged me
to design the perfect instrument for all their requirements, and they would
undertake the responsibility of presenting this plan to the organ committee to
get their reaction, and see if the instrument would have to suffer at the hands
of "value engineers." Although my past experience made me somewhat
timid about presenting such a large (expensive) instrument as part of a
selection competition, we arrived at the specification of 63 straight speaking
stops, 87 ranks of pipes (5229 pipes overall), in five free-standing cases
throughout their church.

I will never forget the evening of a crucial organ committee meeting when I
received an excited telephone call from Ray. The musicians presented the
proposal and the room fell silent. People on the committee asked questions to
the effect: "Now, do all three of you musicians agree on this builder? Do
all three of you agree with each other in every respect to this instrument?"
When the answer was an emphatic yes, a committee member said: "How many
times do musicians agree with each other about anything, let alone every of the
many thousands of details in this organ's design!? This is what we need for All
Saints, and we need John-Paul to build it for us." A member of the
committee, Sarah Kennedy, later wrote a check for the entire project, in loving
memory and in honor of her family, The Kenans.

The organs' visual designs were developed during August and September of
2001. The first draft of the Chapel Organ's design was revised to be more in
keeping with the modern nature of the chapel (and less like King's College,
Cambridge). The Main Organ and the Solo Organs were built according to my first
pen-and-ink renderings.

All of my design drawings are executed by hand. The discipline of cleaning
the drafting table and truing the parallel bars and 90-degree instruments
contributes to clearing my mind of everything except what I need to think about
for the organ on the blank piece of paper.

It is always my goal to design organ cases which appear as though they had
always been in the church. The All Saints cases use shapes and colors found
throughout the room, and mirror the restrained nature of the Victorian Gothic
design. But the cases become vivid, exciting, and dramatic by incorporation of
the fabulous red enamel and gold leaf adorning the church's clerestory. The
inclusion of the red gave me license to add contracting pieces of red-stained
Honduras mahogany in the stained white oak cases. The soaring nature of the
Solo Organs, as their lines ascend while moving toward the great window, seemed
to cry out for heraldic angels, announcing the Great Day of Judgment on
gold-leafed trumpets. Thanks to parishioner David Foerster for making these
possible.

All of us will remember exactly where we were on 9/11. I was at the drafting
table finishing the designs for the Main Organ cases. I had penciled the
drawing the day before and was preparing to ink the drawing when I heard the
news reports. My entire staff came up to the drafting room and we all went to
the conference area where a small television showed us the horrors unfold as
the second airliner smashed into the second building. As we heard a large
airplane overhead, being sent to land at our local airport, I was asked if we
were going to close for the day. I said, no. We had to go about our task of
making beautiful things, especially in light of the ugliness that visited
itself on our country that day. If we wanted to take time off individually to
mourn our country's losses, go with my blessing, but the doors would remain
open and I would continue to draw a beautiful pair of pipe organ cases.

I set to cleaning out my India ink pens, and put on a CD of The English
Anthem II from St. Paul's Cathedral,
London.

Oh Lord, look down from heaven, and behold the habitation
of Thy holiness and of Thy glory: Where is Thy zeal and Thy strength? Thy
mercies towards me, are they restrained?

My deepest thanks to the musicians at All Saints Church, everyone on the
organ committee, Greg Kellison, chairman; Paul Elliott, the rector; David
Foerster, and Sarah Kennedy for selecting me and my firm for this tremendous
commission.

My overwhelming gratitude goes to the members of my staff whose hard work
and dedication made such an excellent instrument so sublime: Charles Eames,
executive vice president, general manager and chief engineer; Brian K. Davis,
associate tonal director; Keith Williams, service department director; Shayne
Tippett, shop manager; Jay Salmon, office manager; Evan Rench, pipe maker,
voicer; Steve Downes, tonal assistant; C. Robert Leach, cabinetmaker; Stuart
Martin, cabinetmaker; Kenneth McCabe, winding systems; Ray Wiggs, consoles,
windchests; Robert Ference, service technician; Stuart Weber, service
technician; Jonathan Borchardt, service technician; JoAnne Hutchcraft Rench,
receptionist.

--John-Paul Buzard

GREAT (4-inch wind pressure)

Manual II - unenclosed pipework

16' Double Open Diapason

8' First Open Diapason

8' Second Open Diapason (ext 16')

8' Viola da Gamba

8' Harmonic Flute

8' Bourdon

4' Principal

4' Spire Flute

22/3' Twelfth

2' Fifteenth

2' Fourniture V

13/5' Harmonic Mixture IV

16' Double Trumpet

8' Trombas (ext Ped)

4' Clarion (ext Ped)

Tremulant

Chimes

8' Major Tuba (20" wind)

8' Tuba Solo (melody coupler)

8' Fanfare Trumpets (Solo)

SWELL (4-inch wind pressure)

Manual III - enclosed and expressive

8' Open Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste

4' Principal

4' Harmonic Flute

22/3' Nazard

2' Flageolet

13/5' Tierce

22/3' Full Mixture V

16' Bassoon

8' Trompette

8' Oboe

8' Vox Humana

4' Clarion (ext 16')

Tremulant

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHOIR (4-inch wind pressure)

Manual I - enclosed and expressive

16' Lieblich Gedeckt (wood)

8' English Open Diapason

8' Flûte à Bibéron

8' Gedeckt Flute (ext 16')

8' Dulciana

8' Unda Maris

4' Principal

4' Koppel Flute

2' Recorder

2' Mixture III–IV (Dulcianas)

11/3' Fourniture IV

Sesquialtera II (22/3' & 13/5')

16' English Horn

8' Cornopean

8' Clarinet

Tremulant

Cymbalstern (14 bells)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

Harp (digital)

Celesta (digital)

ANTIPHONAL SOLO (4- & 51/2-inch wind)

Manual IV - in twin cases over the narthex (expressive)

8' Open Diapason

8' Viola da Gamba

8' Gamba Celeste (CC)

8' Melodia

8' Flute Cœlestis II (Ludwigtone)

