Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

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

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

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

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

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

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

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

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal  (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

                        Great
to Great 4

                        Swell
to Great 16-8-4

                        Choir
to Great 16-8-4

                        Zimbelstern

SWELL

16'  Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola  (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4       

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave  (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass  (32 pipes)

II Rauschquint (64 pipes)

II Mixture  (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

 

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

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

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

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

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

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

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

                        Positiv
to Hauptwerk

                        Hauptwerk
to Pedal          

                        Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

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

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

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

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

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

                        Gt
& Sw to Ped 8

                        Sw
to Gt 16-8-4

                        Gt
4

                        Sw
16-UO-4

                        Antiph
to Ped 8

                        Antiph
to Gt 8

                        Antiph
to Sw 8

Cover

Steven Cook, Edmonds, WA

Our Saviour's Lutheran
Church, Bremerton, WA

From the consultant:

A new, encased mechanical action organ, by builder Steven
Cook, was installed in March of 2000, at Our Saviour's Lutheran Church,
Bremerton, Washington. The organ, located in the rear gallery of the nave, has
21 stops derived from 21 ranks, playable on two manuals and pedal.

The design of the organ posed some unique problems. The
former organ (a small two manual electro-pneumatic Estey) had been enclosed in
an attic chamber over a small choir loft at the front of the church. A more
optimal position for both choir and organ was chosen at the rear of the nave,
where a small balcony for overflow seating existed. The balcony, however, could
not provide sufficient height and space for both organ and choir. The creative
solution was to build the base of the organ on the floor of the nave,
straddling the center aisle and with a tunnel through the middle. The impost of
the organ aligns itself with the floor of the balcony, with tuning access
through doors at the back, accessed from the balcony. The keydesk is located on
one side of the case, raised 18" off the floor, giving clear sight of the
activity in the church. The choir is located on risers in the rear corner on
the same side as the keydesk. 
Visually and aurally the position of organ and choir has resulted in a
major improvement in the projection of sound into the nave.

Steven Cook, a native of Washington State, is a relatively
new organ builder for the Pacific Northwest, opening his shop in 1992. The new
organ for Our Saviour's Lutheran Church is his largest instrument to date, following
seven prior instruments. Mr. Cook, who has spent time working in the organ
shops of John Brombaugh and Paul Fritts, manufactures virtually all component
parts of his organs in his shop in Edmonds, Washington, including all metal
casting and pipe making, casework, keyboards and actions, windchests, and case
carvings. Several members of his family have been among the shop staff.

Metal pipework for principal and flute ranks are made from 28%
tin/lead alloy. Reed pipes are also made by the builder. Casework is made from
fumed white oak.

David Dahl

Organ consultant for the project

  

From the builder:

The organ for Our Saviour's Lutheran Church posed some
interesting challenges. The original plan was for a reversed, detached console.
However, after concerns were raised about the amount of floor space lost to the
organ, I suggested a keydesk on the end of the case. The organist expressed
concerns about being able to see the front of the church over people's heads,
so we elevated the keydesk 18" off the floor. This has proved satisfactory
in all ways. The key action is quite simple: it rises to action squares above
the keys, then fans out to C- and Cs chests.

The church has extremely poor acoustics, owing to the
presence of acoustical paneling on the ceiling and carpet on the floor! After
installing the organ, we were faced with a situation of too much brightness at
the back of the church, and too little presence in the front. Among several solutions
employed was the removal of the case tower tops, to allow sound to reflect off
the ceiling over the organ (the only bay in the ceiling replaced with
sheetrock)  and the lowering of the
wind pressure from 91 to 86 mm.

The organ has seven stops of 8' pitch on the manuals, which
allows for a good range of tonal variation and volume. The pedal stops come
from three ranks, each playing at two pitches. This is accomplished with
mechanical duplexing chests, of a design I have used in three organs. The concept
is the use of a grid bar, rather than a channel, with holes drilled through it
for each stop. The pallet then seals against the individual holes, preventing
feedback to the octave note.

The wind is supplied via a small wedge bellows in the Cs
pedestal. Loading is divided equally between weight and spring tension. It was
deemed difficult to provide mechanical stop action in the space available due
to the transverse C and Cs chests, so I chose to use very simple double acting
pneumatic motors to operate the sliders. These utilize a pouch-type primary.
Default is off, a slight positive pressure inflates the primary and operates
the stop motor the 25 mm needed to shift the slider.

The dedication event was played by David Dahl and Jeanette
Pilgrim on June 11, 2000, and included a program of traditional German and
French music as well as contemporary pieces and hymn singing. For information:
750 Edmonds St., Edmonds, WA 98020; 425/774-0631.

Steven R. Cook

 

GREAT

                  16'
style='mso-tab-count:1'>          Stopped
Flute (1-12 from Ped.                                                                      Subbass)

                  8'
style='mso-tab-count:1'>             Principal

                  8'
style='mso-tab-count:1'>             Stopped
Flute

                  4'
style='mso-tab-count:1'>             Octave

                  4'
style='mso-tab-count:1'>             Chimney
Flute

                  2'
style='mso-tab-count:1'>             Octave

                                    Mixture
III

                  8'
style='mso-tab-count:1'>             Trumpet

POSITIVE

                  8'
style='mso-tab-count:1'>             Chimney
Flute

                  8'
style='mso-tab-count:1'>             Gamba

                  8'
style='mso-tab-count:1'>             Celeste

                  4'
style='mso-tab-count:1'>             Principal

                  22/3'
style='mso-tab-count:1'>      Quint

                  2'
style='mso-tab-count:1'>             Block
Flute

                  13/5'
style='mso-tab-count:1'>      Tierce

                  8'
style='mso-tab-count:1'>             Clarinet

PEDAL

                  16'
style='mso-tab-count:1'>          Subbass

                  8'
style='mso-tab-count:1'>             Principal
(1-12 from Great)

                  8'
style='mso-tab-count:1'>             Stopped
Flute

                  4'
style='mso-tab-count:1'>             Octave

                  16'
style='mso-tab-count:1'>          Bassoon
(tapered wood resonators)

                  8'
style='mso-tab-count:1'>             Bassoon

 

usual couplers and tremulant to whole organ

organ tuned to Kellner temperament

 

Fabry Pipe Organs, Inc., Fox Lake, Illinois, has completed
the final phase of the total rebuild project for the 1951 Möller organ at
the Evangelical United Methodist Church, Racine, Wisconsin: 3 manuals, 37
ranks. The Wadewitz Memorial Organ was re-dedicated on May 7 in a ceremony
featuring music for organ, piano, and the church’s Chancel Choir.
Organist and choir director of the church is Dr. James McKeever. The entire
project took four years to complete. The first phase included solid state
conversion of the console and relay system; second phase was re-leathering the
entire organ; and final phase included tonal additions and changes. Among the
changes was a new trumpet stop named the “Evangelical Trumpet,”
MIDI resource system with sequencer, 99 memory combination action, new manual
keyboards of maple and walnut, maple drawknobs and rocker tablets, maple and
walnut pedal key tops, and wood engraved indicator plates. (Photo by
Photographic Design, Carol Hansen, Racine, WI.)

GREAT

                  16'
style='mso-tab-count:1'>         Principal
(new treble end)

                  16'
style='mso-tab-count:1'>         Gemshorn

                  8'
style='mso-tab-count:1'>            Diapason

                  8'
style='mso-tab-count:1'>            Hohl
Floete

                  8'
style='mso-tab-count:1'>            Gemshorn

                  8'
style='mso-tab-count:1'>            Bourdon
(Ch)

                  4'
style='mso-tab-count:1'>            Octave

                  4'
style='mso-tab-count:1'>            Hohl
Floete

                  22/3'
style='mso-tab-count:1'>    Quinte

                  2'
style='mso-tab-count:1'>            Octave

                  13/5'
style='mso-tab-count:1'>    Tierce (used pipes)

                  IV
style='mso-tab-count:1'>            Mixture
(new pipes and chest)

                  8'
style='mso-tab-count:1'>            Evangelical
Trumpet (Ch)

