Cover feature

Rieger-Orgelbau,
Schwarzach, Austria
Cathedral Church of St. Peter, Regensburg, Germany, 2009
It was an exceptional privilege for us to have been commissioned to build the new main organ for the Cathedral Church of St. Peter in Regensburg, Germany, especially bearing in mind that, in its 800-year history, this cathedral never possessed such an instrument. No less daunting, however, were the challenges of building an instrument of adequate size in a space of such significance for art and cultural history, an instrument that does justice to prevailing musical requirements and expectations, and simultaneously takes into consideration the architectural sensitivities of the magnificent Gothic building.
This is emphasized by the fact that it eventually took 25 years from the inception of this unique project to its actual realization. What was needed was an exceptional constellation of persons with the magnanimity for working together to mutually find the optimal solution, despite differing opinions and priorities.
Naturally, the first aspect is always the question, often leading to controversial debate, on the tonal architecture of an organ. What should a cathedral organ sound like in the 21st century? One must say that there is no single correct answer to this question. And, if the question can be answered at all, it certainly cannot be done in a few sentences. This subject is far too caught up in ideology for that.
Accordingly, together with the members of the international organ committee, we posed a somewhat different question: what should the new organ be able to do and what would be the appropriate musical expectations for the instrument? In so doing, it soon became clear that one would need a multifaceted, versatile instrument that would accommodate our ways of listening to music today, both for liturgical use and concert practice. It is simply a fact that, nowadays—and this distinguishes us from previous centuries—we do not just want to hear the currently contemporary style of music, but enjoy listening to a wider repertoire of good music from the past.
The tonal considerations taken into account for this organ are mirrored, we trust, in the choice and combination of stops, their scaling and voicing, as well as their allocation to the different divisions of the organ. Each of the three large manual divisions is based on a 16-foot foundation, broadened by a large number of variously colored 8-foot stops, an appropriate superstructure of mutation registers, and numerous reed stops of varied timbres.
The dynamic breadth of the instrument is increased by the balance achieved between the stops with their individual characteristics and the enclosure of the “small Great Organ” (i.e., the Positiv) in a swell box. The Solo division complements this musical structure by adding a tonal crown of distinctive solo voices and a powerful ensemble of reed stops. All this is underpinned by a sonorous Pedal division, rich in fundamental tone, which gives the organ a calm, supporting foundation.
Three requirements were set for the exterior appearance of the organ: it had to be in a “modern” style, “as small as possible,” and, for spatial reasons, was not to stand on the floor nor on a gallery, but be “suspended” from the vaulting! These requirements led, after various planning phases, to the design that has now finally been constructed.

Modern
We expressly did not attempt to include elements from the building in the design, but instead aligned the organ’s design to the architecture by creating a structural form emphasizing verticality and radiating lightness. As is easy to see, this meant avoiding visible casework as far as possible. Despite this, following tonal tradition, a complete case of solid oak is hidden behind the pipe façade.

As small as possible
This organ is as small as possible, and simultaneously as large as necessary. With a height of 60 feet, a width of 25 feet and a depth of 8.2 to 13.4 feet, this instrument has majestic proportions. Nevertheless, in the visual space of the cathedral, the organ appears to be made of filigree. The specific, curved and tapering layout conveys to the viewer the impression of an organ case of modest depth but, simultaneously, one incorporating movement. This impression is strengthened further by fan-shaped elements that open stepwise to form the optical basis for the greater part of the façade pipes, in addition to defining the view of the case from below.
The separate tonal divisions of the organ are arranged in five stories, one above the other, with the mechanical console situated in the middle, both for aural reasons and the technical requirements of the key action. The middle of the lowest level is devoted to the Solo Organ, which is flanked on both sides by the windchests of the Pedal Organ. The second level, directly above the Solo, houses the enclosed Positiv Organ and is followed by the third level with the console. The Great Organ (Hauptwerk) is positioned above the console, with the Swell Organ situated in the top story. On looking closely, one can recognize this arrangement of the tonal divisions in the organ façade.
The first of the organ’s two independent wind systems is positioned above the roof of the Swell Organ (right at the top), with the second being positioned behind the Solo Organ (right at the bottom). Separately from one another, the two wind systems provide stable yet natural “breath-like” wind to the upper and lower divisions of the organ respectively.
The organ possesses two independent consoles: the main console integrated into the structure of the organ, and a general console placed in the sanctuary of the church. The two are functionally identical and both can be used for playing the existing Choir Organ (30/II). The main console is provided with pure mechanical key action and mechanical couplers, whereas the complete key and stop actions, and also the control of the organ’s swell boxes from the general console, are purely electrical. The innovative REA (Rieger Electronic Assistant) system, developed recently by us, is used for this.

The suspended organ
As is known, this is not the first hanging organ. However, with its 80 stops and weight of 37 tons, it is surely the largest of its kind. To achieve this, it was necessary to introduce a steel suspension structure into the loft of the cathedral. To this structure are attached the four steel cables, each 1.18 inches thick, from which the organ is suspended, notably without also being attached to the wall. Attaching the organ case to the cathedral walls was not allowed by the heritage authorities, who insisted that the historical structure of the cathedral should not be changed.
Access to the organ’s main console, 49 feet above the floor, presented a further technical challenge. Given the heritage considerations, you have probably already guessed it correctly: there is no such access possibility from the cathedral. After considering the different options, we finally decided to plan for an elevator inside the organ. Now, the organist can “be raised” to the console comfortably in two minutes by the Panorama elevator while enjoying the unique view of the imposing cathedral nave.
The elevator’s 2.6 x 2.6 foot glass cabin is normally parked directly next to the console and is therefore hidden from view. Only when in use is a door on the side of the organ opened, to enable the cabin to move horizontally about 6.5 feet on a telescopic arm, out of the organ case, before descending 49 feet to the floor, without any support except the cable on which it hangs.
In building this unique organ, we have moved a step beyond our previous tonal, creative, and technical traditions. We trust that the exceptional goals we set ourselves have been met, namely, creating an organ that will be convincing for generations to come, and that will, in a certain sense, indicate the way forward; and that its sound and its visual appearance will delight many listeners and visitors and inspire many musicians.
This is the wish of all the employees of the Rieger firm, who spent countless hours creating this instrument.
—Wendelin Eberle
Rieger-Orgelbau

Photo credit: Michael Vogl

Rieger-Orgelbau GmbH
Hofsteigstrasse 120
A-6858 Schwarzach, Austria
Tel: +43 5572 58132-0
Fax: +43 5572 58132-6
[email protected]
www.rieger-orgelbau.com

GREAT (I) C–c4
16′ Principal
16′ Bourdon
8′ Principal
8′ Bourdon
8′ Doppelflöte
8′ Gambe
51⁄3′ Großquinte
4′ Octave
4′ Spitzflöte
31⁄5′ Großterz
22⁄3′ Quinte
2′ Superoctave
22⁄3′ Mixtur major IV–VI
1′ Mixtur minor V
8′ Cornet V
16′ Trompete
8′ Trompete
4′ Trompete

POSITIV (II) (expressive) C–c4
16′ Quintatön
8′ Principal
8′ Holzgedackt
8′ Flûte harm.
8′ Salicional
8′ Unda maris
4′ Octave
4′ Rohrflöte
22⁄3′ Nasat
2′ Octave
2′ Waldflöte
13⁄5′ Terz
11⁄3′ Larigot
1′ Sifflöte
11⁄3′ Scharff V
1⁄2′ Cymbel IV
16′ Bassklarinette
8′ Trompete
8′ Krummhorn
Glockenspiel
Tremulant

SWELL (III) C–c4
16′ Bourdon
16′ Salicional
8′ Diapason
8′ Cor de nuit
8′ Flûte harm.
8′ Viole de Gambe
8′ Voix céleste
4′ Prestant
4′ Flûte oct.
4′ Viole
22⁄3′ Nazard harm.
2′ Octavin
13⁄5′ Tierce harm.
11⁄3′ Plein Jeu V
16′ Basson
8′ Trompette harm.
8′ Hautbois
8′ Voix humaine
4′ Clairon harm.
Tremulant

SOLO (IV) C–c4
16′ Chamade
8′ Chamade
4′ Chamade
8′ Flûte harm.
8′ Grand Cornet V
8′ Clarinette
8′ Tuba episcopalis
Campane

PEDAL C–g1
32′ Principalbass
16′ Principal
16′ Violon
16′ Subbass
102⁄3′ Quinte
8′ Octave
8′ Cello
8′ Gedackt
4′ Choralbass
22⁄3′ Mixtur II–IV
32′ Bombarde
16′ Posaune
16′ Fagott
8′ Trompete
4′ Schalmey

Mechanical Couplers
II/I, III/I, IV/I, III/II, IV/II,
I/P, II/P, III/P, IV/P

Electric Couplers
II/I, III/I, IV/I, III/II, IV/II, IV/III
III/I 16′, III/I 4′, III/II 16′
III/II 4′, III/P 4′
Sub and super in each division
3 free couplers

Accessories
Rieger combination system:
20 users with 1000 combinations each with 3 inserts each
Archive for 250 tracks with 250 combinations each
4 adjustable Crescendi
Sequencer
Free couplers
Copy functions
Repeat functions
Division cancel
General cancel
Sostenuto

Consoles
Main console (mechanical)
General console (electric)

Additional features
Rieger tuning system
Rieger replay system
Connection of the Choir Organ
Divided Pedal at the general console
Wind pressures:
Great 110 mm
Positiv 95 mm
Swell 100 mm
Solo 90/130 mm
Pedal 105 mm

Burkhard Goethe, translated by Constanze Geiss

Burkhart Goethe, church music director and organ-architect in Schwäbisch Hall (South Germany), was born in 1948. After an apprenticeship for six years (carpenter and organbuilder) with Alfred Führer, Wilhelmshaven, he traveled in Europe working on the restoration of North German instruments. Since 1982 he has been organ advisor of the Protestant church of Württemberg and teacher at the Freiburg National Academy of Music. He is the architect of more than 80 organ cases since 1978. Constanze Geiss is a journeyman organbuilder for Mühleisen Orgelbau in Leonberg, Germany, where she works both in management of the business and in organbuilding areas. She studied at the organbuilding college in Ludwigsburg and completed her apprenticeship with Mühleisen. She worked at the Brombaugh shop in Eugene, Oregon during 1999–2000. Ms. Geiss was assisted in editing the translation by David Petty, organbuilder in Eugene, Oregon. He and Ms. Geiss were colleagues at the Brombaugh shop during her time in the U.S.