4' Principal

4' Flûte d'Amour

2' Doublette

11/3' Mixture IV

8' Flügel Horn

8' Corno di Bassetto

Tremulant

Cymbalstern (8 bells)

Chimes (Gt)

8' Fanfare Trumpets

8' Major Tuba (Gt)

Harp (digital)

Celesta (digital)

PEDAL (various wind pressures)

32' Double Open Diapason (digital)

32' Subbass (digital)

32' Lieblich Gedeckt (Ch, digital)

16' First Open Diapason

16' Second Open Diapason (Gt)

16' Bourdon

16' Lieblich Gedeckt (Ch)

8' Principal

8' Bass Flute (ext 16' Bourdon)

8' Gedeckt Flute (ext 16' Lieblich)

4' Choral Bass

4' Open Flute (ext 16' Bourdon)

22/3' Mixture IV

32' Contra Trombone (wood)

16' Trombone (wood, ext 32')

16' Double Trumpet (Gt)

16' Bassoon (Sw)

8' Trumpet (ext 16')

4' Clarion (Sw)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHAPEL (4-inch wind, floating)

8' Open Diapason

8' Aeoline

8' Vox Angelica (tc)

4' Principal

Chapel on Great

Chapel on Swell

Chapel on Choir

Chapel on Solo

Chapel on Pedal

Intraddivisional couplers

Gt/Gt 16-UO-4

Sw/Sw 16-UO-4

Ch/Ch 16-UO-4

Solo/Solo 16-UO-4

Interdivisional couplers

Gt/Ped 8, 4

Sw/Ped 8, 4

Ch/Ped 8, 4

Solo/Ped 8, 4

Sw/Gt 16, 8, 4

Ch/Gt 16, 8, 4

Solo/Gt 16, 8, 4

Sw/Ch 16, 8, 4

Solo/Ch 16, 8, 4

Pedal Stops to Divisional Pistons

The Wicks Organ Company, Highland,
Illinois has built a new organ for the Barrington United Methodist Church,
Barrington, Illinois. In 1999 the church building was destroyed by fire. Their
losses included a 41-rank Möller pipe organ, which had been rebuilt as
recently as 1988. As planning for their new building began, the search for a
new pipe organ started. The church’s demands for their new organ were
that it had to be a great congregational organ, but also able to perform for
recitals as well. The sanctuary was to be a top-notch performance facility as
well as a place of worship. The church desired an organ of 3 manuals and 5
divisions, including an antiphonal. Each division was to have a principal
chorus, and the foundations of the Great organ were to be exposed.

The church committee heard many styles of instruments built by Wicks over
the last seven decades. This included, a North German neo-Baroque style
instrument, a symphonic organ scaled and designed by Henry V. Willis, an
American Classic, and an Aeolian instrument from the 1920s that had been
rebuilt by the Wicks Organ Company in conjunction with Mr. Madison Lindsey. The
service playing abilities of each instrument were demonstrated to the
committee, and they identified and found themselves drawn to the
English/symphonic style of the rebuilt Aeolian instrument. The organ committee
chose Wicks over several other builders after hearing several new Wicks
installations and the company ‘s recent success in exactly this style of
instrument.

The completed organ is described as an English service organ with orchestral
capabilities. The instrument is able to not only provide a seamless crescendo
from ppp to fff, but can do it with flair. In addition to service music, the
organ is able to perform every possible type of organ literature from the
Renaissance to the present. It is also able to realize orchestral
transcriptions with great skill, thanks to the presence of many orchestral solo
stops in each division, blending choruses, and 2-inch thick beveled and overlapping
felted shades. The completed organ consists of 24 ranks of pipes and 25 digital
voices. The Wicks design team pre-engineered space to accommodate real pipe
ranks to replace these voices. The Swell is on 7 inches of wind, the Pedal 10
inches; the Choir and Great are on 6 inches, with the exception of the
Clarinet, English Horn, and Tuba in the choir, which are all on 10 inches.

The solo reeds of this organ are of a unique style, derived from the
Willis/Wicks style reeds used in many Wicks organs over the decades, married to
the traditional ideas of Skinner solo reeds. The end results were clear,
smooth, stops of unique color and great versatility throughout the compass. The
greatest asset to the organ is the lively acoustical environment of the sanctuary.
The collaboration of the building committee, acousticians Kirkegaard &
Associates of Chicago, and the Wicks Organ Company have resulted in a
beautiful, successful combination of organ and room.

The console is drawknob style with 45-degree side jambs, a glass music rack,
and P&S keys with ivory resin naturals and ebony sharps. The drawknobs are
made of polished hardwood. Made of red oak, the interior is very light and the
exterior is stained to match the woodwork of the chancel furnishings. The console
features a tilt tab that allows the digital Tuba and Festival Trumpet to
emanate from the antiphonal division located in the rear of the church instead
of their native divisions. The console also has a Manual I/II transfer for
French literature.

Installation of Opus 6412 began in August of 2003, and an initial tonal
finishing and adjustment of digital voices took place in early September. After
the church’s dedication, Wicks tonal director Dr. William Hamner and reed
voicer Greg Caldwell completed an entire tonal finishing.