                                    Chimes

                                    Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    Ch/Gt
16-8-4

                                    MIDI

SWELL

                  16'
style='mso-tab-count:1'>         Rohr
Bourdon

                  8'
style='mso-tab-count:1'>            Geigen
Diapason

                  8'
style='mso-tab-count:1'>            Chimney
Flute

                  8'
style='mso-tab-count:1'>            Viole
de Gamba

                  8'
style='mso-tab-count:1'>            Viole
Celeste

                  4'
style='mso-tab-count:1'>            Geigen
Octave

                  4'
style='mso-tab-count:1'>            Koppel
Flute

                  2'
style='mso-tab-count:1'>            Koppel
Flute

                  IV
style='mso-tab-count:1'>            Plein
Jeu

                  16'
style='mso-tab-count:1'>         Contra
Fagotto

                  8'
style='mso-tab-count:1'>            Trumpet

                  8'
style='mso-tab-count:1'>            Oboe

                  8'
style='mso-tab-count:1'>            Vox
Humana

                  4'
style='mso-tab-count:1'>            Clarion

                  8'
style='mso-tab-count:1'>            Evangelical
Trumpet (Ch)

                                    Sw
16-UO-4

                                    Ch/Sw
8-4

                                    MIDI

CHOIR

                  16'
style='mso-tab-count:1'>         Bourdon
(new treble end)

                  8'
style='mso-tab-count:1'>            Principal

                  8'
style='mso-tab-count:1'>            Concert
Flute

                  8'
style='mso-tab-count:1'>            Bourdon

                  8'
style='mso-tab-count:1'>            Erzahler

                  8'
style='mso-tab-count:1'>            Erzahler
Celeste

                  4'
style='mso-tab-count:1'>            Octave
(new pipes & chest)

                  4'
style='mso-tab-count:1'>            Nachthorn

                  4'
style='mso-tab-count:1'>            Erzahler

                  22/3'
style='mso-tab-count:1'>    Nazard

                  2'
style='mso-tab-count:1'>            Octave
(new pipes & chest)

                  2'
style='mso-tab-count:1'>            Nachthorn

                  13/5'
style='mso-tab-count:1'>    Tierce

                  11/3'
style='mso-tab-count:1'>    Larigot (new pipes &
chest)

                  IV
style='mso-tab-count:1'>            Cymbal
(13-73 from Gt)

                  8'
style='mso-tab-count:1'>            Clarinet

                  8'
style='mso-tab-count:1'>            Evangelical
Trumpet (new)

                                    Sw/Ch
16-8-4

                                    Ch
16-UO-4

                                    MIDI

PEDAL

                  32'
style='mso-tab-count:1'>         Untersatz
(new, digital)

                  16'
style='mso-tab-count:1'>         Diapason

                  16'
style='mso-tab-count:1'>         Bourdon
(Ch)

                  16'
style='mso-tab-count:1'>         Gemshorn
(Gt)

                  16'
style='mso-tab-count:1'>         Rohrbourdon
(Sw)

                  8'
style='mso-tab-count:1'>            Octave

                  8'
style='mso-tab-count:1'>            Bourdon
(Ch)

                  8'
style='mso-tab-count:1'>            Gemshorn
(Gt)

                  8'
style='mso-tab-count:1'>            Rohrbourdon
(Sw)

                  4'
style='mso-tab-count:1'>            Octave

                  4'
style='mso-tab-count:1'>            Rohrbourdon
(Sw)

                  III
style='mso-tab-count:1'>            Mixture
(wired)

                  32'
style='mso-tab-count:1'>         Contra
Fagot (new, digital)

                  32'
style='mso-tab-count:1'>         Grand
Cornet VII

                  16'
style='mso-tab-count:1'>         Double
Trumpet

                  16'
style='mso-tab-count:1'>         Fagot
(Sw)

                  8'
style='mso-tab-count:1'>            Evangelical
Trumpet (Ch)

                  4'
style='mso-tab-count:1'>            Evangelical
Trumpet (Ch)

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    Ch/Ped
8-4

                                    MIDI

 

Cover Feature

A. David Moore, North Pomfret, Vermont, Opus 27

The home of George Becker and Christo Bresnahan,

San Francisco, California

From the builder

Opus 27 is a compact two-manual organ designed to give the player the
greatest number of stop combinations and colors from a small stoplist. The
lower keyboard controls the Great, the upper the Positive. The manual compass
is 56 notes, and the straight pedalboard has 30 notes. Couplers include
Positive to Great, Positive to Pedal, Great to Pedal. The tremulant affects the
entire organ.

The Great has an 8' Clarabella, a 4' Principal in the display, Twelfth,
Fifteenth and Seventeenth. The Clarabella is scaled after examples found on
early Hook organs. The bass octave is stopped. Pipes from tenor C are of open
wood and of English style construction with the windway carved into the cap.
They are similar to early New England-style Stopped Diapason pipes without the
stopper. The blocks have a little step down after the front edge next to the
windway, which helps a great deal with the speech of the pipes. Provision of an
8' open stop on the Great allows for a rich plenum with a strong fundamental.
The Clarabella, drawn alone, serves as a distinctive foil to the 8' Stopped
Diapason. The Clarabella must not be confused with the Melodia, also an open 8'
stop. (The Melodia typically has an inverted mouth, a cap that protrudes over
the front of the pipe, more nicks, and a block, the top of which is curved
forward in various degrees depending on the builder.) Twenty-one Principal
pipes are in the display above the keyboards. The treble pipes are in the case,
followed, front to back, by Fifteenth, Twelfth and Seventeenth. Initially
conceived as a double draw Sesquialtera, it was thought better to separate the
two ranks to allow greater freedom of registration.

The Positive has an 8' Stopped Diapason of wood, a 4' Flute and an 8'
Trumpet. The Stopped Diapason is quite literally an open wood diapason which is
stopped, in the manner of early Hook and English examples. The speech has a
hint of quint and a subtle chiff. The Flute is of open wood pipes. The bass of
the Trumpet has wooden resonators, wooden blocks and shallots.
style="mso-spacerun: yes"> The blocks and shallots are turned (on
a South Bend lathe) from a single piece of wood. The inside bore of the shallot
is tapered. The tongue is held in place with a hardwood cleat and two small
wood screws. The opening in the shallot is tapered and milled into the wooden
face. The dimensions of shallot opening, bore, taper and resonator inside
diameters are close to eighteenth-century North European practice. The use of
wood for the shallot avoids the need for lead-faced shallots or leathered
shallot faces. The wood face, in terms of hardness, is somewhere between lead
or brass and a leathered surface. The brass tongues are fairly wide, thick, and
tapered. The lowest octave has wooden resonators which impart a strong
fundamental and circumvent concerns about collapse. Metal resonators are used
from 4' C with wood shallot-blocks; at middle C the resonators are metal, the
blocks lead and the shallots brass, much like an old North European Trumpet.
The Trumpet has a brightness of speech as well as a distinct and prominent
fundamental throughout. The Trumpet can be played either from the upper manual
or from the pedal, or on both manuals and pedal simultaneously. It is useful
for a cantus firmus, or for an independent pedal line when used with the 8' and
4' Positive stops against the lower manual plenum, and is satisfying as a solo
register.

The Pedal contains the 16' Subbass of butternut wood; the lowest six pipes
flank the manuals. The butternut, like most of the wood in the organ, was
felled on the North Pomfret Moore property. The logs were sawed into boards of
various thicknesses on a WoodMizer thin-kerf band sawmill. Much of the wood is
quarter sawn.

Metal in the Principal is lead with 28% tin. Smaller amounts of antimony,
bismuth and copper are added to the metal alloy. The melting pot holds 700 lbs
of metal. To this is added 1.25 lbs of antimony, .25 lbs of bismuth and 2.5 lbs
of copper. Copper seems to give the alloy a nice ringing sound. Antimony is
added to prevent metal collapse. Pipe metal was poured, hammered and fashioned
into pipes all in the Moore workshop. (A Dom Bédos-type hammering
machine, made by Dave Moore, graces the workshop and is used "once in a
while.") A new hammering machine that can automatically hammer a full
sheet of metal as it is taken from the casting table is now used. This machine
has 17 metal hammers that are raised and dropped onto the metal all at once,
covering the whole width of the sheet. The sheet is then advanced a fraction of
an inch and the hammers move over slightly. Metal hammered with this machine
prevents the "bacon effect" (caused by sheets of metal being hammered
on the edges more than in the middle, thus the sheet starts to get wavy like a
piece of cooked bacon). Hammering pipe metal is an old practice that hardens
the metal, optimizes pipe resonance and imparts a richness of timbre not
otherwise obtainable.

The metal pipework is voiced with fairly wide windways and regulation at the
toe hole for most stops. The toe holes are closed down until the volume of the
pipe is just right. In essence, an Open Diapason register would have pretty
much open toes in the mid range and then the treble pipes would be regulated a
bit at the top register. Toe regulation is important in stops above 4' pitch.
Thus with a 2' stop the windways are kept just right in the top octaves and the
volume is controlled at the toe. This keeps the top ranges of the stop from
being too loud and overpowering. This style of voicing, with moderate nicking,
is just about what the early New England organ builders practiced. One can
often find this type of voicing in various European styles. The pipes are cone
tuned.