In 2003 the Arcadom company requested 13 European companies to design an instrument for the new Béla Bartók National Concert Hall in Budapest, Hungary. Six companies then were looked at more closely; three of them were from Germany. After a series of journeys in order to gain as much knowledge about the companies as possible, the committee (five concert organists) decided to ask the joint venture of the Mühleisen company (Germany) and the organ manufacturer Pécs (Hungary) to build the organ. The two companies were known to each other because of various projects they had encountered with the Fraunhofer Institute, Stuttgart. Prof. Judith Angster, a descendant of the organ-builder family Angster in Hungary, is an acknowledged specialist on physical questions related to the technical parts of organs. She strongly supported the joint venture and was a big help in organizational matters.
The concert hall itself was designed by Gabór Zoboki and was finished in 2005. The fascinating oval building has the dimensions of a large cathedral: it is 25 meters tall and 52 meters long. The building’s interior is covered with wooden panels, creating a warm atmosphere. In order to guarantee an outstanding acoustic, the internationally known American advisor Russell Johnson worked on the design. The principal element is a huge detailed platform in the center of the room that can be lowered completely or in parts, which helps to create a suitable acoustic for special solo concerts. Along the sides of the room, 84 large chambers provide the reverberation needed for organ concerts. Since they can be evenly adjusted, the conditions for the organ builders were ideal.
Finding a musically suitable concept turned out to be more difficult. Two organ advisors with opposing ideas, István Baroti and László Fassang, were a challenge for the organ builders. On the one side, there was the idea of a large Hungarian organ in the style of the 1950s Orgelbewegung; on the other side there was the idea of a modern symphonic concert instrument. More journeys and concerts on various instruments and long discussions were necessary to finally agree on the disposition of a concert instrument.
During the years 2004–2006 the instrument was built by both companies, Pécs in Hungary and Mühleisen in Germany. The case, chests, wind system, frames and structural parts were made in Hungary, as well as all of the wooden and some of the metal pipes. All the design work, construction of coupler systems and details, electric and mechanical stop action, keydesk, reeds, and complete scaling was done in Germany. The Mühleisen Company also was in charge of the entire voicing process, working closely with both advisors. Since the concert hall was heavily used during the daytime, most of the installation and the voicing had to be done after 11 pm.

Façade
As seems to be typical during the last decades, the façade essentially was designed by the architect of the concert hall. Gábor Zoboki at first offered a post-Art-Nouveau-style façade, which would have worked well in the room and also resembled downtown Budapest with its Art Deco style. Unfortunately, the buyers were not convinced and had the Mühleisen company work on an idea of an open façade. The divisions in the back are of course all contained in their cases made of solid wood. The biggest façade pipes are the Majorbass 32? (starting at E) and the Principalbass 16? and Montre 16?, both starting from bottom C, all made of a high tin alloy. On the top (slightly shifted to the back), the Octavbass 8? and the Solo Principale 8? can be seen. The lower middle part (above the mechanical console) contains the horizontal reeds (Chamade 16?–4?). Therefore, the organ builders need not fear that the organ will be covered with curtains as is the case in various concert halls nowadays. The organ stays visible at all times.
The case is made of solid cherry and, in order to break with the strong vertical lines of the whole façade, the pipes of the inside corners of the main groups are slightly tilted towards the center of the organ. This subtle feature is often only seen with a second look.

Technical design
Twelve meters above the orchestra stage, the organ is installed on a large balcony. Its overall height is 15.6 meters, width 13 meters, and depth 4.4 meters. Inside the instrument, a good “infrastructure” made up of large stairs and wide walkboards guarantees good access to every part of the chests and pipes for maintenance. Every detail was planned; no big surprises were left for the people who worked on site.
Chests
The 18 mechanical slider windchests and some 29 single and support chests are positioned on top of large wooden construction beams, along the action lines. Behind the façade of the first story, one can find the Grande orgue. Separated by a large walkboard, the Récit expressif is positioned directly behind it. The Solo and the Positif expressif are located symmetrically on the second story. This whole complex is lined by the Pedal stops on the left and right sides, whereas the largest pipes of the 32? needed to be lowered into the “basement” of the organ.

Wind system
The wind system is divided into two divisions. The Grande orgue, Récit expressif, and Pedal are supplied by two large blowers and six large parallel double wedge bellows, which are built into the base of the instrument. Another blower and bellows on top of the swell box of the Récit provide the wind for the Positif expressif and Solo divisions. A high-pressure blower for the Tuba Mirabilis 8? with 450mm wind pressure is also located there. In all manuals, the wind pressure varies from the bass to the treble. The three 32? stops have their own extra wind supply. The whole system consists of four blowers and about 105 meters of wind trunks made of solid wood.

Action
The new organ in the Béla Bartók Hall has two different action systems. The main (attached) console with its ten couplers is played mechanically. The only exceptions are the Chamades and the 32? stops. The key action is balanced and is supported inside the chests with little pivot-rail bellows. They are also suspended. The fourteen octave couplers and the five Chamade couplers work electrically; the ten mechanical couplers can also be switched to electric usage. The second, detached concert console is exclusively electric; so is all the stop action. Solenoids work the sliders; the preset combination system and the couplers are run by a BUS system.
When the organ was shown to the press, the detached console was not available to be seen. Therefore the author could only feel and play the action of the main console. It is easy and light and allows good articulation on all four manuals. Even when using all mechanical couplers and playing tutti, the pluck stays elegant and precise, due to good coupler construction and well-adjusted balancier support.

Consoles
The main console combines the neat, clean look of a well-designed keydesk with ergonomic standards. The 139 stop knobs are designed as pull knobs. The detached console is a work of art in itself. It is made of solid cherry and shows many round, Art Nouveau-like lines. The pluck of the keys is simulated electrically in order to provide the best articulation possible.

Swell boxes
All walls and the shutters of the swell boxes are made of a special five-layered wall system approximately six cm thick. This was especially developed by the Stuttgarter Fraunhofer Institute. Both swell boxes work remarkably well.

“Hanging” façade pipes
Organ builders are often confronted with the following problem: large pipes are stressed by their own weight, especially around the mouth opening. Therefore inlays, hooks and supports are soldered to hold everything in place. Nevertheless, they often have the tendency to bend or collapse. The ideas of the creative Swabians help to prevent those matters. Already their large instrument in Stuttgart (Stiftskirche 2004 IV/84) was protected by a large contraption to take weight off the foot of the pipe. In three places the pipe is hooked to the top of the room, where it is held by counterweights. That lowers the static weight of the pipe, preventing collapse, and also enables one single person to lift the pipe in its rack.

Tonal design
It is always difficult to describe the sound of an organ. One simply has to hear it. What one can say about this particular instrument is that the tonal design works very well in the given acoustic, which has a tendency to swallow bass frequency pitches and therefore needs good foundation stops. During the voicing process, the scale of various stops had to be enlarged to meet these needs.
The principals, which account for 26% of the whole instrument (with its eight mixtures), are formidable and can fill the hall, but can also show their vocal mild sides. The Montre 16? shows itself very subtly without losing its tonal force. An outstanding stop is the Principale 8? of the Solo manual with its changing scale. It works very nicely in combination with the Voce humana. The separate wind supply of the 32? and 16? Pedal stops gives them remarkable speech in the room.
The 23 reed stops of the organ account for 25% of the stoplist. Not only trumpets and clairons belong to that group, but also five almost lyrical voices and the Chamades and the high pressure Tuba. Producing a highly differentiated and distinct sound is taken very seriously in the Mühleisen company. Many trumpet ensembles and various solo stops such as the Cromorne, Voix humaine, Clarinette and Basson-Hautbois make it a challenge for any organist to exhaust all the color possibilities. The Chamaden division with its Chamades 16?–4? resembles an “ultima ratio” to the tutti. The Tuba mirabilis seems in the British manner, darker and softer but still strong enough to add to the fortissimo of all other divisions. Another outstanding sound of a different kind is created by the Cor anglais of the Solo division. Its silken clarity reminds one of Ernest Skinner’s Orchestral Oboe. It is hard to understand why those fine stops are built so rarely nowadays.
The instrument also includes 13 string stops; two of them are celestes. This is a moderate number (14% of the overall stops), but nevertheless they are very characteristic in sound and can be used in many combinations. The Gamba of the Grande orgue is strong and precise, the Salicional of the Positif expressif soft, the Violon 16?, Geigenprincipal 8?, Gamba 8?, Aeoline 8?, Voix céleste and Violine 4? of the Récit expressif are all very distinct in sound. In the Pedal, the Contrebasse, Violon and Cello make a good ensemble. The presence of the Violon is impressive, its sound very clear.
Flutes make up 18.5% of the stoplist. Those 17 different colors are open, stopped or over-blowing pipes that have a progression in their scaling, following the French tradition to be used as solo voices. Some are built in the German tradition in order to blend and add color. In combination with string stops (for example, the Salicional and the Fl. traversière on the Positif expressif or the Gamba and the Flûte octaviante of the Récit expressif) they sound remarkably good.
The great number of mutations allows building a “Cornet décomposé” in all divisions except the Grande orgue, which has its own large Cornet. Taking a close look inside the Pedal division, one is strongly reminded of Oskar Walcker’s “Grand Bourdon.” The Großquinte (102?3?), Tercsept II (62?5?) and the Zinck III (51?3?) are able to underline the 32? and 16? sounds and have a great presence in the room.
An interesting steel-like, synthetic sounding voice is the Septnon of the Positif expressif, combined with Piccolo 1? and Tierce. The Solo division again follows Cavaillé-Coll’s idea of the “Clavier Bombarde” because its mutations (the Septième 22?7? included) are based on the 16? range. The large room handles all of this easily.
It would take ages in order to try and find all different kinds of registrations. To listen, the best seats are located on the opposite side of the room, in the balcony. It is even possible to hear calm noises or whispering from the console! Bravo to the great acoustics.

Successful joint venture
A great compliment must be given to both companies that have worked to create this wonderful instrument: the Organmanufactura Pécs Ltd. of Hungary and the organ building company Mühleisen of Leonberg, Germany. Both contributed their best creativity and skills. The outstanding quality of the Hungarian craftsmanship, creativity and motivated work attitude strongly supported the design work, organization and the voicing process by the Germans. It is quite probable that in the future, large organ projects will be given to companies that are willing to cooperate. Good communication and well-balanced work attitudes and standards are needed for these kinds of projects. It is of great importance to make agreements and also to draw close lines that each group has to stick to, in order to make things a “snug fit.” Too much back and forth, communicating about the same things all over again, would be too time-consuming. Prevoiced test pipes are hard to e-mail throughout Europe.