--Brent Johnson

Great (exposed)

16’ Violone*

8’ First Open Diapason

8’ Second Open Diapason

8’ Violoncello

8’ Harmonic Flute (Ch)

4’ Principal

4’ Flute Octaviante

2’ Fifteenth

IV Full Mixture

8’ Chorus Tuba (Ch)

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Chimes* (Ant)

Swell (expressive)

16’ Minor Bourdon*

8’ Open Diapason

8’ Stopped Diapason*

8’ Viola*

8’ Viola Celeste*

8’ Flauto Dolce*

8’ Flute Celeste*

4’ Octave Diapason

4’ Triangular Flute*

22/3’ Nazard*

2’ Recorder*

13/5’ Tierce*

IV Plein Jeu

16’ Waldhorn*

8’ Cornopean

8’ Oboe*

4’ Clarion

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Tremolo

Choir (expressive)

8’ Geigen (1-12*)

8’ Concert Flute

8’ Dolcan*

8’ Dolcan Celeste*

4’ Octave Geigen

4’ Transverse Flute

2’ Harmonic Piccolo

16’ Bass Clarinet

8’ Clarinet

8’ English Horn

8’ French Horn*

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

8’ Chorus Tuba

Tremolo

Harp*

Antiphonal (unenclosed - floating) (prepared)

8’ Festival Trumpet*

8’ Tuba Mirabilis*

Chimes*

Antiphonal Pedal (prepared)

Pedal

32’ Contre Bourdon*

16’ Open Wood

16’ Major Bourdon

16’ Violone* (Gt)

16’ Minor Bourdon* (Sw)

8’ Principal

8’ Flute

8’ Stopped Flute

4’ Octave

4’ Harmonic Flute (Gt)

32’ Ophicleide*

16’ Trombone (1–12*)

16’ Waldhorn (Sw)

8’ Tromba

8’ Trumpet (Sw)

4’ Oboe (Sw)