The action is suspended, and is provided with easily accessible adjustment
nuts. Trackers are of wood with rolled threaded brass ends and wood or leather
nuts for adjustments. Some tracker ends have wires into the wooden trackers
that go through unbushed metal rollerboard arms. The pedal action has some felt
bushings and washers but the manual keyboards do not.

Winding for the organ is controlled by a small curtain valve. A small
single-fold reservoir is located at the bottom inside the case and feeds air to
three windchests through solid wood trunks in the manner of old instruments.
Pressure is 211/16 inches. Winding is flexible in that a sustained note in one
part of the keyboard is influenced by a moving passage in another part of the
register. The blower is a quiet operating Laukhuff. The tremulant is of the
tremblant doux type described by Dom Bédos and found on early French and
New England organs. A leather-covered door is poised at an angle in a horizontal
section of the main wind trunk. When the tremulant is engaged, the door
oscillates back and forth, creating fluctuation in the wind pressure and a
tremulant effect that varies depending on what is being played.

--A. David Moore

From the owner

I first met Dave Moore in 1970 when he was renting an apartment in the
Pigeon Cove house of Charlie and Ann Fisk. David apprenticed in the then small
Fisk shop before establishing his own workshop in North Pomfret, Vermont, where
he has been designing and building historically informed mechanical action
organs for over three decades. This unique builder has traveled extensively and
studied some of the finest old (and some new) organs of Germany, France, the
Netherlands, Denmark, Italy and England. He has a working knowledge of the
treatises of Clicquot and Dom Bédos. Living and working in New England,
he has acquired a knowledge, both intimate and scholarly, of the 18th- and
19th-century New England builders. His association with the likes of John Fesperman,
Barbara Owen, Fenner Douglass, Mark Brombaugh and Kevin Birch (to name but a
few) has contributed to his understanding of the organ and its music. (Indeed,
David himself is a quite respectable organist.)

Opus 27 was built almost entirely from trees harvested by David Moore on his
Vermont farm, from lead and tin melted, poured and hammered, and from cow
bones, fashioned into keys and stop labels, all in his workshop. When I visited
the shop in 2000 to see the progress of the instrument, boards for the Subbass
still had bark on them! Wood in the organ includes butternut, black cherry,
maple, ash, walnut, pine and oak. Basswood is used for the tableboards of the
windchests. Sliders are made of poplar. Pipe shades were designed by Tom Bowen
and carved by Dave Laro.

Working out the stoplist was an exciting process involving frequent e-mails,
conversations and a number of changes. The goal was to create an instrument of
character (Moore character) with a light, responsive suspended action, stops of
distinctive color, resilient winding, and a case which bespeaks its New England
roots.

Dave Moore and Thad Stamps drove the organ from North Pomfret to San
Francisco in 72 hours! Christo and I helped them unload pipetrays, blower and
organ parts into the modestly sized music room of our San Francisco Victorian.
Over the next three weeks the organ was erected and Dave completed tonal
finishing. The organ has an unmistakable character reflecting David's vision,
his New England craftsmanship and his musical genius. Opus 27 was celebrated
with a dedication recital played in January 2003 by Charles Krigbaum. At that
time Dave Moore gave a brief demonstration of the organ to an appreciative
audience.

Dave Moore prefers to avoid the term eclectic for his organs:

. . . the organs I've made have
a certain sound to them. Pretty full, quite a lot of fundamental, good solid
bass to most things, upperwork designed along the lines of early American
organs . . . I prefer not to have them labeled in any one way. If you say,
"This is an organ constructed after French principles," some people
think that all you can play on it is French music. I prefer to keep the stop
nomenclature in English, so that if someone comes along and says, "Aha!
This is very much like the old Dutch organs, it's perfect for that," they
play that music on it and they're very happy . . . You're much better off if
you can accept an instrument for what it is and play what you can on it.1

Although I have found the organ especially appropriate for playing Bach,
Sweelinck and their contemporaries (having myself played many old organs of
Holland and North and Central Germany), opus 27 does admirably well with the
likes of Franck, Hindemith, Pinkham and Hampton. David Moore and his co-workers
Tom Bowen and Thaddeus Stamps have created a cohesive, harmonious and
imminently musical organ in a little shop in rural Vermont. The sheer joy of
playing this splendid and modestly elegant instrument is, for me, as good as it
gets.

--George Becker, M.D.

Notes

1. Quoted from the essay "A. David Moore, Organ Builder: An Account of
His Work (1971-1994)" by Kevin Birch, music director of St. John's R.C.
Church, Bangor, Maine.

A. David Moore Opus 27 can be heard at the following website
. Dr. Becker, an orthopaedic surgeon, is assistant organist
at the Old First Presbyterian Church in San Francisco. Contact: George
Becker, M.D., 1375 Sutter St., Suite 304, San Francisco, CA 94109;
415/563-7383 . Cover photo: Sean Vallely

GREAT

8' Clarabella

4' Principal

22/3' Twelfth

2' Fifteenth

13/5' Seventeenth

Tremulant
(affects entire organ)

POSITIVE

8' Stopped
Diapason

4' Flute

8' Trumpet

PEDAL

16' Subbass

8' Trumpet

Couplers

Gt/Ped

Pos/Ped

Pos/Gt

30-note, straight pedalboard

Kellner temperament

A = 440

Fabry, Inc., Fox Lake, Illinois, has
completed the renovation of the organ at Zion Lutheran Church, Marengo,
Illinois, originally built in 1960 by Haase Pipe Organs of Chicago as three
manuals and 40 ranks. In 1986 the congregation demolished their old church and
built a new one on the same site. The organ was dismantled, stored, and then
installed in the new building. Over time, the organ deteriorated to the point
where some major work was necessary.

In February 2002, Fabry was engaged to repair, refurbish, and enlarge the
organ. Phase one, completed in October 2002, included a new three-manual
console with movable platform built by Fabry. The new console was fitted with a
Peterson MSP-1000 combination action, multiplex coupler relay and chamber
relay, and is prepared for MIDI. Phase two, completed in February 2003,
included the addition of six ranks of pipework, several additional windchests,
four new wind supply reservoirs, four electric tremolos, a Zimbelstern, and
complete revoicing and re-regulation of the entire instrument. Some of the
existing pipework was repaired and re-racked, and one rank was relocated. David
G. Fabry built all the chestwork, three-manual console, and movable platform.
Joseph Poland handled the installation.

GREAT

16' Quintadena

8' Principal

8' Bourdon

4' Octave

4' Gemshorn

2' Fifteenth

V Mixture

8' English
Trumpet (new)

Chimes

Tremolo

Gt/Gt
16-UO-4, Sw/Gt 16-8-4, Pos/Gt 16-8-4, MIDI/Gt

POSITIV

8' Quintadena

8' Wood
Flute (new)

8' Wood
Flute Celeste (new)

4' Rohrflote

2' Principal

11/3' Larigot

1' Sifflote

III Scharf

8' Trumpet
(Gt)

8' Cromorne

Zimbelstern
(new)

Tremolo

Pos/Pos
16-UO-4, Sw/Pos 16-8-4, MIDI/Pos

SWELL

8' Rohrgedeckt

8' Gamba

8' Gamba
Celeste (TC)

4' Principal

4' Spitzflote

22/3' Nazard

2' Koppelflote

13/5' Tierce
(new)

IV Mixture

16' Chalumeau
(new)

8' Trompete

4' Schalmei

Tremolo

Sw/Sw
16-UO-4, Pos/Sw, Gt/Sw,

MIDI/Sw

PEDAL

32' Acoustic
Bass (resultant)

16' Principal
(new)

16' Subbass

16' Quintadena
(Gt)

8' Principal

8' Nachthorn

4' Choral
Bass

II Rausch
Pfeife

32' Bombarde
(resultant)

16' Chalumeau
(Sw)

16' Posaune

4' Schalmei
(Sw)

Gt/Ped
8-4, Sw/Ped 8-4,

Pos/Ped
8-4, MIDI/Ped

Bedient Pipe Organ Company

Roca, Nebraska

First Presbyterian Church

Chippewa Falls, Wisconsin

The challenge to Bedient was to maintain the integral parts of an 1889
Steere and Turner, update and expand the organ, while at the same time make the
organ user-friendly and accessible. Opus 72 at First Presbyterian Church,
Chippewa Falls, Wisconsin (II/30) accomplished just that. In 2003, much of the
organ was dismantled and moved to our Lincoln, Nebraska shop where it was
reassembled, and old and new were interlaced.