Coda
The new instrument of the Béla Bartók Hall in Budapest is definitely worth seeing and hearing. As a “Swabian from the Danube” with its French lifestyle, the instrument suits the great architecture. The inaugural concert featured four organists: Zsuzana Elekes, István Baróti, László Fassang, and Xavér Varnus on May 22, 2006. In June 2006, many internationally known concert organists played many concerts on the organ. Most of them used the detached, electrical console on the stage. Obviously, the possibility of playing in front of the audience is of more importance than the sensitive touch of the mechanical main console. But this also happens in other places, due to the fact that organists like to listen directly to their registrations in advance.
This is one sad aspect about designing and creating an instrument in two ways: having to face the fact that all the extra work and preparations are not honored. One could question the reason for the double construction. Shouldn’t one build symphonic organs completely electrically in the future, since there have been so many inventions lately that provide an almost mechanical touch? This thought obviously would not be the taste of many organ advisors.
Undoubtedly, the mechanical slider chest is a very good solution for smaller and middle-sized instruments. Luckily for recent German organ building, Cavaillé-Coll consequently built these chests during his work life. The primary wish at many times had been symphonic instruments by all means (with Barker levers or electric couplers that are rarely talked about). In the meantime, we can see that there are quite a few good German symphonic instruments from the late 19th and early 20th centuries. There are great instruments with cone chests, membrane chests or various electro-pneumatic inventions that are not mechanical slider chest systems.
However, many large organ projects are requested to have slider chests (single-lever keys preferred), Romantic, symphonic layouts and everything that goes with it. This creates many problems for the organ builder who often also must deal with poor acoustics. Not all mechanical chests have been of outstanding quality throughout the decades. Why do they appear to be the one and only solution? There are many ways to get to Rome, also many detours probably.
In Budapest, they definitely found the right path! And, stranger, if you go and visit this great instrument and get the chance to play, try the main console. Even if your footwork cannot seen by the audience, it is worth it!

Five manuals and pedal, 92 registers

I. Grande orgue
16? Montre
8? Principal
8? Flûte harmonique
8? Bourdon
8? Gamba
4? Praestant
4? Rohrflöte
22?3? Quinte
2? Superoctave
8? Cornet II–V
22?3? Mixtur V–VII
11?3? Cimbel IV–V
16? Trompete
8? Trompete
4? Trompete

II. Positif expressif
16? Quintatön
8? Principal
8? Fl. traversière
8? Cor de nuit
8? Salicional
8? Unda maris
4? Praestant
4? Flûte conique
22?3? Quinte
2? Doublette
13?5? Tierce
11?3? Larigot
1? Piccolo
11?7? Septnon II
2? Mixtur IV–VI
16? Basson
16? Dulzian
8? Trompette
8? Cromorne
8? Clarinette
Tremolo

III. Récit expressif
16? Violon
16? Gedeckt
8? Geigenprincipal
8? Flûte harmonique
8? Bourdon à cheminée
8? Gamba
8? Aeoline
8? Voix céleste
4? Violine
4? Flûte octaviante
22?3? Nazard
2? Octavin
13?5? Tierce
2? Progressio II–IV
2?3? Cymbale IV
16? Bombarde
8? Trompette harm.
8? Basson-Hautbois
8? Voix humaine
4? Clairon harm.
Tremolo

IV. Solo
16? Rohrbourdon
8? Principale
8? Konzertflöte
8? Voce humana
51?3? Nazard
4? Octave
31?5? Tierce
22?7? Septième
22?3? Sesquialtera II
2? Flûte
22?3? Plein jeu III–V
8? Cor anglais
8? Tuba mirabilis
V. Chamaden
16? Chamade
8? Chamade
4? Chamade

Pedal
32? Majorbass
32? Soubasse
16? Principalbass
16? Contrebasse
16? Soubasse
16? Violon
102?3? Großquinte
8? Octavbass
8? Gedackt
8? Cello
4? Octave
4? Tibia
62?5? Tercsept II
51?3? Zinck III
22?3? Mixtur IV
22?3? Compensum VII
32? Bombarde
16? Bombarde
16? Basson
8? Trompete
4? Clairon

Mechanical couplers (also electrically activated):
I+II, I+III, I+IV, II+III, II+IV, III+IV,
P+I, P+II, P+III, P+IV.
Electric couplers:
I+V, II+V, III+V, IV+V, P+V,
I+II 4?, I+II 16?, I+III 4?, I+III 16?, I+IV 4?, I+IV 16?, II+III 4?, II+III 16?, III+III 4?, III+III 16?, IV+IV 4?, IV+IV 16?, P+III 4?, P+IV 4?

Manuals I–IV and pedal: mechanical action.
Manual V, the 32? stops and 16? stops in the façade: electric action.
Manual chests are divided bass/treble for different wind pressures.
Mechanical attached keydesk.
Second electric console on the stage.
Programmable crescendo pedal.
Pleno, Tutti, and reeds are selectable/programmable.
Reeds, mixtures, and couplers available on roller crescendo pedal.
Swell shutter coordination available on crescendo pedal.
Priority switching between crescendo pedals on both consoles when being played simultaneously.
Cancel button for every division.
Selectable dividing point in pedal division of second console.
Sostenuto in all divisions.
Combination action with 5000 possible combinations; memory stick connectivity.
Playback and recording possibilities on both keydesks.

Schoenstein & Co.,
Benicia, California
Schermerhorn Symphony Center,

Nashville, Tennessee

Music City’s New Symphony Hall Organ
In its February 1982 issue, The Diapason published an article that challenged conventional wisdom. (See reprint of the article on pages 27–28 of this issue.) In it, Calvin Hampton made a convincing argument that an organ designed to be an instrument of the symphony orchestra must be radically different in many respects from a church organ or even a concert organ intended for solo use. A “normal” organ, even a fine one, could not pass his audition for symphony hall use. This really caught my attention. Since my background had included playing in and managing symphony orchestras, I was keenly aware of the uneasy relationship between orchestras and pipe organs. To managements, the organ was a headache. It used up too much space and too much money. Stagehands didn’t like the extra hassle of set-ups and working out quiet time for maintenance. Musicians didn’t like tuning to the organ or listening to its quinty mixtures and other thin, shrill sounds. Conductors never seemed satisfied with either the tone color or volume produced. Comments heard over and over again were: “I like that tone, can it be louder?” “Good balance, but I’d like a fuller, darker tone.” “Please(!)—keep with my beat!” The organist’s answers usually provoked frustrated and sometimes colorful comments about the inflexibility of the organ. The poor organist had even more problems than these: scarce rehearsal time, balance problems if the console was attached to the organ, poor sightlines if the console was on stage but too large or placed off in a corner.
The biggest problem of all was disappointment for the audience. The power of a modern symphony orchestra is so immense that most concert hall organs could not add to the drama of a fortissimo tutti. Against the gravity of the full orchestra, an ordinary organ can sound pathetically thin and upside down in balance, with trebles screaming out over the top of the ensemble. I had wondered for a long time why no one had attempted to solve all of these problems with an innovative approach. Calvin Hampton’s article gave me hope that someone would. About ten years later the tide began to turn. The musical issues were being addressed and many of them quite successfully. However, as a former instrumentalist and symphony manager, I thought that a more radical approach was needed.

Solving problems
Most of the behind-the-footlights practical problems can be solved by adopting an obvious, but, in some quarters, unpopular guideline: employ the fewest stops necessary to get the musical job done. This means an instrument that takes up less space, is less costly to purchase and more efficient to maintain. The case or chamber can be shallow for best tonal egress. Layout can be arranged for temperature—and thus tuning—stability; for example, all chorus work on one level, all reeds on one level. The console can be more compact, promoting sightlines and ease in setting and striking. The concept is easy enough to adopt, but what is that magic number of stops? What is the musical job to be done? How can we produce adequate power that will satisfy the audience?
First, it should be established that we are considering an instrument primarily for the Romantic and Modern repertoire. A properly equipped symphony hall should have one or two mechanical action stage organs to take care of the earlier repertoire. Previous experiments to include a “baroque” division with a small console as part of a large instrument have not been successful.
The primary use of the organ will be with orchestra. As a solo instrument, it might be used on occasion for choral accompaniment, silent movies as part of a pops series, and some special events. The solo organ recital has turned out to be a rarity in symphony halls. This is also true of other instrumental or vocal recitals. The reasons are simple: economics and scheduling.
If this musical job description is accurate, then an instrument in the size range proposed by Calvin Hampton (46 voices) would be ideal. Certainly any well-designed instrument of that size should also be able to render a very convincing recital program when needed. The key to a great performance is great tone, not great size.
If client and builder have the discipline to follow this Multum in Parvo plan rigorously, the question of tonal design becomes a matter of selecting stops that are absolutely essential and living without those that would be nice to have. Several classes of stops can be excluded with ease because they are duplicated in the symphony orchestra. Certainly there is no need for multiple strings and celestes or for orchestral reeds such as French Horn, English Horn, and Orchestral Oboe. The organ does not need items that would be considered necessities in a comprehensive church organ or in one specialized for some branch of the organ solo repertoire or for transcriptions.
What, then, are the elements that a symphony hall organ must have? Understanding what musical value the organ can add to the orchestra leads us to the answer. There are three characteristics of the organ that differentiate it very clearly from the orchestra. First, its frequency range is far greater. It can extend octaves below and above the orchestra. Extending the bass range has been the feature most appreciated by composers and orchestrators; however, increasing the treble range can be attractive, provided that it doesn’t get too loud! The second special characteristic of the organ is its unique tone—the diapason. This is a tone that cannot be produced by the orchestra and should, therefore, be the backbone of the organ when heard with the orchestra. The third element that should be most intriguing to composers is the organ’s ability to sustain indefinitely. This feature is most artistically displayed in connection with good expression boxes. A long, continuous diminuendo or crescendo can be most effective.

Four vital design points
Since there is a general understanding of basic organ tonal elements common to composers who write for orchestra as well as for the organ, a good symphony hall organ must include the minimum architecture of a normal three-manual traditional Romantic organ: diapason choruses and chorus reeds on each manual, representatives of stopped, open and harmonic flutes, a string with celeste, flute mutations, and the most common color reeds (Oboe, Clarinet, and Vox Humana). To make the organ capable of working in partnership with a modern symphony orchestra, the following tonal elements must be incorporated into this traditional scheme:
1. Profound Pedal. This is the most important element an organ can add to a symphony orchestra—bass one or two octaves below the double basses, bass tuba and contra bassoon. There must be at least one stop of such immense power that it will literally shake the floor. Stops of varying colors and dynamics with some under expressive control complete the Pedal.
2. Solo stops unique to the organ. These may be tones not found in the orchestra such as a diapason, stopped flute, and cornet or imitative stops that can be voiced at a power level not possible from their orchestral counterparts, such as solo harmonic flutes, strings, clarinets, and high pressure trumpets and trombas.
3. One soft stop capable of fading away to a whisper. Perhaps best in this role is a strongly tapered hybrid (or muted) stop.
4. An ensemble of exceptionally high power under expression. This cannot be raw power. It must be power with beauty, centered in the 8′ and 4′ range to give a sense of solidity and grandeur. Since symphony halls are generally drier acoustically than the typical organ and choral environment, it is even more important that this power be concentrated in the mid-frequency range and be of warm tonal character. The false sense of power created by excessive emphasis in high-pitched tones should be avoided. Orchestras don’t rely on a battery of piccolos for power, why should the organ? Piccolos can dominate an orchestra and so can mixtures, but that doesn’t make either effect beautiful. The kind of power needed comes from moderate to high wind pressures and stops voiced with rich harmonic content for good projection. Upperwork should be for tonal color rather than power. At least one diapason chorus should include a very high pitched mixture, a tone color unique to the organ, but it must not be loud. Eight-foot diapasons, chorus reeds, open flutes and strings should work together to create an ensemble capable of standing up to a full symphony orchestra. As someone who has sat in the midst of a symphonic brass section, I have a clear idea of the kind of power that is generated by trumpets, trombones and horns at fff. To compete without sounding shrill and forced requires high pressure diapasons and reeds, including a 32′ stop—all under expression to fit any situation.