7-bell zimbelstern

*= Digital Voices

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia
Hendricks Avenue Baptist Church, Jacksonville, Florida
The early morning hours of December 23, 2007 were of significance and great loss for the Hendricks Avenue Baptist Church. Due to contract negotiations with the symphony, the then-locked-out musicians of the Jacksonville Symphony Orchestra performed at Hendricks Avenue Baptist Church with a “Messiah Sing” on the evening of December 22. The proceeds of this performance were to benefit the Health and Welfare fund of the members of this institution. This was the last performance ever held in the sanctuary. Sometime in the morning hours of the 23rd a fire started and in a matter of hours consumed the church to the foundation. On the brink of Christmas, the stunned members and staff assembled on the church grounds in front of the still-smoldering pyre of their sanctuary, to console, pray, and plan. From this immeasurable loss they resolved to bolster their presence in the Jacksonville community with a new church and renewed dedication to their ministry.
Reverend Dr. Kyle Reese assembled a team to plan and oversee the rebuilding of the sanctuary. They vowed to have the church open no later than December 23, 2009, when they would again open the church to the public with a performance of Handel’s Messiah. In addition to Pastor Reese, key members who were to play a role in our building an instrument were O’Neal Douglas, chairman of the Sanctuary Renovation Task Force; Bill Mason, organ committee chairman; Reverend Tommy Shapard, Minister of Music and Worship; and Brenda Scott, organist. A constant presence on this construction project was O’Neal Douglas, who served as a living Gantt chart. He invested untold hours to assure the clear communications and coordination between all the different trades involved to build this church by the required completion date.
Lost in the fire was a three-manual, 48-rank Möller that had been installed in 1989. As one of the last instruments from Möller, it was a very good example of their building style and had been well loved by the congregation. Prior to working with our firm as a sales representative, Herbert Ridgeley Jr. represented the Möller firm. He had worked with then minister of music Reverend Kendall Smith on the installation of this Möller instrument. Marc Conley of our staff had worked on this instrument when he was employed by Möller. With these past affiliations, we began the initial discussions with the church as they considered a replacement pipe organ and evaluated firms that might build this instrument. In the words of Tommy Shapard, the charge of the organ committee was “to design an instrument with a variety of colors and levels of expression available in the new instrument to give our congregation and choir the opportunity to sing together more vitally and creatively as a worshipping body.”
I will always recall an exchange that took place early in our meeting with the organ committee. As we talked about a proposed stoplist, we were five minutes into the discussion when Chairman Mason raised a finger and jokingly said, “Arthur . . . from this point forward whenever we say Baptist, we want you to think Presbyterian.” He was referring to the landmark III/62 instrument our firm was building at that time for New York Avenue Presbyterian in Washington and its ties to President Lincoln and theologian Peter Marshall. (See cover feature, The Diapason, July 2010.) I came to find a much deeper meaning in his offhand quip. In public and private discussions, I have heard other builders refer to a “type” of organ they design by denomination. Personally, I do not believe one serves any church well by imprinting their view of any particular denomination—a generic “this is it” approach to stoplist and tonal design of an instrument. This is true regardless of whether it be Baptist, Methodist, Presbyterian, Catholic, Episcopal, or any other denomination. There are and always will be the subtle and not so subtle differences in a church’s worship style. Often in my professional career I have had a church explain their “traditional” worship only to find a worship style that I might personally find to be contemporary, or often a church that describes itself as “contemporary” to be traditional. The euphemism “blended” often used by many churches to describe their music in worship does not solve any identity issues either. As a builder, it is incumbent upon you to experience a church’s worship with your own eyes and ears and then really listen to how your client will use the organ in their worship. This is the only surefire way to refine a stoplist and scale sheets into a cogent amalgam that will allow you to design, voice, and tonally finish an instrument that truly serves the vision of the church you are working for.
A very real challenge in the design of this instrument was that the church moved very fast in the design of a building to assure their December 23, 2009 first service. By the time a contract was signed with our firm, the basic design of the building was locked in place and key building materials had been ordered. We had to work with the architect to design space for an instrument in a building that was already well defined. To allow for an instrument, space would have to be created. As a design team, we found that if we changed the width of the hallway access to the baptistery on the right and left and had a concrete lentil poured above the hallway and above the baptistery, room could be provided for a 43-foot-wide chamber of varying depth and elevations. Taking into account the sloping ceilings in the chambers, we planned a left-to-right division orientation of Swell, Great/Pedal, and Choir. The enclosed divisions of the organ have tone openings on their front and also on the side openings into the center Great and Pedal division. These side openings provide a coalescence and focus for the enclosed resources into the central axis of the instrument.
The chancel façade is designed to frame the baptistery. The façade is silver with polished mouths and features pipework from the 16′ Principal, 16′ Violone, 8′ Octave, and 8′ Diapason. The casework has a maple finish to match the church furnishings. To support the needs of audio-visual functions in their ministry, a projection screen was incorporated into the center section of the upper organ case.
The completed organ is 60 ranks, divided among three manual divisions in the chancel and a floating Antiphonal division in the rear of the church. My specification and scaling for this instrument has its roots in American Classicism, with an emphasis on the English elements found within this stylistic construct. All of the organ divisions are weighted around 8′ chorus structure. The Great is designed around a diapason chorus that has richness and warmth but that still maintains clarity in its phrasing. The Swell features an independent 8′ Principal, which allows the 8′ Swell string scales to be narrower, since these stops do not need to provide the core 8′ flue foundation. The Gemshorn in the Choir is generously scaled, with a wide mouth to support a function in this division analogous to a foundational Spitz Principal. The mixtures in the enclosed divisions are pitched at 2′ and provide a logical completion to the enclosed division principal choruses. This allows completion of the 8/4/2 chorus ladder without breaks in pitch or the need for independent 2′ principals as single stop draws. In addition to avoiding the stridency sometimes found in mixtures with pitches above 1′, this treatment of the mixtures also frees up the 2′ pitch registers for independent manual flutes.
While individually differing in color, the two enclosed divisions have parallel flue pitch registers for support of choral accompaniment. With a large, effective shade front, these divisions provide ample resources of weight and color against the human voice.
The organ reeds were designed with English shallots, which prove much more favorable in a dryer American acoustic. As is our common practice, the organ reeds are placed on separate reservoirs, separate tremolos, and individual unit electro-pneumatic windchests. This treatment allows the reeds to be freed from the strictures of the manual flue wind pressures. This allows complete freedom in scale, shallot design and treatments, and tongue thickness. With a separate tremolo, achieving the correct depth and speed on the reed stops does not become as elusive as it can sometimes be when flues and reeds share a common plenum.
For a large festive solo voice, the chancel organ features a high-pressure English Tuba. This stop is located in the Choir division, and under expressive control it can be used as a darker ensemble reed when it is dynamically caged. It is carried down to the 16′ register to effectively ground the Pedal division.
A very complete Pedal division was desired, with multiple pitches represented from 32′ through 4′. Just the 16′ registers alone represent nine of the 24 stops in the Pedal division. In addition to independent Pedal registers, full advantage was taken of manual-to-pedal duplexes. The result is a plethora of stops under the organist’s control, with a full range of colors and dynamics.
Early on in the design of this instrument, we prepared for a 10-rank Antiphonal. Due to the beneficence of several members, the church was able to contract for this “prepared for” item and have it installed with the chancel instrument. Visually, the rear organ takes its design from the chancel façade. Positioned between the two cases is an 8′ Trompette En Chamade with brass bells. Cognizant of its position in the church and the presence of the high-pressure English Tuba in the chancel organ, the stop was voiced on a moderate 7½ inches pressure. By its position, it has presence and lacks the offensiveness that is sometimes associated with this stop. The core of the Antiphonal organ includes a complete 8′ principal chorus, a lyrical 8′ Gedeckt, and an ethereal pair of 8′ Erzahler Celestes.
Foundational support for the Antiphonal division is provided by a Pedal 16′ Stille Gedeckt and 8′ Stille Principal in the Antiphonal Pedal division. In addition to providing foundation for the rear division, these stops are also very useful in larger organ registrations by adding definition and dimension to the chancel bass presence.
Never to be forgotten in an instrument of this size is the need for quiet contemplative moments. Early in our meetings we talked about the need for the organ to have the resources for what we began to refer to as “the whisper.” In the Choir division, we added a Ludwigtone stop. This is a wooden set of pipes with a dividing wall in the center of the pipe that has two separate mouths. Its unique construction allows each pipe to produce two notes, one of which can be tuned off-beating. In our stoplist as the Flute Celeste II, when it is drawn with a closed box, full couplers, and the Antiphonal Klein Erzahlers added to it, with a light 16′ Pedal stop, there is a moment of being surrounded by an ethereal magic that is at once all enveloping and yet without any weight.
Mechanically this organ uses our electro-pneumatic slider chests, with the organ reeds placed on electro-pneumatic unit chests. Conventional ribbed box regulators are used for the winding system.
The resources of the organ are controlled by a three-manual drawknob console. Built in the English style, the console sits on a rolling platform to allow mobility. The console exterior is built of maple, with an ebonized interior. The console features modern conveniences for the organist, such as multiple memory levels, programmable crescendo and sforzando, transposer, MIDI, and the ability to record and play back organ performances.
To allow full control in the tonal finishing of this instrument, we set sample pipes on the windchests in the organ chambers and then removed the pipes from the chambers to continue work with a portable voicing machine located in the chancel. This allowed us to work unimpeded and be more accurate with cutups and initial nicking, feathering, and flue regulation than could have possible within the confines of the organ chambers and the sea of pipework on each chest. After “roughing in” the pipework voicing, the stops were reinstalled in the organ chamber for final voicing and tonal finishing. In a process that lasted months, the tonal finishing was completed by a team including Daniel Angerstein, Peter Duys, John Tanner, Marc Conley, and Bud Taylor. In addition to our tonal finishers, our installation team included Marshall Foxworthy, Rob Black, Patrick Hodges, Jeremiah Hodges, Kelvin Cheatham, Joe Sedlacek, and Wilson Luna. I am thankful for their dedication and the long hours they put into this project to make sure that our tonal ideals for this instrument were not only achieved but exceeded.
The new sanctuary was finally at a point of completion by November 16 that we were able to begin the installation. The organ was brought up divisionally to allow autonomous work by our staff in multiple divisions. This allowed 40 ranks of the organ to be brought online when first heard in public on December 23, 2009. On this day, our staff was able to return home to be with their families during Christmas, and two family members, Art Schlueter Jr. and Arthur Schlueter III, were able to begin their Christmas together at the public opening of this church with Handel’s Messiah. Forever in my memory will be standing tall as father and son during the Hallelujah Chorus. As with all organ projects, there was still work to be done to complete and finish the organ, but it was a satisfying conclusion to a year that saw the installation of multiple new instruments by our firm and the fulfillment of a promise to this congregation and community.
A final chapter to this story must be told. To assist their search for an organbuilder and evaluate plans for a new instrument, the organ committee engaged local Jacksonville organbuilder, Jim Garvin, as part of their working group. As I developed my proposal for the church, he was a ready translator to discuss the minutiae of the organ proposal—from chest design, stop type, material construction, winding systems, etc. As a builder, I found it a great pleasure to work with Jim, who ably served as a liaison between the organbuilder and the church. Sadly, during the building of this instrument Jim began a battle with cancer. Even as he was weakened by his fight with the cancer, he never wavered in his role as consultant through the organ installation and dedication. I am happy to say that he lived to sing and worship with this instrument. One of our collective proudest moments was at the inaugural organ dedication with Dr. Al Travis. With a solid look in the eye and a firm stance, we exchanged handshakes as equals who had both worked to the best of our abilities on behalf of Hendricks Avenue Baptist Church. Earlier this year Jim lost his fight with cancer. His funeral was held at Hendricks Avenue Baptist Church, where I again returned to hear organ and choir, but this time to say goodbye. I will forever be grateful for my consultant and colleague I worked with in the completion of this project. Reminiscent of the way the project started, I once again heard Handel, as Jim’s final request for his service had been the Hallelujah Chorus.
Additional information on our firm and projects can be viewed at www.pipe-organ.com or by writing A. E. Schlueter Pipe Organ Company, P.O. Box 838, Lithonia, GA 30058.
—Arthur E. Schlueter III, tonal and artistic direction