New additions to the organ are 11 ranks of pipes (including a new speaking
façade drawn from the Principal 8' and Pedal Principal 8'), a new,
enlarged Swell windchest, electro-pneumatic stop action, solid-state
combination action, electro-pneumatic Pedal key action, wind system components,
both keyboards, the pedalboard and an adjustable height organ bench. Retained
and modified were the Great windchest and Pedal Bourdon wind-chest, some of the
façade casework (necessitating the stripping of old paint and careful
matching of cherry wood finish on both old and new parts), and structural parts
of the organ. The entire organ was revoiced to accommodate the newly renovated
sanctuary and blend the old and new pipes to be as one. The new stops are
indicated in italics.

--Gene Bedient

GREAT

16' Bourdon

8' Principal

8' Dulciana

8' Melodia

4' Octave

4' Flute
d'Amore

2' Fifteenth

Mixture
III-V

8' Clarinet

8' Trompete

SWELL

8' Open
Diapason

8' Salicional

8' Voix
céleste (tc)

8' Stopped
Diapason (new pipes 13-58)

4' Spitzflute

22/3' Nazard

2' Doublette

13/5' Tierce

Mixture
II (1980s addition)

8' Oboe

8' Trumpet
(1980s addition)

PEDAL

16' Bourdon

8' Principal

8' Bourdon
(ext)

4' Octave
(ext)

16' Fagott

Couplers

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

by John Brombaugh and Robert Parkins

From the Builder

Discussions about building a special organ for Duke
University's Memorial Chapel began some twelve years ago. Since the room is
relatively small, the milder sound of the early Italian organ was considered a
most suitable complement to the large Flentrop and Aeolian organs in the main
part of the Chapel. Mean-tone tuning, customary for organs before the 18th
century, would also offer a wider scope of unusual musical opportunities. To
avoid diminishing even further the limited seating space, the new organ would
be placed in a "swallow's nest" loft made by the organbuilder to
match the organ case. A contract was signed in the spring of 1991, actual
construction began in the Brombaugh shop in the summer of 1995, and the organ
was installed in the Memorial Chapel during the summer of 1997. The result is a
new organ--consisting of 21 ranks, 23 stops, and some 923 pipes--that may very
well be the only modern example of its type in the Western Hemisphere.

The early Renaissance organs in southern Europe seldom made
the aggressive sounds that became common later in France and Germany. These
organs were remarkably simple compared to their northern cousins, but
(especially in Tuscany) they made a wonderful, sweet sound. Instruments in
Italy seldom had more than one manual keyboard, and the limited pedals, if
present at all, assisted only in playing occasional bass notes.

Nonetheless, these bass pipes could be quite large, as one
can still see in the  24' front
pipes of the  Epistle organ in the
Basilica of San Petronio in Bologna. This remarkable instrument, made in 1475
by the renowned Tuscan builder Lorenzo da Prato, has only about a thousand
pipes, but the sound carries softly throughout the immense church. One of the
very few remaining organs from the 15th century, it underwent a minor
renovation in 1532 to accommodate retuning in mean-tone
style="mso-spacerun: yes">  temperament. The San Petronio organ--as
well as similar ones by Domenico di Lorenzo in Lucca and Florence, and by Giovanni Piffero in Siena--was the primary inspiration for the Principal chorus and two flute stops (4' and 22/3') on the main (Great) division of the Memorial Chapel organ. The Italian pipes are modeled specifically after extant examples from 1480, 1551, and 1612.

The Italian Principal chorus, referred to as the ripieno,
comprises several sets of narrow cylindrical metal pipes, of which the visible
front pipes are the largest. The lowest rank of façade pipes (Principale
8') extends from two octaves below middle c to two octaves above it. Additional
stops in the ripieno sound either an octave or a fifth higher in successively
higher registers and can be added separately in various combinations. The
smallest pipe of the highest rank, producing a pitch sounding four octaves
above middle c, is only 11/2≤ long, approaching the upper limit of normal
human hearing. Consequently, the usual Italian practice was to "break
back" the highest pitches to an octave below to avoid pipes that would be
too small for practical use. The Memorial Chapel organ includes a tiratutti
pedal to engage the entire Principal chorus at once, a device that appeared on
some Italian instruments by the turn of the 18th century.

In addition to the Principal chorus and the flutes in the
main division, another stop called a Cornettina (seen in later Venetian organs)
has been included. Containing a tierce, or third-sounding rank, it can be used
for solo melodies in the manner of similar treble stops found in contemporary
French, Germanic, and Iberian organs.

The Great also has two non-Italian flute stops (16' and 8')
and a German Trumpet 8' to expand the organ's versatility when playing
literature of other national schools. The Trumpet is divisible between bass and
treble, following a common historic convention in some instruments. The
division is found historically at various points near the middle of the
keyboard, but most commonly between b and c' or between c' and c#' (the latter
a consistent feature in Iberian organs). The Memorial  Chapel organ features a lever that will allow the organist
to select either dividing point.

To make the organ still more flexible for playing a variety
of non-Italian music, a second manual division (in the style of a small north
German Brustwerk) adds four more stops. Of special interest is the Querpfeiff
2', inspired by an unusual overblowing flute stop with a similar name in the
Schnitger organ of the Jakobikirche in Hamburg.

The Brustwerk manual has the conventional bass "short
octave" format that was customary in keyboard instruments throughout
Europe before the 18th century. That is, the keys that would appear to be E,
F#, and G# in the lowest octave actually play C, D, and E respectively. The
Great keyboard is similar, except the apparent F# and G# keys in the bottom
octave are "split" to make those pitches available as well as the

D and E (an arrangement referred to as a "broken
octave"). The keys on both manuals reflect the shorter dimensions found in
early instruments.

The Pedal keyboard, however, has a different layout,
assuming a format often used by the renowned 17th-century north German builder
Arp Schnitger. This keyboard includes F# and G# in the bass octave but (like
the manuals) not C# and D#. The Pedal plays three of the Great stops by
transmission but has no pipes of its own.

The tuning system used in the Memorial Chapel organ is
mean-tone, the accepted standard for keyboard instruments in Europe during the
16th and 17th centuries. The most distinctive feature of 1/4-comma mean-tone
temperament is that the eight usable major thirds (plus two enharmonic ones)
are tuned absolutely pure, that is, without the audible "beats" that
characterize all intervals (except the octave) in modern equal temperament. For
long-established acoustical reasons, every practical tuning system involves a
certain quid pro quo. In this case, tuning some pure intervals creates other
unusable intervals, thus permitting only a limited constellation of keys
(corresponding to those commonly used in the repertoire at the time).

To allow composers and keyboard players to venture beyond
the usual limitations of mean-tone tuning, a few historic organs had more than
twelve notes per octave, extending the range of tolerable keys. This transient
system usually required double (split) keys for Eb and G# so that one could
also play the enharmonic notes D# and Ab. To ameliorate this rather curious
(and at times awkward) keyboard design for the player, we developed an unusual
(but not unprecedented) mechanical system for the Memorial Chapel organ so that
one can switch between the enharmonic pitches Eb and D# or G# and Ab on all
keyboards by means of two levers.

The organ case and loft for the Memorial Chapel instrument
follow basic Renaissance architectural styles. The upper case, containing the
pipes of the main division, is based on ancient Italian cases like the one in
the Church of San Bernardino in Verona as well as others found in some Tuscan
churches. The layout of the front pipes follows a conventional pattern seen,
for example, in the organ at Santa Maria della Scala in Siena. The façade
pipes are made of an alloy that is over 98% tin, and the pipe mouths are gilded
with 23-carat gold leaf.

Within the case, all the pipes rest on windchests. Although
most historic Italian organ builders used an unusual construction known as a
"spring chest," the more conventional European type, the "slider
chest," was occasionally found in Italy as well. The Memorial Chapel organ
employs slider chests, but the stops operating the Italian registers (located
on the left side of the keydesk) are fashioned after the ancient spring chest
levers.

The wind system includes one large wedge bellows and a small
electrical blower (the latter a minor concession to modernity). The wind
pressure is only 47 mm, considerably lower than was common for northern
European organs. The simple tremulant (after Schnitger) is adjustable in its
intensity. Components of the wind system, as well as the largest bass pipes,
are placed in a chamber behind the organ case, accessible by means of a spiral
staircase not visible to the audience or congregation.