Good tonal design must be supported by a mechanism that helps the organist solve all the performance problems mentioned above—an instrument that is as easy as possible to manage. The organ builder should employ every device at his command to give the organ musical flexibility so that it can take its place as an equal among the other instruments of the orchestra.

The Nashville project
We were given an opportunity to demonstrate the effectiveness of these ideas in our project for the Schermerhorn Symphony Center in Nashville. This was one of those projects that went smoothly from beginning to end, with everything falling into place and no road blocks in the way. Of the greatest importance to the success of this job was the client’s clear musical goal and realization that a really great organ can’t be all things to all people. We had a well-defined mission: to build an instrument that is a member of the orchestra. To this end we worked from the beginning with Andrew Risinger, organ curator and symphony organist and also organist/associate director of music at West End United Methodist Church in Nashville.
We were appointed, at the very beginning of the project, to the design team that included acoustician Paul Scarbrough of Akustiks in Norwalk, Connecticut and design architects David M. Schwarz, Architectural Services of Washington, D.C. I had worked with both as organ consultant for the Cleveland Orchestra in the renovation of Severance Hall and its E. M. Skinner organ. The design team, under the skillful management of Mercedes Jones, produced a hall that could not be more perfect from our point of view. Seating 1,872, it is beautiful in its traditional design, excellent proportions, and fine materials. It is of the traditional “shoebox” shape that everyone knows is perfect but that few architects are willing to employ. Since, under the direction of Paul Scarbrough, all of the traditional acoustical rules were followed, the result is, indeed, perfect.
Reverberation time is controlled by dampening material that may be added or subtracted at will. There is excellent balance, clarity, and pleasing resonance even in the lowest reverberation setting. With all dampening material lifted out of the way at the press of a button, the hall is ideal for most organ and choral repertoire. In addition, there is one very unusual and practical feature that has an added impact for the organ. The orchestra seating section can be converted to a flat open floor for pops concerts and special events. Most of the transformation is accomplished automatically through a labyrinth of gigantic machinery in the basement. The huge expanse of polished wood flooring adds significant reverberation. This feature also, interestingly enough, increases the usage of the organ. The hall is often rented for weddings. This is perhaps the only symphony hall organ in the world that has a reason to play the Mendelssohn and Wagner marches!
The organ is in an ideal position just above the choral risers at the rear of the stage. The casework was designed in close cooperation with the architectural team and Paul Fetzer whose company, Fetzer Architectural Woodwork of Salt Lake City, built the façade along with the other woodwork of the hall. It affords full tonal egress from the open front chamber behind it, which is shallow for accurate unforced projection. The organ is arrayed on three levels. Most flues are on the first level. Reeds, celestes, some flutes and offsets are on the second, and Pedal on the third, with the exception of the Trombone and Diaphone, which occupy a space extending all three levels. The bass octave of the 32′ Sub Bass is in a most unusual spot—located horizontally underneath the patron’s boxes to the left and right of the stage apron! These large scale pipes produce a soft 32′ tone that is felt as well as heard throughout the entire auditorium. The 32′ Trombone is in its own expression box, and the Swell includes our double-expression system, wherein the softest and most powerful voices are in a separate enclosure at the rear of the Swell with shades speaking into the Swell. The Vox Humana is in its own expression box inside the double expressive division of the Swell and so is, in effect, under triple expression. Accurate climate control has been provided, keeping the organ at constant humidity and temperature. The blower room in the basement has its own cooling system to neutralize the effects of blower heat build-up. Intake air is filtered.
The instrument employs our expansion cell windchests and electric-pneumatic action. This allows uniform, fast and silent action for all pipes no matter their pressure as well as easy console mobility and the borrowing of stops for maximum flexibility. Obviously borrowing is employed heavily in the Pedal, but it is also used on the Great, where the high pressure diapasons 8′ and 4′, string, stopped flute, Cornet and Solo reeds are all available independently. It also makes practical the extension of Pedal stops into the Solo and facilitates an interesting effect, the Tuben stop, which borrows the Swell reeds onto the Solo at unison pitch (Posaune up an octave at 8′ and Clarion down an octave at 8′ along with the 8′ Trumpet).
The console has the usual playing aids, but has been kept as simple and straightforward as possible to facilitate efficient rehearsals. There is a record-playback system—helpful for rehearsals and also for house tours; the playback mechanism can be remotely controlled by tour guides. With the press of a button they can start the blower and select a demonstration piece to be played for public tours, which are a popular attraction in Music City.

Tonal design
The two pillars of tone are diapasons and trumpets. The manual diapason choruses contrast in tonal color and power. The Swell chorus (Manual III) is based on a slotted 8′ Diapason of moderate power with a slightly tapered 4′ Principal and a 2′ Mixture, which is under double expression. The Great (Manual II) has a large scale 8′ Diapason with upperwork through 1⁄3′ Mixture and a slotted, smaller scale double. The Solo (Manual I) has the largest scale and most powerful chorus, all under expression and at 10″ pressure. Its mixture can be drawn with and without a tierce. The trumpets range from closed, tapered shallots on 10″ wind in the Swell to open parallel shallots on 5″ wind in the Great to open parallel shallots on 15″ wind in the Solo, where tromba-type tone is added by the Tubas and Trombone. Built around these pillars is an ensemble of stops with color, definition and sinew that project well to produce power in a manner similar to the orchestral instruments and centered at the orchestra’s pitch. Note that 64% of the stops are at 8′ and 4′ pitch. A most rewarding comment on this subject came after the opening concert in Nashville from the visiting executive director of one of the world’s leading orchestras, who remarked that he didn’t know that it was possible for an organ to be so powerful and at the same time so beautiful.
There are several special tonal features including a newly developed stop—the Diplophone. We wanted to include solo stops of heroic power from each family of tone. Our usual solo Gambas, Symphonic Flute (which employs five different types of pipe construction throughout its compass including double mouth and double harmonic pipes), Tibia Clausa, Corno di Bassetto and Tuba Magna represented the string, open flute, stopped flute, color reed, and chorus reed families, but we needed a solo diapason of equal power. We tested normal stentorphone pipes and then double-languid pipes without achieving the character of tone and power we were after. We then tried a double-mouth diapason. Mouths on either side of the pipe allow a greater mouth width than is possible with a single opening. This, combined with high pressure, produces tremendous power with smoothness and beauty. Finally, we included a powerful mounted Cornet (unusual for us) because it is a tone color completely outside the range of the orchestra and should offer interesting possibilities to contemporary composers.
For a stop that can fade away to nothing, we added our Cor Seraphique and Vox Angelique. These are very strongly tapered stops of the muted (or hybrid) variety. They are neither strings nor flutes and have a mysterious quality that is very attractive, with a harmonic structure that promotes projection when the Swell boxes are open, but is soft enough to disappear with both boxes closed. This stop is extended to 16′ to provide the same effect in the Pedal.
The Pedal includes all classes of tone at 16′ pitch: open wood, open metal, string, hybrid, stopped wood, and two different weights of chorus reed tone, both under expression. One of the most important 16′ voices is the Violone, which gives a prompt clear 16′ line to double and amplify the basses of the orchestra. The most unusual, and in some ways most important, stop of the organ is the 32′ Diaphone. Diaphones have a tone quality that ranges from a very dark, almost pure fundamental to a slightly reedy quality. Since this organ is equipped with a 32′ Trombone under expression, the Diaphone is voiced for pure fundamental tone of magnificent power. It produces more solid fundamental bass than a large open wood diapason and it speaks and releases promptly.
Our Pizzicato Bass stop, which gives a clean pointed bass line when added to other stops playing legato, is included because of its value in choral accompaniment. There is a special Sforzando coupler that is engaged only when the Sforzando lever, located above the swell shoes, is touched. It allows Solo stops to be momentarily added to the Great for accent. The Solo has a variable speed tremulant.

Installation and debut
The organ was installed in several phases, which went very smoothly due to the outstanding cooperation and support of the symphony staff, led by president and CEO Alan D. Valentine and general manager Mark F. Blakeman, as well as the excellent building contractors, American Constructors, Inc. The atmosphere was collegial and, yes, there is such a thing as southern hospitality. The casework, display pipes, blowers and large pedal pipes were installed in February–May 2006. We completed the mechanical installation of the organ during the summer of 2006. Tonal finishing was carried out during the summer of 2007. The leisurely and well-spaced schedule avoided the conflicts and last minute scrambles that usually cut tonal finishing time.
The organ was presented to the public at the opening night gala of the 2007–08 season with Leonard Slatkin, conductor, and Andrew Risinger, organist. The program included the Bach Toccata and Fugue in D minor, Duruflé Prelude and Fugue on the Name Alain, Barber Toccata Festiva, and the Saint-Saëns Symphony No. 3. It was recorded for broadcast on SymphonyCast. The exceptionally active Nashville chapter of the AGO has co-sponsored events starting with a lecture-demonstration evening and including the “International Year of the Organ Spectacular” recital featuring Vincent Dubois. The orchestra has presented several programs including a “Meet the Organ” demonstration for students, a “Day of Music” free to the community, a series of noontime recitals, and Thomas Trenney playing accompaniments to the silent films Phantom of the Opera at a Halloween program in 2007 and The Mark of Zorro in 2008. The organ has been used to accompany the symphony chorus in concert and also in several additional orchestra subscription concerts including works by Elgar and Respighi. The 2008–09 season has already presented Andrew Risinger in the Copland Symphony for Organ and Orchestra with new music director Giancarlo Guerrero conducting, the noon recital series continues, and more programs are on the way.
The instrument has been greeted with enthusiasm from the artistic staff of the orchestra and the musicians. The public has embraced it warmly and we look forward to the 2012 AGO convention, where it will be one of the featured instruments.
—Jack M. Bethards
President and Tonal Director
Schoenstein & Co.