All photos taken by Tim Rucci (www.timrucci.com)

Hendricks Avenue Baptist Church
Three manuals, 60 ranks

GREAT—Manual II
(unenclosed) (16 ranks)
16′ Violone 61 pipes
8′ Diapason 61 pipes
8′ Violone 12 pipes
8′ Flute Harmonique 49 pipes
(1–12 Pedal Bourdon)
8′ Bourdon 61 pipes
4′ Octave 61 pipes
4′ Spire Flute 61 pipes
22⁄3′ Twelfth 61 pipes
2′ Super Octave 61 pipes
IV Mixture 11⁄3′ 244 pipes
III Klein Mixture 2⁄3′ 183 pipes
16′ Double Trumpet 61 pipes
(English shallots)
8′ Trumpet 12 pipes
16′ English Tuba (Choir) (non-coupling)
8′ English Tuba (Choir) (non-coupling)
4′ English Tuba (Choir) (non-coupling)
Chimes (Choir)
Zimbelstern 9 bells
Great to Great 4′
Tremulant

CHOIR—Manual I (enclosed)
(13 ranks)
16′ Gemshorn 12 pipes
8′ Hohl Flute 61 pipes
8′ Gemshorn 61 pipes
8′ Gemshorn Celeste 49 pipes
8′ Flute Celeste II 80 pipes
(Ludwigtone)
4′ Principal 61 pipes
4′ Spindle Flute 61 pipes
2′ Harmonic Piccolo 61 pipes
11⁄3′ Quint 61 pipes
III Choral Mixture 2′ 183 pipes
8′ Clarinet 61 pipes
(English shallots with lift caps)
8′ English Tuba 61 pipes
(non-coupling)
Tremulant
Choir to Choir 16′
Choir Unison Off
Choir to Choir 4′

SWELL—Manual III (enclosed) (14 ranks)
16′ Lieblich Gedeckt 61 pipes
8′ Geigen Principal 61 pipes
8′ Viole de Gamba 61 pipes
8′ Viole Celeste TC 49 pipes
8′ Rohr Flute 12 pipes
4′ Geigen Octave 61 pipes
4′ Nachthorn 61 pipes
22⁄3′ Nazard TC 49 pipes
2′ Flageolet (from 16′) 24 pipes
13⁄5′ Tierce TC 49 pipes
IV Mixture 2′ 244 pipes
16′ Bassoon 61 pipes
(English shallots with lift caps)
8′ Trumpet 61 pipes
(English shallots)
8′ Oboe 12 pipes
4′ Clarion 12 pipes
Tremulant
Swell to Swell 16′
Swell Unison Off
Swell to Swell 4′

ANTIPHONAL—floating division (10 ranks)
8′ Weit Principal 61 pipes
8′ Gedeckt 61 pipes
8′ Klein Erzahler 61 pipes
8′ Klein Erzahler Celeste 49 pipes
4′ Principal 61 pipes
III Mixture 2′ 183 pipes
8′ Trompette En Chamade 61 pipes

ANTIPHONAL PEDAL
16′ Stille Gedeckt 12 pipes
8′ Stille Principal 32 pipes

PEDAL (7 ranks)
32′ Violone (digital)
32′ Bourdon (digital)
16′ Principal 32 pipes
16′ Violone (Great)
16′ Gemshorn (Choir)
16′ Subbass 32 pipes
16′ Lieblich Gedeckt (Swell)
8′ Octave 32 pipes
8′ Violone (Great)
8′ Gemshorn (Choir)
8′ Bourdon 12 pipes
8′ Gedeckt (Swell)
4′ Choral Bass 12 pipes
4′ Bourdon 12 pipes
IV Mixture 22⁄3′ 128 pipes
32′ Posaune (digital)
32′ Harmonics (wired Cornet series)
16′ Trombone (ext Tuba) 12 pipes
16′ Double Trumpet (Great)
16′ Bassoon (Swell)
8′ English Tuba (Choir)
8′ Trumpet (Great)
4′ Clarion (Great)
4′ Oboe Clarion (Swell)

Inter-manual couplers
Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Choir to Pedal 8′, 4′
Antiphonal on Pedal

Swell to Great 16′, 8′, 4′
Choir to Great 16′, 8′, 4′
Antiphonal on Great

Swell to Choir 16′, 8′, 4′
Antiphonal on Choir

Antiphonal on Swell

MIDI controls (programmable as preset stops) (with record/playback) (audio included)
MIDI on Pedal
MIDI on Great
MIDI on Swell
MIDI on Choir