--John Brombaugh

GREAT (Man. I)

                  16'
style='mso-tab-count:1'>          Bourdon

                  8'
style='mso-tab-count:1'>             Principale

                  8'
style='mso-tab-count:1'>             Voce
umana (discant)

                  8'
style='mso-tab-count:1'>             Rohrflöte

                  4'
style='mso-tab-count:1'>             Octave
(discant/full)

                  4'
style='mso-tab-count:1'>             Flauto
in VIII

                  22/3'
style='mso-tab-count:1'>      Flauto in XII

                  2'
style='mso-tab-count:1'>             Fifteenth

                  11/3'
style='mso-tab-count:1'>      Nineteenth

                  1'
style='mso-tab-count:1'>             Twenty-second

                  2/3'
style='mso-tab-count:1'>         Twenty-sixth

                  1/2'
style='mso-tab-count:1'>         Twenty-ninth

                  1/3',
1/4'              Thirty-third
& Thirty-sixth

 
style='mso-tab-count:1'>                III
style='mso-tab-count:1'>            Cornettina
22/3, 2', 13/5' [includes Flauto in XII]

                  8'
style='mso-tab-count:1'>             Trumpet
(bass)

                  8'
style='mso-tab-count:1'>             Trumpet
(discant)

BRUSTWERK (Man. II)

                  8'
style='mso-tab-count:1'>             Oak
Gedackt

                  4'
style='mso-tab-count:1'>             Oak
Flute

                  2'
style='mso-tab-count:1'>             Querpfeiff

                  8'
style='mso-tab-count:1'>             Regal

PEDAL (from Great)

                  16'
style='mso-tab-count:1'>          Bourdon

                  8'
style='mso-tab-count:1'>             Principale

                  8'
style='mso-tab-count:1'>             Trumpet

Great/Pedal coupler

Tremulant (adjustable)

Tiratutti pedal (ripieno)

Eb/D# and G#/Ab levers

b/c'-c'/c#' knob (Man. I)

Great: CDE-c''' (broken octave)

Brustwerk: CDEFGA-c''' (short octave)

Pedal: CDE-d' (after Schnitger)

Mechanical key action (suspended)

Mechanical stop action

Wind pressure: 47 mm

Pitch: one semitone below a' at 440 Hz

Temperament: 1/4 comma mean-tone

Bradford Organ Company, of Evanston, Illinois, has built a new two-manual and pedal mechanical action organ (Opus 10) for the residence of Michael David and Margaret Shell in Evanston. The manual/pedal compass is 61/32 and tuning is equal temperament. The case is of white oak with walnut accents. Case design was by Kenneth Greenberg. George Weissler designed and executed the carving above the keydesk. Bradford staff who worked on the instrument include Walter Bradford, Ron Damholt, Greg Simanski, John Peters, and Eric Haugen. Christopher Young of Indiana University played the inaugural recital on Michael David's 50th
birthday.

MANUAL I

                        8'
style='mso-tab-count:1'>                Rohrflöte

                        4'
style='mso-tab-count:1'>                Prestant

                        II
style='mso-tab-count:1'>                   Mixture

MANUAL II

                        8'
style='mso-tab-count:1'>                Gedect

                        4'
style='mso-tab-count:1'>                Koppelflöte

                        2'
style='mso-tab-count:1'>                Gemshorn

PEDAL

                        16'
style='mso-tab-count:1'>            Subbass

                        8'
style='mso-tab-count:1'>                Flachflöte

                                                Man
I/Ped

                                                Man
II/Ped

                                                Man
II/Man I

The Bedient Pipe Organ Company, Lincoln, NE, has built a new organ for Bay United Methodist Church, Bay Village, OH: 30 ranks, 26 stops, 1,558 pipes. Most of the metal pipework is 98% lead; all pipe metal is hammered. Wooden pipes are of poplar and mahogany. Metal open flue pipes are cone tuned, and the stopped metal pipes have soldered caps. Facade pipes have mouths gilded with 23 karat gold leaf. Key action is mechanical; trackers are made of Alaskan yellow cedar. Stop action is electric. Keyboard naturals are covered with cow bone and accidentals are of ebony. Pedals are of oak, accidentals are capped with rosewood. Stop knobs are of rosewood with oblique faces. The case is made of painted poplar and mahogany. Pipe shades are of red gum. The console is of Honduras mahogany. Prior to the organ project, the church's chancel was totally revised and enhanced with acoustical reflective panels, the chancel was extended and the altar moved forward to make room for the organ and additional room for the choir, and a new hardwood floor was intalled in the entire area. Manual/pedal key compass is 58/30. Dedication organists were Charles Webb and David Boe; church organist is Bill Zurkey; consultant was David Boe.

GREAT

                        16'
style='mso-tab-count:1'>            Bourdon

                        8'
style='mso-tab-count:1'>                Praestant

                        8'
style='mso-tab-count:1'>                Rohrflöte

                        4'
style='mso-tab-count:1'>                Octava

                        4'
style='mso-tab-count:1'>                Spitzflöte

                        2'
style='mso-tab-count:1'>                Octava

                                                Sesquialtera
II

                                                Mixtur
III-V

                        8'
style='mso-tab-count:1'>                Trompete

SWELL

                        8'
style='mso-tab-count:1'>                Gedackt

                        8'
style='mso-tab-count:1'>                Viole
de Gambe

                        8'
style='mso-tab-count:1'>                Voix
céleste

                        4'
style='mso-tab-count:1'>                Prinzipal

                        4'
style='mso-tab-count:1'>                Spielflöte

                        22/3'
style='mso-tab-count:1'>      Nazard

                        2'
style='mso-tab-count:1'>                Octava

                        2'
style='mso-tab-count:1'>                Gemshoorn

                        13/5'
style='mso-tab-count:1'>      Tierce

                        III
style='mso-tab-count:1'>                 Zimbel

                        8'
style='mso-tab-count:1'>                Dulciaan

PEDAL

                        16'
style='mso-tab-count:1'>            Praestant

                        16'
style='mso-tab-count:1'>            Subbass

                        8'
style='mso-tab-count:1'>                Octava

                        4'
style='mso-tab-count:1'>                Octava

                        16'
style='mso-tab-count:1'>            Posaune

                        8'
style='mso-tab-count:1'>                Trompete

                                                Gt/Ped

                                                Sw/Ped

                                                Sw/Gt

                                                Tremulant

Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California

Opus 46

 

SkyRose Chapel, in the Rose Hills Memorial Park, Whittier,
California, is located on a hill overlooking Los Angeles and the San Gabriel
and Sycamore Valleys. SkyRose Chapel is situated within beautifully landscaped
gardens that also do duty as a cemetery--SkyRose Chapel is the largest funeral
chapel in the world. Renowned architects Fay Jones and Maurice Jennings designed
SkyRose Chapel to be built of oak, Oregon redwood, bouquet canyon stone,
Douglas fir, and glass in a contemporary A-frame style that is at home in the
hills which the afternoon sun turns a vibrant rose color. SkyRose Chapel has
become popular as an attractive venue for weddings as well as for funerals.

The installation of a pipe organ in SkyRose Chapel had
always been the dream of Dennis Poulsen, Chairman of the Board of Rose Hills
Memorial Park. This dream was researched and brought to fruition by Mr. Poulsen
and Bruce Lazenby, Vice President of Engineering of Rose Hills Memorial Park.

The Rose Hills Foundation selected Quimby Pipe Organs, Inc.,
to build the pipe organ for the strikingly lovely SkyRose Chapel. The Quimby
pipe organ, Opus 46, has 65 ranks together with harp and chimes spread over
four manuals and pedal. The distinctly American design is eclectic in
conception and enables the instrument to perform a wide range of service and
organ literature. Messrs. Poulsen and Lazenby requested Michael Quimby, Tonal
Director, to design a tonal specification that would handle the diverse musical
demands required for funeral services, weddings, and recitals.

The instrument contains an unusually high proportion of
celeste ranks, and also a very high proportion of color reeds. The reeds in the
Solo division include several historic Skinner and Aeolian-Skinner ranks--the
Tuba Mirabilis (1924), French Horn (1946), English Horn (1946) and Corno di
Bassetto (1946). These ranks are included in the pipe organ on their original
windchest and reservoir. Also noteworthy are the 1924 Deagan "Class
A" Chimes and the restored 1929 Skinner Harp, both on their original
restored electro-pneumatic actions.