On behalf of Louis Patterson, V.P. and Plant Superintendent; Robert Rhoads, V.P. and Technical Director (retired); Chuck Primich, Design Director; Mark Hotsenpiller, Head Voicer;
department heads Chet Spencer, Chris Hansford and Mark Harter;
and technicians David Beck, Filiberto Borbon, Peter Botto, Dan Fishbein, Oliver Jaggi, George Morten, Humberto Palma, Tom Roberts, Dan Schneringer, Patricia Schneringer, Donald Toney, William Vaughan and William Visscher.

Cover photo by Louis Patterson

Schoenstein & Co.

The Martin Foundation Organ
The Nashville Symphony Orchestra
Schermerhorn Symphony Center
Nashville, Tennessee
47 voices, 64 ranks
Electric-pneumatic action

GREAT – II (5″ wind)
16′ Double Open Diapason 61 pipes
8′ Diplophone (Solo)
8′ Grand Open Diapason (Solo)
8′ First Open Diapason 61 pipes
8′ Second Open Diapason 12 pipes
8′ Gamba (Solo)
8′ Tibia Clausa (Solo)
8′ Harmonic Flute 61 pipes
8′ Salicional (Swell)
8′ Bourdon (metal) 61 pipes
8′ Lieblich Gedeckt
(borrow with Bourdon bass)
8′ Cor Celeste II (Swell)
4′ Octave (Solo)
4′ Principal 61 pipes
4′ Lieblich Gedeckt 61 pipes
2′ Fifteenth 61 pipes
11⁄3′ Mixture IV 200 pipes
1⁄3′ Mixture III 146 pipes
8′ Trumpet 61 pipes
4′ Clarion 61 pipes
8′ Cornet V (Solo)
8′ Tuba Magna (Solo)
8′ Tuba (Solo)
8′ Corno di Bassetto (Solo)

SWELL – III (enclosed, 5″ wind)
16′ Lieblich Bourdon (wood) 12 pipes
8′ Open Diapason 61 pipes
8′ Stopped Diapason (wood) 61 pipes
8′ Echo Gamba 61 pipes
8′ Vox Celeste 61 pipes
8′ Salicional 49 pipes
(Stopped Diapason bass)
4′ Principal 61 pipes
4′ Harmonic Flute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Harmonic Piccolo 61 pipes
13⁄5′ Tierce 54 pipes
8′ Oboe 61 pipes
Tremulant
Stops under Double Expression†
16′ Cor Seraphique 12 pipes
8′ Cor Seraphique 61 pipes
8′ Voix Angelique (TC) 49 pipes
2′ Mixture III–V 244 pipes
16′ Posaune 61 pipes
8′ Trumpet 61 pipes
4′ Clarion 61 pipes
8′ Vox Humana†† 61 pipes
†Flues and Vox 6″ wind; Reeds 11½″
††Separate Tremulant; separate expression box

SOLO – I (enclosed, 10″ wind)
8′ Grand Open Diapason 61 pipes
8′ Symphonic Flute† 61 pipes
8′ Gamba 61 pipes
8′ Gamba Celeste 61 pipes
4′ Octave 61 pipes
2′ Quint Mixture IV
2′ Tierce Mixture V 270 pipes
8′ Tuba† 61 pipes
8′ Harmonic Trumpet† 61 pipes
8′ Tuben III††
8′ Corno di Bassetto† 61 pipes
Tremulant
Tremulant (variable)
Unenclosed Stops
8′ Diplophone 29 pipes
(ext Pedal Open Wood)
8′ Tibia Clausa 29 pipes
(ext Pedal Sub Bass)
8′ Cornet V (TG, 5″ wind) 185 pipes
16′ Trombone 5 pipes
(ext Pedal Trombone)
8′ Tuba Magna† 61 pipes
†15″ wind
††Swell Posaune, Trumpet and Clarion at 8′ pitch

PEDAL (4½″, 5″, 7½″, 10″, 15″ wind)
32′ Diaphone 12 pipes
32′ Sub Bass 12 pipes
16′ Diaphone 32 pipes
16′ Open Wood 32 pipes
16′ Violone 32 pipes
16′ Diapason (Great)
16′ Cor Seraphique (Swell)
16′ Sub Bass 32 pipes
16′ Bourdon (Swell)
8′ Open Wood 12 pipes
8′ Open Diapason (Swell)
8′ Principal 32 pipes
8′ Violone 12 pipes
8′ Gamba (Solo)
8′ Flute (Great)
8′ Sub Bass 12 pipes
8′ Bourdon (Swell)
4′ Fifteenth 32 pipes
4′ Flute (Great)
8′ Pizzicato Bass†
32′ Trombone†† 12 pipes
16′ Trombone†† 32 pipes
16′ Posaune (Swell)
8′ Tuba Magna (Solo)
8′ Trombone†† 12 pipes
8′ Posaune (Swell)
4′ Trombone†† 12 pipes
4′ Corno di Bassetto (Solo)
†8′ Sub Bass with Pizzicato Relay
††Enclosed in its own expression box

Couplers
Intramanual
Swell 16, Unison Off, 4
Solo 16, Unison Off, 4

Intermanual
Great to Pedal 8
Swell to Pedal 8, 4
Solo to Pedal 8, 4
Swell to Great 16, 8, 4
Solo to Great 16, 8, 4
Swell to Solo 16, 8, 4
Solo to Swell 8

Special
Pedal Tutti to Solo
Solo to Great Sforzando
All Swells to Swell
Manual I/II transfer piston with indicator

Mechanicals
Peterson ICS-4000 system with:
256 memory levels
62 pistons and toe studs
programmable piston range for each memory level
Piston Sequencer
10 reversible controls including Full Organ
Four balanced pedals with selector for expression and Crescendo
Record/Playback system with remote control
Adjustable bench

Mixture Compositions
Great IV
C1 A10 D15 A#35 G#45
19 15 12
22 19 15 12
26 22 19 15 12
29 26 22 19 15

Great III
C1 A10 D15 C25 A#35 G#45 B48 F#55
33 29 26
36 33 29 26 22 19 15 12
40 36 33 29 26 22 19 15

Swell III–V
C1 C#14 B24 A#47 D#52
15 8 8
19 15 12 8
22 19 15 12 8
22 19 15 12
22 19 15

Solo V
C1 A46 C#50 F#55
12
15 12
17 15 12
19 17 15 12
22 19 17 15

Solo IV derived from Solo V, without tierce

Tonal Families
Diapason† 17 36%
Open Flutes 7 15%
Stopped Flutes 4 9%
Strings 5 11%
Hybrids 2 4%
Chorus Reeds 9 19%
Color Reeds 3 6%
47 100%

†Includes Diaphone and Salicional

Pitch Summary
Sub
32′ 3 6%
16′ 6 13% 19%

Unison
8′ 22 47%
4′ 8 17% 64%

Super
22⁄3′ 1 2%
2′ 4 9%
Above 3 6% 17%
47 100% 100%

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

Fratelli Ruffatti, Padua, Italy

Buckfast Abbey, 

Devon, United Kingdom

The sound

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—Francesco Ruffatti

 

Architecture and technical features

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

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

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

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

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

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

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

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

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

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

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

—Piero Ruffatti

 

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

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

 

QUIRE ORGAN

Location: Quire and Triforium 

POSITIVO (unenclosed–Manual I)

8′ Principale 61 pipes

8′ Bordone 61 pipes

8′ Voce Umana (tenor G) 42 pipes

4′ Ottava 61 pipes

4′ Flauto Veneziano 61 pipes

2′ Decimaquinta 61 pipes

11⁄3′ Decimanona 61 pipes

22⁄3′ Sesquialtera II 122 pipes

2⁄3′ Ripieno III 183 pipes

8′ Cromorno 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Glockenspiel (tenor C) 30 bells

Tremulant

Nightingale 5 pipes

Cymbelstern 12 bells

Drum 3 pipes

6′ Bagpipe F 1 pipe

4′ Bagpipe C 1 pipe

22⁄3′ Bagpipe G 1 pipe

GREAT (unenclosed–Manual II)

16′ Bourdon 61 pipes

8′ Principal 61 pipes

8′ Bourdon 61 pipes

8′ Spitzflöte 61 pipes

4′ Octave 61 pipes

4′ Blockflöte 61 pipes

22⁄3′ Quint 61 pipes

2′ Superoctave 61 pipes

11⁄3′ Mixture IV 244 pipes

1⁄2′ Terz Zimbel III 183 pipes

8′ Trumpet 61 pipes

4′ Clarion 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Sub Octave

Unison Off 

SWELL (enclosed–Manual III)

8′ Flûte à Cheminée 61 pipes

8′ Gemshorn 61 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Céleste (tenor C) 49 pipes

4′ Prestant 61 pipes

4′ Flûte Creuse 61 pipes

22⁄3′ Nazard 61 pipes

2′ Octavin 61 pipes

13⁄5′ Tierce 61 pipes

2′ Plein Jeu IV 244 pipes

16′ Basson 61 pipes

8′ Trompette Harmonique 61 pipes

8′ Hautbois (ext 16′) 12 pipes

4′ Clairon Harmonique (ext 8′) 12 pipes

Tremulant

Sub Octave

Unison Off

Super Octave

SOLO (enclosed–Manual IV)

16′ Lieblich Bourdon 61 pipes

8′ Orchestral Flute 61 pipes

8′ Doppelflöte 61 pipes

8′ Salicional 61 pipes

8′ Unda Maris (tenor C) 49 pipes

8′ Flûte Douce 61 pipes

8′ Flûte Céleste (tenor C) 49 pipes

4′ Flauto d’Amore 61 pipes

22⁄3′ Harmonic Nazard 61 pipes

2′ Harmonic Piccolo 61 pipes

13⁄5′ Harmonic Tierce 61 pipes

8′ Bassett Horn 61 pipes

8′ Vox Humana 61 pipes

8′ Pontifical Trumpet* 61 pipes

8′ Abbatial Trumpet** 61 pipes

Tremulant

Sub Octave

Unison Off

Super Octave

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

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

PEDAL

32′ Contra Bourdon digital

16′ Contrabass 32 pipes

16′ Subbass 32 pipes

16′ Bourdon Great

16′ Lieblich Bourdon Solo

102⁄3′ Quintflöte 32 pipes

8′ Octave 32 pipes

8′ Flûte Ouverte 32 pipes

51⁄3′ Nazard (ext 102⁄3′) 12 pipes

4′ Superoctave 32 pipes

2′ Flûte 32 pipes

22⁄3′ Mixture IV 128 pipes

32′ Fagott 32 pipes

16′ Bombarde 32 pipes

16′ Basson Swell

8′ Trompette (ext 16′) 12 pipes

4′ Schalmei 32 pipes

 