Combination system with a minimum of 128 levels of memory

Berghaus Pipe Organ Builders, Inc., Bellwood, Illinois
La Casa de Cristo Lutheran Church, Scottsdale, Arizona
Opus 224 (2008)

From the organbuilder
Overview
Berghaus opus 224 at La Casa de Cristo Lutheran Church contains 91 ranks, 94 stops, and 5,067 pipes over four manuals and pedal. The instrument takes its place as one of the largest pipe organs in the state of Arizona. The majority of the instrument (Pedal, Great and Positiv) is located on the mezzanine level at the front of the sanctuary, on a concrete platform measuring 42 feet across. The enclosed Swell is located above the musician’s gallery in a resonant chamber measuring 14 by 18 feet, and the Antiphonal is divided and elevated on two sides of the rear gallery, flanking the large rear window.
The casework is constructed from light-golden, rift-cut oak. The design emulates contemporary shapes found elsewhere in the sanctuary. The visually striking façade, including polished tin Principals from the Pedal, Great, and Positiv divisions, takes its inspiration from the McDowell mountain range, located in the northeast corner of the Phoenix valley. A sense of depth is created with the mountain-like arrangement of flamed-copper 16′ Principal pipes from the Great and Pedal divisions. The façade also contains twelve non-speaking wood pipes, painted sage green, in homage to the majestic Saguaro cactus found in the region. Adding to the visual display is the asymmetrical layout of the Trompette en Chamade, constructed with flamed-copper resonators. The twin Antiphonal façades echo the details found in the main organ.

Tonal Approach
We designed an eclectic instrument, taking cues from the American Classic and Romantic traditions, that would be able to handle a comprehensive repertoire, including a wide range of expression, both dynamic and tonal. To that end, there are no less than five manual 8′ principals, ten different 8′ and 4′ flutes, strings and hybrid (tapered) stops of varying tone and construction. The versatility of this instrument results from our ability to treat each of these stops as a beautifully unique voice when used alone, as well as having the ability to blend well, thus creating new and desirable tones when used in combination. This is evident in the Great, which contains the standard French-Romantic foundation of Principal, String, Open Flute, and Stopped Flute.
Given the challenge of creating a large organ with only one expressive division, it was clear from the onset of the project that great care would have to be taken in the tonal finishing process to ensure a seamless crescendo and to create an organ with equally balanced manual divisions. The ranks of the unenclosed Positiv are designed and voiced to provide a remarkable degree of expressiveness, and to serve as a tonal bridge between the Swell and the Great. The overall effect in the crescendo is that of a seamless transition from ppp to fff without experiencing staggering dynamic or color steps.

Tonal Analysis
The Great division consists of 19 stops, 22 ranks, and is mostly divided between two large slider chests, one containing the principal chorus through mixture, the other containing the flute and string stops. The 8′ First Principal is of generous scale, and is constructed of 75% tin throughout. This creates a timbre that is simultaneously bright and full, and gives it a singing quality that provides a strong foundation upon which the subsequent ranks are built. The 16′ Sub Principal is scaled proportionally (smaller) to the First Principal and is extended to be available as an 8′ stop (Second Principal). This gives an alternative diapason tone that is more subdued than its larger neighbor, yet is large enough to be a lighter 8′ texture for the entire plenum. The principal chorus is completed with narrowly scaled mutations, and is crowned by two mixtures: a full 2′ V-rank Fourniture, and a sparkling 1⁄2′ III-rank Cymbale. The Flûte Harmonique is large scale, with harmonic pipes starting at no. 30, and is voiced with a very strong increase in the treble. Other flute stops include a metal 8′ Bourdon, a harmonic 4′ Flûte Octaviante, and a II-rank Gross Kornet, constructed of large-scale open flutes at 51⁄3′ and 31⁄5′ pitches to enhance the 16′ harmonic series. The 8′ Gamba is of slender scale and is gently voiced to be a blending stop. The 16′ and 8′ unit Kontra Posaune is a blending chorus reed of German construction. The 16′ and 8′ Trompette en Chamade contains schiffchen-style shallots, producing a sound reminiscent of older Spanish trumpets, yet it can be used as a crown for full organ. The Great provides a myriad of combinations suited for a range of demands from the liturgical service to the solo organ repertoire.
The Swell division contains 21 stops, 23 ranks, and is “double-stacked,” with the complete principal chorus, mutations, and reeds occupying the lower level. Flutes, strings, and celestes are mounted above. The principal chorus is based on an 8′ Diapason of spotted metal, crowned with a 2′ IV-rank Plein Jeu. The relatively low pitch of this mixture, combined with a narrow scale, allows the pipes to be blown full, which helps to produce a clear principal tone. Furthermore, the mixture is voiced softly enough to give the entire plenum a gentler quality suitable for choral accompaniment. The III-rank Cymbale is designed as a tierce mixture and voiced to its full potential to reinforce harmonics present in the fiery chorus reeds. It also blends well and can be used as a higher-pitched mixture with the principal chorus.
The Viole de Gambe is made of 75% tin and slotted for optimum harmonic development. The combination of this stop with its 61-note Voix Celeste is intended to produce true string tone, and not tone associated with narrow principals or stringy hybrid stops. This approach allows us to keep each of the tonal categories of the instrument separate and distinct. The Swell is also home to the softest rank of the organ, the 8′ Flûte Conique, which when paired with its celeste elicits a most haunting timbre. Other flutes in this division include the 8′ Flûte à Cheminée, which is wood in the bass and is extended to 16′ pitch, and a 2′ Octavin, which goes harmonic at no. 13. This 2′ flute is not intended to be used with the mixture, but rather with the 8′ and or 4′ flutes. However, it works equally well with the principals, as the scale is moderate and the voicing is light. The battery of reeds consists of a full-length 16′ Basson, an 8′ Trompette and 4′ Clairon of French construction, and an 8′ Hautbois featuring coned-in bells and parallel French shallots. When combined with foundation stops, the 8′ Hautbois becomes a most useful solo voice, especially for music from the French symphonic school. The Voix Humaine is of American Romantic construction.
The Positiv division is located adjacent to the Swell, which allows this division, along with the Swell, to accompany the choir. Totaling 19 stops and 19 ranks, the Positiv is based on an 8′ Prinzipal constructed of 75% tin and is complete through a 1′ IV-rank Scharf. The ranks of the plenum are narrower in scale than in the other divisions and provide a good secondary chorus to the Great, especially in Baroque music. The 8′ Gemshorn has a very wide mouth with a low cut-up and a 1/3 taper, giving it a string-like tone. A complete Cornet decomposée including Septième comprises pipes of various construction, from the 8′ Holzgedackt made of poplar to the 22⁄3′ chimneyed Rohrquinte. There are three solo reeds in the Positiv division, including an imitative 16′ English Horn, an 8′ Cromorne, and an 8′ Trumpet with English shallots.
The Antiphonal division comprises 9 stops and 10 ranks, and provides additional support for congregational singing as well as interesting echo effects to the main instrument. Placed on opposing sides of the gallery, the Antiphonal is higher in elevation in comparison to the main organ. The Antiphonal principals are voiced in a mild fashion, to give a sense of surrounding the listener while providing a supplemental role to the main instrument. This approach was preferred to bombarding the listener with sound from the gallery and purposely announcing the Antiphonal’s presence. Of note are the two solo flutes: the 8′ Doppelflöte and the 4′ Flauto Traverso (harmonic), both made of poplar. The organ’s heroic reed, the 8′ Trompette de Fête, is located in the Antiphonal division as well. The Trompette de Fête features hooded resonators and is voiced on 18 inches of wind.
The Pedal division comprises 26 stops and 17 ranks. The division is thoroughly complete to provide ample foundation tone in a variety of timbres and volumes. Fortunately, few of the pedal stops are borrowed, which gives tremendous flexibility to the division as a whole. The principal chorus is based on an open metal 16′ Principal, scaled according to classical principles (relative to the Great 8′ First Principal). The entire chorus provides a solid contrast to the Great and gives excellent support without being woofy. When a more penetrating foundation is desired, the generously scaled 16′ Open Wood is useful for larger combinations. Of particular note is the 31⁄5′ V-rank Pedal Mixture. The first rank of this stop is a tierce (16′ series), constructed of 2/3 tapered pipes. Voiced gently, this rank dramatically enhances the 16′ fundamental tone, while giving the overall plenum a pleasantly reedy tone. This helps to further clarify the Pedal line in contrapuntal textures. As with many of our larger instruments, an 8′ Spitzflöte is included to give a more pointed emphasis to the Pedal line in softer combinations. The reed chorus consists of a 32′ and 16′ Bombarde constructed with pine resonators, and a large-scale 8′ Trompette with English shallots. A 4′ Rohrschalmei is a very characteristic reed useful for cantus firmus solos.