The electric blowers winding the organ amount to a total of
eleven and one-half horsepower, supplying wind at pressures ranging from
4" for the Choir division to 15" for the Tuba Mirabilis. There are
fourteen reservoirs and four schwimmers. The main chests, built by Quimby Pipe
Organs, Inc., are slider windchests built to the original Blackinton design
fitted with electro-pneumatic pallets. The Swell, Choir and Solo divisions have
68-note chests, providing additional topnotes for use with the octave couplers.
Electro-pneumatic unit chests are used for the offsets and extended ranks.

Quimby Pipe Organs' Opus 46 is located in an elevated
gallery near the rear of SkyRose Chapel. The visual presentation of the pipe
organ is of oak casework containing thirty-eight zinc façade pipes with
gold-colored mouths drawn from the Pedal 32' Principal and Great 16' Violone
ranks that are placed on platforms of escalating heights above the floor of the
gallery as well as nine oak pipes positioned along the side of the case. The
longest façade pipe, approximately 26' in length, is low G of the 32' Principal. The wood pipes along the side of the case are part of the Pedal 16' Bourdon rank. The Pedal 32' Posaune is full length, and is located behind the exposed wood pipes.

Quimby Pipe Organs' woodworkers constructed the case and
console in their workshop. Quimby Pipe Organs' designer and woodworkers
designed the oak organ case and console in consultation with Fay Jones and
Maurice Jennings in order to ensure an appearance in harmony with the
architecture of the Chapel. Harris Precision Products, Inc., of Whittier,
California, manufactured the console components and shipped them across the
country to Warrensburg where Quimby's woodworkers installed them in the
console. The console was then shipped back with the organ to Whittier! The
instrument is controlled by a multiplex relay with MIDI, including full
playback capability, and a combination action with 99 memory levels.
style="mso-spacerun: yes">  There are eight pistons to each
division and eighteen general pistons, together with three ensemble pistons,
three programmable Crescendo settings, and numerous reversibles.

Members of Quimby Pipe Organs, Inc., who made significant
contributions to the construction of the SkyRose instrument included Doug
Christie, Chris Emerson, Charles Ford, Johanna Harrington, Eric Johnson, Kevin
Kissinger, Brad McGuffey, Michael Miller, Gary Olden, Michael Quimby, Wayne
Shirk, Stan Sparrowhawk, Elizabeth Viscusi, and Randy Watkins.

Dr. Frederick Hohman presented the pipe organ to the public
in the dedicatory recital of the SkyRose organ on Saturday, September 20th,
1997.

--Quimby Pipe Organs, Inc.

GREAT (unenclosed)

                  16'
style='mso-tab-count:1'>          Violone
(1-14 façade)

                  8'
style='mso-tab-count:1'>             Diapason
(1-7 from Ped Principal)

                  8'
style='mso-tab-count:1'>             Principal

                  8'
style='mso-tab-count:1'>             Violoncello
(ext)

                  8'
style='mso-tab-count:1'>             Harmonic
Flute (1-12 from 8' Bdn)

                  8'
style='mso-tab-count:1'>             Bourdon

                  4'
style='mso-tab-count:1'>             Octave

                  4'
style='mso-tab-count:1'>             Koppel
Flute

                  22⁄3'
style='mso-tab-count:1'>      Quint

                  2'
style='mso-tab-count:1'>             Super
Octave

                  11⁄3'
style='mso-tab-count:1'>      Mixture IV

                  16'
style='mso-tab-count:1'>          Bombarde
(ext)

                  8'
style='mso-tab-count:1'>             Tuba
Mirabilis (Solo)

                  8'
style='mso-tab-count:1'>             Trompette
Harmonique

                  8'
style='mso-tab-count:1'>             Trumpet

                  8'
style='mso-tab-count:1'>             Cromorne
(Choir)

                  4'
style='mso-tab-count:1'>             Clarion
Harmonique

                                    Tremolo

                                    Chimes
(Solo)

                  8'
style='mso-tab-count:1'>             Harp
(Solo)

                                    Tower
Chimes (prepared for)

                                    MIDI
on Great

SWELL (enclosed)

                  16'
style='mso-tab-count:1'>          Gedeckt

                  8'
style='mso-tab-count:1'>             Gedeckt
(ext)

                  8'
style='mso-tab-count:1'>             Viola

                  8'
style='mso-tab-count:1'>             Viola
Celeste

                  8'
style='mso-tab-count:1'>             Salicional

                  8'
style='mso-tab-count:1'>             Voix
Celeste (GG)

                  4'
style='mso-tab-count:1'>             Principal

                  4'
style='mso-tab-count:1'>             Nachthorn

                  4'
style='mso-tab-count:1'>             Viola
(ext)

                  4'
style='mso-tab-count:1'>             Viola
Celeste (ext)

                  22⁄3'
style='mso-tab-count:1'>      Rohr Nasat

                  2'
style='mso-tab-count:1'>             Octave

                  2'
style='mso-tab-count:1'>             Flageolet

                  13⁄5'
style='mso-tab-count:1'>      Tierce

                  2'
style='mso-tab-count:1'>             Plein
Jeu IV (2' rank from Octave)

                  16'
style='mso-tab-count:1'>          Hautbois

                  8'
style='mso-tab-count:1'>             Trompette

                  8'
style='mso-tab-count:1'>             Hautbois
(ext)

                  8'
style='mso-tab-count:1'>             Vox
Humana

                  8'
style='mso-tab-count:1'>             Vox
Mystique (Vox Humana, box closed)

                  4'
style='mso-tab-count:1'>             Clarion
(ext)

                                    Tremolo

                                    Chimes
(Solo)

                                    MIDI
on Swell

CHOIR (enclosed)

                  16'
style='mso-tab-count:1'>          Silver
Flute (1-12 digital)

                  8'
style='mso-tab-count:1'>             Flauto
Mirabilis (Solo)

                  8'
style='mso-tab-count:1'>             Gamba
(Solo)

                  8'
style='mso-tab-count:1'>             Gamba
Celeste (Solo)

                  8'
style='mso-tab-count:1'>             Rohr
Flute

                  8'
style='mso-tab-count:1'>             Gemshorn

                  8'
style='mso-tab-count:1'>             Melodia
(1-12 from Rohr Flute)

                  8'
style='mso-tab-count:1'>             Silver
Flute (ext)

                  8'
style='mso-tab-count:1'>             Silver
Flute Celeste (TC)

                  4'
style='mso-tab-count:1'>             Principal

                  4'
style='mso-tab-count:1'>             Orchestral
Flute (Solo)

                  4'
style='mso-tab-count:1'>             Spitz
Flute

                  4'
style='mso-tab-count:1'>             Silver
Flute (ext)

                  22⁄3'
style='mso-tab-count:1'>      Nazard

                  2'
style='mso-tab-count:1'>             Octave

                  2'
style='mso-tab-count:1'>             Block
Flute

                  13⁄5'
style='mso-tab-count:1'>      Tierce

                  1'
style='mso-tab-count:1'>             Mixture
III

                  16'
style='mso-tab-count:1'>          Cromorne

                  8'
style='mso-tab-count:1'>             Trompette
Harmonique (Great)

                  8'
style='mso-tab-count:1'>             Cromorne
(ext)

                  4'
style='mso-tab-count:1'>             Clarion
Harmonique (Great)

                  8'
style='mso-tab-count:1'>             Tuba
Mirabilis (Solo)

                                    Tremolo

                                    Chimes
(Solo)

                  8'
style='mso-tab-count:1'>             Harp
(Solo)

                  4'
style='mso-tab-count:1'>             Celesta
(Solo)

                                    MIDI
on Choir

SOLO (enclosed)

                  16'
style='mso-tab-count:1'>          Contra
Gamba (1-12 digital)

                  8'
style='mso-tab-count:1'>             Flauto
Mirabilis

                  8'
style='mso-tab-count:1'>             Gamba
(ext)

                  8'
style='mso-tab-count:1'>             Gamba
Celeste

                  4'
style='mso-tab-count:1'>             Orchestral
Flute

                  4'
style='mso-tab-count:1'>             Gambette
(ext)

                  8'
style='mso-tab-count:1'>             English
Horn

                  8'
style='mso-tab-count:1'>             French
Horn

                  8'
style='mso-tab-count:1'>             Corno
di Bassetto

                  8'
style='mso-tab-count:1'>             Tuba
Mirabilis

                  4'
style='mso-tab-count:1'>             Clarion
Tuba (ext)

                                    Tremolo

                  8'
style='mso-tab-count:1'>             Harp

                  4'
style='mso-tab-count:1'>             Celesta
(ext)

                                    Tower
Chimes (prepared for)

                                    Chimes
(20 tubes)

                                    MIDI
on Solo

PEDAL (unenclosed)