GALLERY ORGAN

Location: West Gallery

GRAND-ORGUE
(unenclosed–floating) 

16′ Bourdon 61 pipes

8′ Montre 61 pipes

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

4′ Prestant 61 pipes

4′ Flûte Octaviante 61 pipes

22⁄3′ Cornet III (tenor G) 126 pipes

2′ Doublette 61 pipes

2′ Plein Jeu III–V 264 pipes

8′ Clarinette 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Tremblant

Sub Octave

Unison Off

EXPRESSIF (enclosed–floating)

8′ Violoncelle 61 pipes

8′ Violoncelle Céleste (TC) 49 pipes

8′ Cor de Chamois 61 pipes

8′ Cor de Chamois Céleste (TC) 49 pipes

4′ Prestant 61 pipes

8′ Trompette 61 pipes

4′ Clairon 61 pipes

Tremblant

Sub Octave

Unison Off

Super Octave

 

PÉDALE

16′ Soubasse 32 pipes

16′ Bourdon Grand-Orgue

8′ Basse 32 pipes

8′ Bourdon (ext 16′) 12 pipes

4′ Flûte (ext 16′) 12 pipes

32′ Bombarde* 32 pipes

16′ Bombarde (ext 32′)* 12 pipes

8′ Trompette (ext 32′)* 12 pipes

* located in the Gallery Organ Triforium

 

Positivo special effects located in the Quire Organ Triforium

 

Solo located in the Quire Organ Triforium

 

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

Four-manual movable Gallery console

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

 

CONSOLE CONTROLS

Identical for both consoles

 

COUPLERS (tilting tablets)

Solo to Swell 16-8-4

Expressif on Manual III

Solo to Great 16-8-4

Swell to Great 16-8-4

Positivo to Great 8

Grand-Orgue on Manual II

Gallery* on Manual I

Solo to Positivo 16-8-4

Great to Positivo 16-8-4

Swell to Positivo 16-8-4

Solo to Pedal 8

Swell to Pedal 8

Great to Pedal 8

Positivo to Pedal 8

Grand-Orgue to Pedal 8-4

Expressif to Pedal 8-4

* Grand-Orgue and Expressif combined

 

Reeds Off (for entire organ)

Mixtures Off (for entire organ)

 

Gallery* on Manual I on key cheek

Grand-Orgue on Manual II on key cheek

Expressif on Manual III on key cheek

*including both Gallery Organ manual divisions

 

Quire Organ Tutti

Full Organ Tutti

Pédale Off on key cheek

 

Sustain for Solo, Swell, Great, Positivo

 

Great and Pedal combinations coupled

Grand-Orgue and Pédale combinations coupled

 

All Swells to Swell

 

Quire Organ On – on key cheek

Gallery Organ On – on key cheek

 

Record and Playback

 

COMBINATION ACTION:

Twelve general pistons for Quire and Gallery organs

Eight Quire Organ divisional pistons

Six Gallery Organ divisional pistons

Set, General Cancel

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

Thousands of memory levels for the “common memory area”

Thousands of private memory folders accessible by password or magnetic sensor

 

Touch-screen control panel featuring multiple functions, including:

• Transposer

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

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

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

Storage of piston sequences in “piece”-labelled folders

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

 

Swell, Expressif, Solo expression pedals

 

Crescendo Pedal: standard and multiple personalized settings 

 

MIDI In, Out, Through

 

SUMMARY OF PIPE MATERIALS:

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

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

 

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

Principal choruses 75% tin alloy 

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

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

 

SUMMARY OF WIND PRESSURES:

 

QUIRE ORGAN

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

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

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

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

Pedal 100 mm and 80 mm upperwork

 

GALLERY ORGAN

Grand Orgue 90 mm

Expressif 100 mm

Pédale 120 mm

 

STATISTICS

81 real stops

100 ranks of pipes

5,542 pipes and 42 bells

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois

Maxwell Street Presbyterian Church, Lexington, Kentucky, Buzard 2009–2010 renovation

Hayes Barton United Methodist Church, Raleigh, North Carolina, Buzard Opus 39, June 2010

I am proud to showcase a recently completed new organ, and a renovation project successfully accomplished by our service and tonal departments, to give a glimpse into the depth of our firm, and the differing types of projects that we regularly and successfully undertake.
Some years back The Diapason featured a renovation project of ours at First Presbyterian Church, also in Lexington, Kentucky. Word of the success of this project quickly sped through the community, and we were contacted by Maxwell Street Presbyterian Church’s music director, Clif Cason, about the possibility of giving their 1963 Rieger tracker action organ a mechanical and tonal “going over.” He and the parishioners at Maxwell Street Church liked the transparency and vigor of the organ’s neo-Baroque style, but weren’t convinced of the inharmonic noise in the flue voicing, nor the unstable and thin-toned reeds. The organ exhibited mechanical symptoms which signaled that work was necessary, and we discovered that the organ was impossible to tune, or keep in tune.
All of us had a turn to inspect this organ: general manager Charles Eames, tonal director Brian Davis, service department director Keith Williams, service department foreman, David Brown, and I. We discovered that the pallets had been covered in a foam-rubber substance, which was becoming sticky and gooey. Additionally, the felt bushings in the keyboards and pedalboard had worn to a point at which the action was clattery. The organ leaked wind inordinately, especially where the pull-down wires exited the slider chests’ pallet boxes.
We re-covered the pallets with felt and leather. All the deteriorated leather purses at the pull-down wires were replaced with felt punchings held down by small lead weights. Keyboards and pedalboard were restored, tracker “combs” that had been removed were replaced, small “bleed” holes were drilled into the slider chests’ tables, and the action was re-hung and balanced properly. Since re-regulating the action and eliminating the flaws we found in our initial inspection, we have discovered that many of the steel needle-axles that act as a bearing for the actions’ squares have worn and will on occasion jump out of their bearing clevises. Replacement of these axles will be a future maintenance operation.
Tonally, the organ was not a happy instrument. Years of heavy cone tuning had done its damage, especially to the small mixture pipes in the organ. Tuning scrolls on façade pipes and the larger flue pipes on the chests had been rolled down too far, and could not tune flat enough. Throughout, the sound was noisy, with a disproportionate amount of speech articulation, scratchiness in the tone, and in many of the small mixture pipes, quick speech to the point of over-blowing an octave. The reeds’ resonators were too short to couple to the pitches that the reeds’ tongues were producing, contributing to a thin and unstable tone. We all concluded that the existing flue pipes could be physically restored and the voicing amended for a significantly improved musical result. However, the reed pipes needed to be replaced.
Our tonal director, Brian Davis, came to us from Visser-Rowland & Associates and was not only intimate with the techniques of flue-regulation voicing, but also significant achievements in neo-Baroque reed making that had been made by German reed pipe maker Roland Killinger in the late 1960s. These developments produced neo-Baroque reeds of excellent tone and tuning stability, even though voiced on very low wind pressures. Ironically, just as Mr. Killinger’s experiments began to produce results, the neo-Baroque trend ended, and few of these new reeds were ever made—until this project.
All of the organ’s pipes (except the largest wood pipes screwed onto the case sides) came back to our workshop for cleaning, repair, and re-voicing. The damage to the small pipes by heavy cone tuning was too significant to warrant restoration of the cone-tuning system, so we installed stainless steel tuning slides on the smaller pipes, and restored (in many instances replaced) the scrolls on the larger pipes. While we had the pipes out we also removed the toeboards to vacuum clean the chest tables and sliders, and to manufacture toeboard overlays and new racking for the new reeds. We observed that the organ used modern-style spring-loaded slider seals, except that from about middle “C” on up these sleeves were sealed with diaphragms of pneumatic leather—all of which were ripped and leaking. No wonder this organ could not be tuned, and no wonder former technicians simply bashed and bashed those poor little pipes sharper and sharper with their tuning cones—because they weren’t receiving enough wind, because of the leaking leather! New slider seals sans leather replaced the originals. Not surprisingly, now the organ can be tuned, and stays in tune.
In order to get as much sound from the relatively small-scaled 16′ Subbass pipes (stamped “Lieblich” by the way), the corrugated tubing connecting the toe holes on the chest to the toes of the pipes screwed onto the case was replaced with larger diameter tubing, and we installed “lifters” onto the pallets, so that the pedal action would be able to open the pallets farther.
There was a half-length 16′ Posaune in the Pedal, but it was of such small scale, producing no fundamental pitch, that we opted to place a nicely scaled 8′ Trompete in its place. Music director Clif Cason envisions a second phase of the project to install a new full-length 16′ Posaune in the back of the organ, and a Pedal 16′ Offenbass in additional cases alongside the existing instrument. This may be tied into a long-hoped-for chancel renovation and re-configuration project.
The re-installation of the organ took approximately two weeks, and tonal finishing occupied three weeks. The result is a phenomenally clean, clear, transparent, buoyant, musical sound. The reeds are full and round, the direct result of Roland Killinger’s research from the 1960s. This organ, and our rebuilt organ at First Presbyterian Church, will be featured in the AGO regional convention to be held next summer in Lexington.
It is possible to work faithfully in a style that may not be one’s own when renovating an existing instrument. But this takes complete subrogation of one’s self from the tonal and mechanical equation. Our firm has the depth and experience to successfully undertake such a project, while at the same time developing our own personal style of modern organbuilding. Many know that I’m a romantic at heart. One of my colleagues said to my son at the recent AGO convention (to paraphrase) “It’s because of your father, that we can build modern romantic organs.”
The new organ at Hayes Barton United Methodist Church in Raleigh, North Carolina came about because the wonderful people on the organ committee had a romantic and emotional reaction to our organs at All Saints Episcopal Church in Atlanta, Georgia, and Williamsburg Presbyterian Church in Williamsburg, Virginia. They asked their consultant, Keith Shafer, why they needed to listen to any other builders’ instruments after hearing ours, because they knew in their hearts that they had fallen in love. But they followed the consultant’s discipline, and hearing others confirmed their impression of heart. They had to have a Buzard organ in their church!
Their organ project was coupled with a tremendously successful sanctuary renovation project, in which the visual and acoustical environments were transformed into a dignified, lively and holy place of worship. Organist David Witt spent endless hours coordinating architects, contractors, and consultants. The interior designer was Terry Byrd Eason and the acoustician was Dana Kirkegaard.
Engineering this instrument of 43 stops and 52 ranks was one of the greatest physical challenges for executive vice-president Charles Eames (also a Visser-Rowland alumnus). Every inch of roof gable, every nook and cranny of former organ chambers, and a space above a newly developed sacristy became home for the instrument, all of which can easily be reached for maintenance and tuning.
The warmth and breadth of the tonal palette encompasses a dynamic and lively Principal chorus as the backbone of the instrument, as well as flute, string, and reed choruses. No two stops of the same class are identical, which translates into tremendous tonal variety. The organ can accompany a single small child, through a choir of 100. And, the improved acoustics coupled with our voicing allows one to feel the sound all around oneself, and that one is always supported in singing.
During our last week of tonal finishing in early June, son Stephen came down to Raleigh from his last summer at Westminster Choir College in Princeton, New Jersey, and played an impromptu concert for the members of the church’s building and organ committees. Playing for about half an hour, the clarity of the Principal choruses was highlighted, then the softer, suave voices in the Swell and Choir as well as the lyrical reeds; then the organ’s orchestral nature shone in the Willan Introduction, Passacaglia, and Fugue. All agreed that they never thought pipe organs could sound this way.
Yes, I am a romantic at heart, a professional of mind, perhaps a pragmatist and dreamer all rolled into one. But so is everyone else on my staff, and we would love nothing more than to be a part of your worshipping community, whether it involves building you a new pipe organ, or renovating an instrument you have, with which you want to fall in love again.
—John-Paul Buzard