Wind System and Chests
The vast majority of flue stops in this organ are placed on slider and pallet chests, which we believe speak to the heart (and origins) of good organ building. Principals and flutes in each division (sans Antiphonal), are placed on separate chests. This helps to solidify each respective chorus. We have insured absolutely steady wind by incorporating a large number of bellows and schwimmers. By contrast, reeds are placed on electro-pneumatic chests, allowing wind pressures to vary to suit the tonality of each reed. Furthermore, wood wind conductors are used throughout the organ, which helps to eliminate turbulence and the resulting wind noise. Pneumatic pedal and offset chests are supplied with their own regulators and concussion bellows.

Console
Design elements of the four-manual console were taken from architectural themes found in the church. The contemporary English-style drawknob console is low profile, and contains state of the art controls for the combination action and record/playback systems. Controls were placed inside a drawer to the organist’s right in order that the console be visually free of electronic clutter. The shell is made of light-golden, rift-cut oak to match casework. Drawknob jambs are made of burled walnut. Keyboard coverings are bone and feature top-resistant tracker touch.

Construction Timeline
The creative journey to construct opus 224 began late fall 2007, with final voicing completed spring 2009. The organ was dedicated in a festival service organized by Dr. Jennaya Robison, director of music, and played by Dr. Homer Ashton Ferguson III. Dr. Weston Noble conducted the combined choirs. The organ was also featured at the 2009 Region IX AGO convention.
Berghaus Pipe Organ Builders wishes to thank the members of La Casa de Cristo Lutheran Church, Scottsdale, Arizona, and the following individuals: Pastor Andrew Garman, senior pastor; Dr. Jennaya Robison, director of music; Dr. Homer Ashton Ferguson III, organist; and Dr. William Barnett, prior organist.
Berghaus Pipe Organ Builders also wishes to thank members of its staff for their countless hours and dedication to this instrument:
President: Brian Berghaus
Director of sales and marketing: David McCleary
Tonal design: Jonathan Oblander, Kelly Monette
Head tonal finisher: Kelly Monette
Reed specialist: Steven Hoover
Structural and visual design: Steven Protzman
Shop foreman: Jeff Hubbard
Logistics: Jean O’Brien
Construction / assembly / installation: Mark Ber, Mitch Blum, Stan Bujak, Kevin Chunko, Chris Czopek, Steve Drexler, Trevor Kahlbaugh, Kurt Linstead, David Mueller, Joe Poland, Daniel Roberts, Tim Roney, Paul Serresseque, Ron Skibbe, Jordon Smoots, Paul Szymkowski, Randy Watkins.
—Kelly Monette, David McCleary, and Jonathan Oblander

Photo credit: David McCleary

Berghaus Pipe Organ Builders, Inc., Bellwood, Illinois
La Casa de Cristo Lutheran Church, Scottsdale, Arizona
Opus 224 (2008)