                  32'
style='mso-tab-count:1'>          Sub
Principal (1-7 digital, 8-31 façade)

                  32'
style='mso-tab-count:1'>          Contra
Bourdon (1-12 digital)

                  16'
style='mso-tab-count:1'>          Principal
(ext)

                  16'
style='mso-tab-count:1'>          Violone
(Great)

                  16'
style='mso-tab-count:1'>          Bourdon
(ext)

                  16'
style='mso-tab-count:1'>          Gamba
(Solo)

                  16'
style='mso-tab-count:1'>          Gedeckt
(Swell)

                  16'
style='mso-tab-count:1'>          Silver
Flute (Choir)

                  8'
style='mso-tab-count:1'>             Octave
(ext)

                  8'
style='mso-tab-count:1'>             Violoncello
(Great)

                  8'
style='mso-tab-count:1'>             Viola
Celeste II (Swell)

                  8'
style='mso-tab-count:1'>             Bourdon
(ext)

                  8'
style='mso-tab-count:1'>             Gedeckt
(Swell)

                  4'
style='mso-tab-count:1'>             Choral
Bass

                  4'
style='mso-tab-count:1'>             Bourdon
(ext)

                  22⁄3'
style='mso-tab-count:1'>      Mixture IV

                  32'
style='mso-tab-count:1'>          Contra
Posaune (full length, ext Great Trumpet)

                  32'
style='mso-tab-count:1'>          Contra
Basson (1-12 digital, ext Swell Hautbois)

                  16'
style='mso-tab-count:1'>          Posaune
(ext Great Trumpet)

                  16'
style='mso-tab-count:1'>          Bombarde
(Great)

                  16'
style='mso-tab-count:1'>          Hautbois
(Swell)

                  16'
style='mso-tab-count:1'>          Cromorne
(Choir)

                  8'
style='mso-tab-count:1'>             Tuba
Mirabilis (Solo)

                  8'
style='mso-tab-count:1'>             Trumpet
(Great)

                  8'
style='mso-tab-count:1'>             Trompette
Harmonique (Great)

                  8'
style='mso-tab-count:1'>             Hautbois
(Swell)

                  4'
style='mso-tab-count:1'>             Clarion
(ext Great Trumpet)

                  4'
style='mso-tab-count:1'>             Hautbois
(Swell)

                  4'
style='mso-tab-count:1'>             Cromorne
(Choir)

                                    Chimes
(Solo)

                                    MIDI
on Pedal

Lively-Fulcher Organbuilders, Alexandria, Virginia

St. Olaf Catholic Church,
Minneapolis, Minnesota

 

In 1997, Fr. John Forliti, Pastor of St. Olaf Church,
appointed Dr. Merritt Nequette and a parish committee to lead an organ project
at the church. The committee enlisted the services of Jonathan Biggers as organ
consultant. After a thorough study, Lively-Fulcher Organbuilders of Alexandria,
Virginia was chosen to build the new instrument which was installed and
completed in July, 2001.

The organ was inaugurated in a series of concerts in 2002
beginning with a service of blessing by Archbishop Harry J. Flynn, Archbishop
of St. Paul and Minneapolis, and organ recital performed by Dr. Lynn Trapp,
director of worship and music, organist, at St. Olaf Church, on February 9,
2002.  A hymn text by Delores
Dufner, OSB was commissioned for the occasion.

The series of inaugural concerts featured a recital and
masterclass by Swiss organist, Guy Bovet; a program of organ and contemporary
music with Twin Cities artists; Pipedreams Live hosted by Michael Barone of
Minnesota Public Radio and performers of the Liturgical Organists Consortium;
field days for elementary students to learn about the king of instruments; and
an organ and orchestra concert with Jonathan Biggers, organist, and the Kenwood
Chamber Orchestra, orchestra in residence at St. Olaf Church, conducted by Ken
Freed. This concert included the premiere of a commissioned work for organ and
orchestra composed by Richard Proulx.

The instrument has 61 stops and 67 ranks (49 independent
registers) playable over five divisions, Grand Orgue, Récit Expressif,
Positif Expressif, Bombarde and Pédale. The manual and pedal key actions
make use of electric slider windchests and the stop action is electric, complete
with state of the art combination action, 256 levels of memory and a sequencer.
The wind supply is regulated by a traditional bellows system linked to the wind
chests by wooden wind lines. The console is built in a low profile, curved jamb
configuration to enhance the organist's ability to follow the liturgy and
conduct the choir. The console has natural keys covered in bone and sharp keys
of solid ebony. The internal layout of the divisions within the organ case
places the Positif Expressif centrally in the lower middle of the case and the
Grand Orgue above that with the Récit Expressif behind the Grand Orgue.
The Bombarde reeds are located in the Positif box and the Pédale
division is divided on either side of the manuals and behind the 16-foot pedal towers
in the case. Wood pipes were made in the organbuilders' workshop and metal
pipes were made to their specifications in Germany.

The casework, constructed of African mahogany, takes its
inspiration from the contemporary architecture of the room and has simple
Scandinavian design elements yet a firm traditional layout. The façade
pipes are made of 72% tin and include pipes from the Grand Orgue Montre 16',
Montre 8' and Pédale Montre 8'. The organ is completely housed within
its own freestanding casework and because of the deep gallery around three
sides of the room is positioned at the front center of the church. A
Cymbelstern stop is provided on the instrument and the church's tower bells can
be played from the Récit keyboard.

The design of the pipe shades for the instrument is tied to
the rich traditions associated with St. Olaf. They are made of basswood with
patterns of dragons, eagles and serpents which are found in the Book of Kells.
These designs are slightly earlier than King Olaf's time, but they are strong
Scandinavian symbols from the period. The cross piercing the crown is based on
an 8th-century piece made for St. Rupert. The crown motif was specifically
chosen to represent St. Olaf and the crosses and crowns are covered with
24-carat gold leaf.

The tonal inspiration for the instrument is firmly based in
19th-century France but is designed and voiced with a broad literature base in
mind. The Tutti is robust to support large choirs, orchestra, and the singing
of a capacity crowd of worshipers. The organ has a wide variety of soft colors
as well. The broad foundation tone of the 8-foot stops and thick-walled
expressiveness of the Récit and Positif boxes ensure the accompanimental
versatility necessary for the performance of choral and solo literature. The
warm yet clear broadly scaled principal chorus work, blended with the mutations
and reed colors associated with Clicquot and Cavaillé-Coll, make for a
versatile medium for the main body of the organ literature. The voicing and
blending of individual stops coupled with the color requirements of French,
German and English literature allow the convincing performance of a wide range
of literature. This instrument is not meant as a copy of any one style nor is
it intended to be a collection of styles trying to do everything, but rather is
intended to be a modern instrument of the 21st century speaking with its own
voice.

--Lynn Trapp

 

GRAND ORGUE

                  16'
style='mso-tab-count:1'>          Montre

                  8'
style='mso-tab-count:1'>             Montre

                  8'
style='mso-tab-count:1'>             Flûte
à cheminée

                  8'
style='mso-tab-count:1'>             Flûte
harmonique

                  8'
style='mso-tab-count:1'>             Violoncelle

                  4'
style='mso-tab-count:1'>             Prestant

                  4'
style='mso-tab-count:1'>             Flûte
ouverte

                  22⁄3'
style='mso-tab-count:1'>      Quinte

                  2'
style='mso-tab-count:1'>             Doublette

                  2'
style='mso-tab-count:1'>             Fourniture
V

                  8'
style='mso-tab-count:1'>             Trompette

                  4'
style='mso-tab-count:1'>             Clairon

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur G.O.

                                    Positif
sur G.O.

                                    Bombarde
sur G.O.