Maxwell Street Presbyterian Church, Lexington, Kentucky
1963 Rieger Orgelbau, Austria, mechanical action, 21 stops, 30 ranks
2010 renovations John-Paul Buzard Pipe Organ Builders, Champaign, Illinois. Completed October 15, 2010

HAUPTWERK Manual I 55mm wind pressure
8′ Principal 61 pipes
8′ Röhrflöte 61 pipes
4′ Octave 61 pipes
II Sesquialter 122 pipes
2′ Blockflöte 61 pipes
11⁄3′ Mixtur V 305 pipes
16′ Röhrschalmei 61 pipes*
8′ Trompete 61 pipes*
II–I 8′

POSITIV Manual II
55mm wind pressure
8′ Holzgedeckt 61 pipes
4′ Principal 61 pipes
4′ Koppelflöte 61 pipes
2′ Octave 61 pipes
11⁄3′ Quint 61 pipes
2⁄3′ Scharff IV 244 pipes
8′ Krummhorn 61 pipes*
Tremulant

PEDAL 55mm wind pressure
16′ Offenbass (* prepared for)
16′ Subbass 44 pipes
8′ Octavbass 32 pipes
8′ Subbass 32 notes
4′ Gemshorn 32 pipes
2′ Rauschpfeiffe III 96 pipes
16′ Posaune (* prepared for)
8′ Trompete 32 pipes*
4′ Schalmei 32 pipes*
Tremulant
I–P 8′
II–P 8′
(* denotes new pipes)

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois
Hayes Barton United Methodist Church, Raleigh, North Carolina
Three manuals, 43 stops, 52 ranks, electric-slider action
Completed June 2010

GREAT (4-inch wind pressure)
16′ Lieblich Gedeckt 61 pipes
8′ Open Diapason 61 pipes
polished tin in façade
8′ Viola da Gamba 61 pipes
8′ Flûte Harmonique 61 pipes
polished tin in façade
8′ Bourdon 61 pipes
4′ Principal 61 pipes
4′ Spire Flute 61 pipes
22⁄3′ Twelfth 61 pipes
2’ Fifteenth 61 pipes
11⁄3′ Mixture IV 244 pipes
8′ Trompete 68 pipes
(doubled flue trebles)
8′ Tromba (Pedal)
4′ Tromba Clarion (Pedal)
8′ Major Tuba (Choir)
Tuba Solo (melody coupler)
Tremulant
Cymbalstern 14 bells
Chimes (digital)
Great-Great 16-UO-4
Swell-Great 16-8-4
Choir-Great 16-8-4

SWELL (4-inch wind pressure)
16′ Gedeckt Pommer 43 pipes
(1–18 from Great)
8′ Violin Diapason 61 pipes
8′ Stopped Diapason 61 pipes
8′ Salicional 61 pipes
8′ Voix Celeste 61 pipes
8′ Flûte Cœlestis 86 pipes
(Ludwigtone)
4′ Principal 61 pipes
4′ Harmonic Flute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Recorder 61 pipes
13⁄5′ Tierce 61 pipes
2′ Full Mixture IV 244 pipes
16′ Bassoon 85 pipes
8′ Trompette 68 pipes
(doubled flue trebles)
8′ Oboe 61 pipes
4′ Clarion (ext Bassoon)
8′ Major Tuba (Choir)
Tremulant
Chimes (digital)
Swell-Swell 16-UO-4

CHOIR (4-inch wind pressure, except as noted)
8′ English Open Diapason 61 pipes
8′ Flûte à Bibéron 61 pipes
8′ Dulciana 61 pipes
8′ Unda Maris 49 pipes
4′ Principal 61 pipes
4′ Block Flute 61 pipes
2′ Doublette 61 pipes
11⁄3′ Larigot 61 pipes
1′ Fourniture IV 244 pipes
8′ Clarinet 61 pipes
8′ Tromba (Pedal)
4′ Tromba Clarion (Pedal)
8′ Major Tuba 61 pipes
25 inch wind pressure
Tremulant
Chimes (digital)
Harp (digital)
Celesta (digital)
Choir-Choir 16-UO-4
Swell-Choir 16-8-4

PEDAL (4-inch wind pressure, except as noted)
32′ Double Open Diapason (digital)
32′ Subbass (digital)
32′ Lieblich Gedeckt (digital)
16′ Open Diapason 32 pipes
wood and metal in facade;
1–6 12-inch wind
16′ Bourdon 44 pipes
8′ Open Bass 44 pipes
polished tin in façade
8′ Principal 44 pipes
polished tin in façade
8′ Bourdon (ext)
8′ Violoncello 32 pipes
polished tin in façade
4′ Choral Bass (ext)
4′ Open Flute (ext)
16′ Trombone 85 pipes
7-inch wind pressure
16′ Bassoon (Swell)
8′ Trumpet (ext)
4′ Clarion (ext)
8′ Major Tuba (Choir)
Chimes (digital)
Great-Pedal 8-4
Swell-Pedal 8-4
Choir-Pedal 8-4

Photo credit: John-Paul Buzard

800/397-3103
www.Buzardorgans.com

Kegg Pipe Organ Builders, Hartville, Ohio

The Sharkey-Corrigan Organ, Texas A&M International University, Laredo, Texas

From the President of the University

Like a birth in the family, a new organ fills the community with expectation, optimism, and joy. Our experience of imagining an organ for Laredo very much mirrored a family’s strategy for acquiring progeny: plan and hope. In August 2003, at Texas A&M International University we opened and dedicated to the people of South Texas our new fine and performing arts center. Conceived to offer the best possible venues for music, dance, and drama, the university planners insisted upon including both a recital hall and a theater. From the very first discussions, the recital hall was to have generously live acoustics to ensure that music played in that room, regardless of dynamic, envelop both player and listener in that three-dimensional experience we all cherish in great halls. A large expanse behind and above the stage in the recital hall, conspicuously vacant at the completion of the building, was simply marked “organ” on the architect’s rendering.
A few days after the gala opening of the new center, E. H. Corrigan, native Laredoan and longtime patron of the arts in Santa Fe, New York, Washington, San Antonio, and Laredo, called and asked that we talk about how to fill that space. Mr. Corrigan’s generous determination to bring to Laredo and South Texas a world-class instrument led first to a national call for proposals, then a contract with Kegg Pipe Organ Builders to build the instrument.

Our vaunted expectations for the organ, both our needs and our wants, established clear indications for design. Since the organ is to inspire and undergird an academic program, we asked that it accommodate repertoire of all periods. Placement in a concert hall would allow for an intimate relationship between the organ and programs of great diversity—choral, band, orchestral. The instrument must be adequate to support a full range orchestral repertoire. While a tracker would be ideal for organ recitals, we asked for the flexibility of a movable console on the stage below the pipes. A plethora of reeds and solo stops, a solo division under expression, and a full positiv division in the forward position rück style provide a variety normally only found on a much larger instrument.
Today, like a family grateful for a trouble-free birth, we recognize that this project was from the first somehow marvelously blessed to be in the hands of Kegg Pipe Organ Builders. “I will be in Laredo on April 24, 2006. The organ will be done by late June,” Charles Kegg promised the anxious organ committee in the fall of 2003. And it was. Voicing is rich and full, a strategy to exploit the marvelous acoustics in the hall. Visually, the organ is nothing short of spectacular, the first instrument of its kind built in South Texas and on the Texas-Mexico border.

The dedication recital, by Dr. David Heller of Trinity University, San Antonio, did, in Dr. Heller’s words, “put the organ through its paces.” A capacity crowd listened attentively and roared to its feet on the last note of Craig Phillips’ Fantasy Toccata. In addition to numerous solo recitals and concerts with the Laredo Philharmonic Orchestra for this year, we are at present planning an organ symposium for the summer of 2007; the topic: “The Concert Organ: Its Music and Its Performers.”

Ray M. Keck, III, PhD



From the Consultant and Artist

Selecting a builder for a new organ in a new concert hall is a rare opportunity for any consultant—and it poses a different set of questions with regard to its tonal design. At the onset of the project, the following criteria were established for the new organ: 1) It should have the ability to perform a wide range of the solo repertoire for organ; 2) It should work effectively with an orchestra, both as soloist and as a member of the ensemble; 3) It should possess the capability for effective collaborative performances with soloists and vocal and instrumental ensembles; and 4) It should serve effectively as a teaching instrument.

Recognizing that this new installation was for a concert hall and not a church, the desire was expressed for a flexibility that would allow for the performance of non-traditional literature, such as transcriptions and literature from the “concert hall” era of the pipe organ in the earlier 20th century. After careful study and analysis of the proposals submitted, TAMIU awarded the contract to Kegg Pipe Organ Builders of Ohio because of the firm’s innovative tonal design, the manner in which the proposal met our criteria, and the potential impact that such an instrument would have on the public. The end result has surpassed our expectations!

Each division of the Sharkey-Corrigan organ has a highly distinctive character. The Great Principal chorus is an evenly-voiced plenum based on 16' pitch and crowned by the Sharp Mixture III. This main body of the division is enhanced with a full complement of 8' registers (in the manner of 19th-century French organ building) and completed with a reed chorus that blends richly into the ensemble. One of the most beautifully voiced stops in the organ is the Harmonic Flute 8', which soars in the upper octaves, making it one of the most effective solo stops in the entire organ.

The Positiv division, cantilevered out in front of the main case of the organ, is a perfect foil to the Great division with its Principal chorus based on 8' pitch (and of a different tonal character from the Great). Completing the Positiv are two marvelous Baroque style reeds—the Holz Regal 16' (with a darker character, perfect for running bass lines), and a brighter Krummhorn.