GREAT – Manual II (unenclosed, 90 mm wind pressure)
16′ Sub Principal (façade) 61 pipes flamed copper and 75% tin
8′ First Principal (façade) 61 pipes 75% tin
8′ Second Principal (façade) 12 pipes (extension of 16′ Sub Principal)
8′ Flûte Harmonique 49 pipes 1–12 from Bourdon, harmonic @ f30
8′ Bourdon 61 pipes 52% tin
8′ Gamba 61 pipes 1–12 zinc, 13–61 52% tin
4′ Octave 61 pipes 52% tin
4′ Flûte Octaviante 61 pipes 52% tin; harmonic @ c25
22⁄3′ Twelfth 61 pipes 52% tin
2′ Fifteenth 61 pipes 52% tin
13⁄5′ Tierce 61 pipes 52% tin
51⁄3′ Gross Kornet II 88 pipes 51⁄3′ and 31⁄5′, 52% tin; c13 to g56
2′ Fourniture V 305 pipes 75% tin (15-19-22-26-29)
1⁄2′ Cymbale III 183 pipes 75% tin (29-33-36)
16′ Kontra Posaune 61 pipes 1–12 L/2, resonators zinc and 52% tin
8′ Trompete 12 pipes (extension of 16′ Kontra Posaune)
Tremulant
Zimbelstern 5 bells with adjustable delay, speed, and volume
16′ Trompette en Chamade 61 pipes 1–12 L/2, flamed copper resonators
8′ Trompette en Chamade 12 pipes (extension of 16′)
8′ Trompette de Fête (Antiphonal)

SWELL – Manual III (enclosed, 80 mm wind pressure)
16′ Bourdon 24 pipes poplar (extension of 8′ Flûte à Cheminée)
8′ Diapason 61 pipes 1–12 zinc, 13–61 52% tin
8′ Viole de Gambe 61 pipes 1–12 zinc, 13–61 75% tin; slotted
8′ Voix Celeste CC 61 pipes 1–12 zinc, 13–61 75% tin; slotted
8′ Flûte à Cheminée 49 pipes 40% tin, 1–12 from Bourdon
8′ Flûte Conique 61 pipes 75% tin
8′ Flûte Celeste TC 49 pipes 75% tin
4′ Prestant 61 pipes 52% tin
4′ Flûte Ouverte 61 pipes 40% tin
22⁄3′ Nasard 61 pipes 52% tin
2′ Octavin 61 pipes 75% tin; harmonic @ c13
13⁄5′ Tierce 61 pipes 52% tin
2′ Plein Jeu IV 244 pipes 75% tin (15-19-22-26)
1′ Cymbale III 183 pipes 75% tin (22-24-26)
16′ Basson 61 pipes L/1, resonators of zinc and 52% tin
8′ Trompette 61 pipes resonators of 75% tin
8′ Hautbois 61 pipes resonators of 52% tin
8′ Voix Humaine 61 pipes 52% tin
4′ Clairon 61 pipes resonators of 75% tin
Tremulant
8′ Trompette de Fête (Antiphonal)
16′ Trompette en Chamade (Great)
8′ Trompette en Chamade (Great)

POSITIV – Manual I (unenclosed, 70 mm wind pressure)
16′ Quintaton 61 pipes 1–12 zinc, 13–61 75% tin
8′ Prinzipal (façade) 61 pipes 75% tin
8′ Gemshorn 61 pipes 1–12 zinc, 13–61 52% tin; 1/3 taper
8′ Holzgedackt 61 pipes poplar
4′ Oktav 61 pipes 75% tin
4′ Koppelflöte 61 pipes 52% tin
22⁄3′ Rohrquinte 61 pipes 52% tin
2′ Oktav 61 pipes 75% tin
2′ Blockflöte 61 pipes 40% tin
13⁄5′ Terz 61 pipes 52% tin
11⁄3′ Larigot 61 pipes 52% tin
11⁄7′ Septième 61 pipes 52% tin
1′ Scharf IV 244 pipes 75% tin (22-26-29-33)
16′ English Horn 61 pipes resonators of zinc and 52% tin
8′ Trumpet 61 pipes 52% tin
8′ Cromorne 61 pipes 52% tin
Tremulant
8′ Trompette de Fête (Antiphonal)
16′ Trompette en Chamade (Great)
8′ Trompette en Chamade (Great)

ANTIPHONAL – Manual IV (unenclosed, 75 mm wind pressure)
8′ Principal (façade) 61 pipes 1–12 flamed copper, 13–61 75% tin
8′ Doppelflöte (façade) 61 pipes poplar
4′ Octave (façade) 61 pipes 75% tin
4′ Flauto Traverso 61 pipes poplar; harmonic @ c25
2′ Fifteenth 61 pipes 75% tin
11⁄3′ Fourniture IV 244 pipes 75% tin (19-22-26-29)
Tremulant
16′ Trompette de Fête 61 pipes hooded resonators, 18 inches wind pressure
16′ Trompette en Chamade (Great)
8′ Trompette en Chamade (Great)

PEDAL (unenclosed, 90 mm wind pressure)
32′ Untersatz 7 pipes poplar
16′ Open Wood 32 pipes poplar
16′ Principal (façade) 32 pipes flamed copper and 75% tin
16′ Sub Principal (Great)
16′ Subbass 32 pipes poplar
16′ Quintaton (Positiv)
16′ Bourdon (Swell)
8′ Octave (façade) 32 pipes 75% tin
8′ Principal (Great)
8′ Spitzflöte 32 pipes 75% tin, 4/5 taper
8′ Metallgedackt 32 pipes 52% tin
8′ Bourdon (Swell)
4′ Octave 32 pipes 75% tin
4′ Spillflöte 32 pipes 52% tin
2′ Nachthorn 32 pipes 52% tin
31⁄5′ Mixture V 160 pipes 52% tin (10-12-15-19-22)
32′ Contre Bombarde 12 pipes (extension of 16′ Bombarde)
16′ Bombarde 32 pipes resonators of pine
16′ Posaune (Great)
16′ Basson (Swell)
8′ Trompette 32 pipes 52% tin
8′ Posaune (Great)
4′ Rohrschalmei 32 pipes 52% tin
Tremulant (slider chest stops only)
8′ Trompette de Fête (Antiphonal)
16′ Trompette en Chamade (Great)
8′ Trompette en Chamade (Great)