POSITIF EXPRESSIF

                  8'
style='mso-tab-count:1'>             Montre

                  8'
style='mso-tab-count:1'>             Bourdon

                  8'
style='mso-tab-count:1'>             Flûte
douce

                  8'
style='mso-tab-count:1'>             Flûte
celeste

                  4'
style='mso-tab-count:1'>             Prestant

                  4'
style='mso-tab-count:1'>             Flûte
conique

                  22⁄3'
style='mso-tab-count:1'>      Nazard

                  2'
style='mso-tab-count:1'>             Doublette

                  2'
style='mso-tab-count:1'>             Quarte
de nazard

                  13⁄5'
style='mso-tab-count:1'>      Tierce

                  11⁄3'
style='mso-tab-count:1'>      Larigot

                  1'
style='mso-tab-count:1'>             Fourniture
IV

                  8'
style='mso-tab-count:1'>             Trompette

                  8'
style='mso-tab-count:1'>             Cromorne

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur Positif

                                    Bombarde
sur Positif

                                    Positif
unison off

RÉCIT EXPRESSIF

                  16'
style='mso-tab-count:1'>          Bourdon

                  8'
style='mso-tab-count:1'>             Diapason

                  8'
style='mso-tab-count:1'>             Viole
de gambe

                  8'
style='mso-tab-count:1'>             Voix
céleste

                  8'
style='mso-tab-count:1'>             Cor
de nuit

                  4'
style='mso-tab-count:1'>             Prestant

                  4'
style='mso-tab-count:1'>             Flûte
octaviante

                  2'
style='mso-tab-count:1'>             Octavin

                  2'
style='mso-tab-count:1'>             Plein
Jeu IV

                  22⁄3'
style='mso-tab-count:1'>      Cornet II

                  16'
style='mso-tab-count:1'>          Basson

                  8'
style='mso-tab-count:1'>             Trompette
harmonique

                  8'
style='mso-tab-count:1'>             Hautbois

                  8'
style='mso-tab-count:1'>             Voix
humaine

                  4'
style='mso-tab-count:1'>             Clairon
harmonique

                                    Tremulant

                                    Octaves
graves

BOMBARDE (floating)

                  16'
style='mso-tab-count:1'>          Tuba
magna (ext)

                  8'
style='mso-tab-count:1'>             Tuba
mirabilis

                  4'
style='mso-tab-count:1'>             Cor
harmonique (ext)

                  8'
style='mso-tab-count:1'>             Cornet
V (tg)

PÉDALE

                  32'
style='mso-tab-count:1'>          Contre
soubasse (electronic)

                  16'
style='mso-tab-count:1'>          Grosse
flûte

                  16'
style='mso-tab-count:1'>          Montre
(G.O.)

                  16'
style='mso-tab-count:1'>          Soubasse

                  16'
style='mso-tab-count:1'>          Bourdon
(Récit)

                  8'
style='mso-tab-count:1'>             Montre

                  8'
style='mso-tab-count:1'>             Flûte
(ext)

                  8'
style='mso-tab-count:1'>             Bourdon
(ext)

                  4'
style='mso-tab-count:1'>             Prestant
(ext)

                  4'
style='mso-tab-count:1'>             Flûte
ouverte (ext)

                  22⁄3'
style='mso-tab-count:1'>      Fourniture IV

                  32'
style='mso-tab-count:1'>          Contre
bombarde (ext)

                  16'
style='mso-tab-count:1'>          Bombarde

                  16'
style='mso-tab-count:1'>          Basson
(Récit)

                  8'
style='mso-tab-count:1'>             Trompette

                  4'
style='mso-tab-count:1'>             Clairon
(ext)

                                    Tirasse
Bombarde

                                    Tirasse
G.O.

                                    Tirasse
Positif

                                    Tirasse
Récit

 

G.O./Positif manual transfer

Chimes sur G.O.

Tower Bells sur Récit

Cymbelstern

Pedal & Manual pistons coupled

Sequencer

 

Weston Harris and Thomas J. McDonough, Organ Crafters of
Los Angeles, have completed a
three-manual, 38-rank organ at St. Augustine By-the-Sea Episcopal Church, Santa
Monica, California.  The organ
incorporates elements from the church's previous organ built in 1967 by Abbott
and Sieker Organ Builders as well as the historic Möller/Estey organ at
Bridges Hall of Music, Pomona College (recently replaced by Fisk Opus 117).
Other pipework was donated from the private collection of Mr. Joseph Horning, a
prominent Los Angeles organist and organ consultant who died in 2000.

The church is located at the popular Third Street Promenade
at Santa Monica Beach Pier. The organ enjoys a high gallery placement in an
extraordinary acoustical setting. Given this exceptional location, the new
organ's tonal style is based largely on the 1948 Aeolian-Skinner organ of the
Salt Lake City Tabernacle, where Mr. Harris studied organ performance and
apprenticed in organbuilding. The voices are gentle, and choruses finely
layered.

The previous organ (see photo) was installed in 1967 as a
temporary instrument for the new church following the arson burning of the
church's historic 1867 building. The new organ case forms the Positiv Organ
featuring pipes from the Bridges Hall of Music (front tower pipes) and wood
Holzgedeckt pipes. The flute pipes were obtained from a burnt-out church in
nearby Venice, California. They were barely rescued--being quickly pulled from
their windchest just as the wrecking ball was knocking through the chamber
walls. The fire scarring on the pipes provides an extraordinary antique patina
for the new organ case design.

--Weston Harris

 

GREAT (enclosed)

                  8'
style='mso-tab-count:1'>             Diapason

                  8'
style='mso-tab-count:1'>             Bourdon

                  8'
style='mso-tab-count:1'>             Augustine
Flute

                  8'
style='mso-tab-count:1'>             Flute
Celeste

                  4'
style='mso-tab-count:1'>             Octave

                  4'
style='mso-tab-count:1'>             Forest
Flute

                  22⁄3'
style='mso-tab-count:1'>      Twelfth

                  2'
style='mso-tab-count:1'>             Fifteenth

                                    Mixture
IV

                                    Cymbale
III

                  8'
style='mso-tab-count:1'>             Cromorne

                  8'
style='mso-tab-count:1'>             Trumpet

                  4'
style='mso-tab-count:1'>             Clarion*

                                    Tremulant

                                    Gt/Gt
16-4

SWELL (enclosed)

                  8'
style='mso-tab-count:1'>             Geigen
Principal

                  8'
style='mso-tab-count:1'>             Rohr
Flute

                  8'
style='mso-tab-count:1'>             Viola

                  8'
style='mso-tab-count:1'>             Viola
Celeste (TG)

                  4'
style='mso-tab-count:1'>             Principal

                  4'
style='mso-tab-count:1'>             Flute
d'Amour

                  2'
style='mso-tab-count:1'>             Octavin

                  11⁄3'
style='mso-tab-count:1'>      Mixture III

                  16'
style='mso-tab-count:1'>          Bassoon
(1-12 extension)*

                  8'
style='mso-tab-count:1'>             Trompette

                  8'
style='mso-tab-count:1'>             Oboe

                  4'
style='mso-tab-count:1'>             Clarion

                                    Tremulant

                                    Sw/Sw
16-UO-4

POSITIV (unenclosed)

                  8'
style='mso-tab-count:1'>             Principal

                  8'
style='mso-tab-count:1'>             Holzgedeckt

                  4'
style='mso-tab-count:1'>             Principal*

                  4'
style='mso-tab-count:1'>             Gedeckt*

                  2'
style='mso-tab-count:1'>             Principal*

                  8'
style='mso-tab-count:1'>             Oboe
(Sw)

                  8'
style='mso-tab-count:1'>             Mounted
Cornet IV (TG)

                                    Pos/Pos

                                    Pos/Gt

                                    Tower
Bells (8 Whitehall bells)

STATE TRUMPET (unenclosed)

                  16'
style='mso-tab-count:1'>          State
Trumpet*

                  8'
style='mso-tab-count:1'>             State
Trumpet

                  4'
style='mso-tab-count:1'>             State
Trumpet*

                                    Trumpet
to Gt

                                    Trumpet
to Sw

                                    Trumpet
to Pos

PEDAL (enclosed in Great)

                  32'
style='mso-tab-count:1'>          Contra
Bourdon*

                  32'
style='mso-tab-count:1'>          Dolce
Gedeckt*

                  16'
style='mso-tab-count:1'>          Principal

                  16'
style='mso-tab-count:1'>          Bourdon

                  16'
style='mso-tab-count:1'>          Lieblich
Gedeckt (1-12 ext)*

                  8'
style='mso-tab-count:1'>             Diapason

                  8'
style='mso-tab-count:1'>             Bourdon*

                  8'
style='mso-tab-count:1'>             Flauto
Dolce (Sw)

                  4'
style='mso-tab-count:1'>             Choral
Bass*

                  4'
style='mso-tab-count:1'>             Flute*

                  32'
style='mso-tab-count:1'>          Contra
Posaune*

                  16'
style='mso-tab-count:1'>          Posaune
(1-12 extension Gt Trumpet)

                  16'
style='mso-tab-count:1'>          Bassoon
(Sw)

                  8'
style='mso-tab-count:1'>             Posaune
(Gt)

                  8'
style='mso-tab-count:1'>             State
Trumpet*

                  4'
style='mso-tab-count:1'>             Clairon
(Gt)

 

Full interdivisional couplers

*indicates unification