The Swell division has a complete array of tonal resources for both the solo literature as well as the accompaniment of vocal and instrumental ensembles, capped off by a powerful reed chorus at 16'-8'-4' pitches. Of special note here is the Vox Humana 8'that makes the performance of Franck’s organ works an absolute joy for both the performer as well as the listener.

The Solo division gives this new organ its truly distinctive character with its combination of solo and ensemble registers. The Diapason 8' is especially effective when all of the divisions are coupled together, by reinforcing that particular pitch line. The Tromba chorus at 16'-8'-4' works extremely well in a full-organ registration much like the Bombarde division of a 19th-century French organ. The dark and haunting Clarinet along with the piquant English Horn provide the performer with greater opportunities for solo voices, particularly in transcription literature. One of the unique features of this instrument is the Solo Tuba, which is housed in its own expression box, making it useful not only as a solo stop but as an ensemble register as well, particularly in building up a crescendo to imitate the brass section of an orchestra.

And finally, the Pedal division provides effective support for the entire instrument, featuring an independent Principal chorus, softer flue stops, string stops to support the orchestral strings of the Solo division, and a full reed chorus based on 32' pitch. Judicious duplexing of manual stops to the pedal provides even greater tonal flexibility for the performer.

As an artist, I can honestly state that this organ is one of the most flexible and musically satisfying instruments I have ever played. Each stop carries its weight, and each stop does what the drawknob tells you. The balance between the divisions is so finely honed that one can select registrations with complete ease. It was a joy to conceive and put together an inaugural recital that combined the works of Hancock, Bach, Franck, Duruflé, and Phillips with more non-traditional repertoire by Lefébure-Wely, Ramón Noble, and Edward Elgar. And if all of that were not enough, the design of the console and the operating system for the combination action (one of the most user-friendly systems I have seen to date) made the entire experience of recital preparation and performance a breeze.

Texas A&M International University and the city of Laredo have a musical instrument in which they can take great pride. It will serve them well in the years to come and help cultivate future generations of organists and organ aficionados.

Dr. David A. Heller

Trinity University

San Antonio, Texas



From the Builder

The new Texas A&M International University organ was at once a formidable challenge and a golden opportunity. The challenges were many: to build into a reasonable size instrument a tonal design that could play with conviction organ literature of all styles, accompany great choral works, and also crown the resident Laredo Philharmonic Orchestra in romantic splendor. Dr. Ray Keck, university president, organist, project lightning rod, and Bach aficionado, also made known his desire for accurate renderings of Bach. All this was to be done with an instrument that is not exceptionally large and with some significant space limitations. We are delighted to have been chosen for this landmark instrument.
Our tonal design was based on the simple fact that this was to be the only instrument on campus (indeed the only concert-size organ in a large geographical area), and needed to be used for teaching, practice, recital, and with orchestra. It needed to have a full spectrum of dynamic range from very delicate to confronting a full orchestra—and win. For practice and teaching, the majority of voices needed to speak at comfortable volume levels that would focus on color and deliberately counteract aural fatigue.

In addressing these needs, we started with four independent Principal choruses, each with its own character and purpose that provide proper polyphonic clarity. The articulation is not pronounced, but precise speech is always apparent. The Great chorus is full and noble. The Positiv is light and delightful, equal in impact to the Great. The Swell is richer than the Great with its slotted 8' and deeply textured Plein Jeu. The glory of these choruses is that Bach, Buxtehude and Bruhns are sheer delight, and it is not until six or seven preludes and fugues later that the organist realizes that not even a single unison coupler has been touched! When the couplers are engaged, the new organ at TAMIU begins a remarkable transformation. The same stops that gave such clear distinction to divisions in the Baroque literature now become contributors to a more global full organ sound. Beginning with the softest Flauto Dolce it is possible to build a seamless crescendo to full organ that is an intricate fabric of sound, at once cohesive and fabulously rich in texture and color.

Each stop in the organ does exactly what one would expect and need it to do, but there are several specific tonal features that will enjoy further exploration here. The Great has two reed choruses. The Trompetes are light and are intended for early works where the chorus reeds are subordinate to the flues. The Tromba chorus is intended for those works where the reeds must command the respect of the principals and dominate them. For those in-between works, the Tromba chorus is located in the Solo box such that they can be reined in as required.
There are three Cornets in the organ. The Great has a Principal Cornet that is commanding. Built décomposé, it can be tailored. The Positiv Cornet is of lighter principal character and has a flatted seventh added to the normal third and fifth, giving the stop a lovely edge that is very distinct. The Swell Cornet is of flutes and is serenely gentle.

The Solo Diapason IV 8¢ is a collection of unenclosed principal stops from the Great and Pedal, all playing at 8' pitch. This quartet of 8' principals gives the organ a velvet Diapason line. The stops are drawn from the Great Principal, Great Octave, Pedal Octave and Pedal Choralbass.

The Tuba is located in the very heart of the organ case, in its own swell box. On 18" wind, this stop can solo above the full ensemble or with shade control can be subtly brought into the full ensemble, blending easily with it and expanding it horizontally.

The case design here presented a particular challenge. The TAMIU organ is located in a low balcony above the hall stage. There is not a lot of height to allow the organ to visually soar. The solution was to build a Rückpositiv that is lowered into the back stage wall. This has the visual effect of anchoring the organ to the stage in addition to providing the classical forward position for the division. The main case is considerably wider than it is high. Organ cases are happiest when their proportions are as pipes: tall and slender. This was not possible here, and much care was taken to give the case as much verticality as possible. The lowered Positiv case helps with this. The center three towers of the main case stand forward of the side Pedal towers. The change of depth is accomplished as the outside pipe flats curve. The result is very satisfying in the room.

I approach every organ in a comprehensive manner. Placement of divisions within the room and in relation to each other is as important as scaling and voicing. The case design is a classic five tower design plus Positiv with a contemporary flair. The gilded pipe shades are a stylized interpretation of the university seal, which includes a globe showing the Western hemisphere. The internal layout has the Great high and in the center. The Swell is behind it. The Pedal upper work is below the Great. The Positiv is below and forward of the Great. Thus the main manual divisions are centered in the hall with their physical relationship matching their musical relationship. This enhances polyphonic music when the organ is played uncoupled and blends the divisions together when the divisions are combined. The Solo division is in the right side of the case and the Pedal basses are in the left side. For those that are interested in unusual pipe design, the 32' Trombone is large scale and is built with Haskell bass pipes, which are not common when used with reeds. They save considerable lateral space over mitering when height is severely restricted.

Working with the TAMIU staff could not have been easier or more delightful. We are indebted to Dr. Ray Keck, university president, who envisioned the instrument from the start and drove the project; Dr. David Heller, consultant and artist of the opening concert, for his thoughtful help and encouragement; physical plant manager Richard Gentry for his instant and complete help during installation; and of course to E. H. Corrigan for his generous funding of the entire project. The organ bears the name of Sharkey-Corrigan in memory of Mr. Corrigan’s mother.

My personal thanks also to the Kegg staff including Fred Bahr, Phil Brown, Joyce Harper, Mike Carden, Phil Laakso, Walt Schwabe, Rick Schwabe, and Tom McKnight. In addition to these people being the finest craftspeople I know, they are also the finest friends.

Charles Kegg

Kegg Pipe Organ Builders

Kegg Pipe Organ Builders

Texas A&M International University, Laredo, Texas

52 stops, 69 ranks, 4003 pipes

GREAT Manual II (3.5" wp)

16' Violone

8' Principal

8' Violone (ext)

8' Rohrflute

8' Harmonic Flute

4' Octave

4' Spitzflute

22⁄3' Twelfth

2' Fifteenth

13⁄5' Seventeenth

11⁄3' Full Mixture IV

2⁄3' Sharp Mixture III

16' Contra Trompete

8' Trompete (ext)

Tremulant

16' Tromba (Solo)

8' Tromba (Solo)

4' Clarion (Solo)

Zimbelstern (5 handbells, adjustable speed, volume and delay)


CONTINUO manual II

(duplexed from Positiv)

8' Gedeckt

4' Koppelflute

2' Flute

2' Principal

11⁄3' Quinte

This division also has its own small one-manual console including blower control and transposer switch that will lower the played pitch by one half-step for use with historical instruments. This console may be used in place of the large main console for chamber work.


SWELL Manual III (4" wp)

16' Bourdon (metal)

8' Principal

8' Bourdon (ext)

8' Salicional

8' Voix Celeste

8' Flauto Dolce (Solo)

8' Flute Celeste (Solo)

4' Octave

4' Flute

22⁄3' Nazard

2' Piccolo

13⁄5' Tierce

2' Plein Jeu V

16' Basson

8' Trompette

8' Hautbois (ext)

8' Vox Humana

4' Clairon

Tremulant

Swell 16-UO-4


POSITIV Manual I (2.75" wp)

8' Principal

8' Gedeckt (wood)

4' Octave

4' Koppelflute

22⁄3' Quinte TC (from 11⁄3¢)

2' Octave

11⁄3' Quinte

Sesquialtera II–III

1' Mixture IV

16' Holz Regal

8' Krummhorn

Tremulant

Positiv 16-UO-4


SOLO Manual IV (5" wp)

8' Solo Diapason IV*

8' Gamba

8' Gamba Celeste

8' Flauto Dolce

8' Flute Celeste TC

8' Clarinet

8' English Horn

Tremulant

16' Tuba TC (ext)

8' Tuba (18≤ wp, separate enclosure)

4' Tuba (ext)

16' Tromba

8' Tromba (ext)

4' Clarion

*From Great 8' Principal, 4' Octave, Pedal 8' Octave, 4' Choralbass


PEDAL (5" wp)

32' Subbass (56 pipes)

16' Open Diapason (wood)

16' Violone (Gt)

16' Subbass (ext)

16' Viole (44 pipes)

16' Bourdon (Sw)

8' Octave

8' Violone (Gt)

8' Subbass (ext)

8' Viole (ext)

8' Bourdon (Sw)

4' Choralbass

4' Cantus Flute (Gt Harm Fl)

22⁄3' Mixture IV

32' Trombone (full length, 68 pipes)

32' Harmonics (derived)

16' Trombone (ext)

16' Trompete (Gt)

16' Basson (Sw)

8' Trombone (ext)

8' Trompete (Gt)

4' Clarion (ext)

4' Clarinet (Solo)

4' Krummhorn (Pos)



Inter-manual couplers

Great to Pedal 8, 4

Swell to Pedal 8, 4

Positiv to Pedal 8, 4

Solo to Pedal 8, 4



Swell to Great 16, 8, 4

Positiv to Great 8

Solo to Great 16, 8, 4



Solo to Swell 8



Swell to Positiv 16, 8, 4

Solo to Positiv 8



Great / Positiv Transfer (including keys, pistons and couplers)

All Swells to Swell



Photos by Charles Kegg unless otherwise indicated.