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

A Symphonic Organ in the Cradle of the Symphony
The new Rieger Organ in the Golden Hall of the Music Society in Vienna

Introduction
For centuries, Vienna, the capital of Austria, has been regarded by many as Europe’s music capital. It is here that the symphony was developed as a musical form by composers such as Haydn, Mozart, and Beethoven. So pervasive was the symphony in the development of Western art music that it not only dominated creative music-making until well into the 20th century, but also worldwide became the most common adjective describing orchestras and concert halls. It is also used to denote a style of organbuilding that developed towards the end of the 19th century, when organs were often used as substitutes for orchestras, and organ recitals in secular venues usually included orchestral transcriptions. With the fortunes of fashion being cyclical, the merits of symphonic organs were queried in the mid-20th century, often by their detractors. However, in recent years, one has come to realize that their salient qualities can be combined successfully with more traditional organ elements to create instruments of great versatility, warmth and beauty. Such an organ has just been installed in Vienna, the birthplace of the symphony.
Vienna is also the city in which the performance of music was first democratized. In 1812, as a result of cooperation between citizens and the nobility, the Society of the Friends of Music was founded, through which a platform was created for performing concerts by anyone for everyone. Previously, secular concerts of this nature had primarily been restricted to stately homes, so this was the start of Vienna’s world-renowned civic musical life, and of a tradition that continues to flourish.
A major step along this civic cultural road was the building of the Music Society’s concert hall in 1870 on ground that had become available following the demolition of the old city walls. The architect of this building, known locally as the Musikverein, was Theophil Hansen, who also created other impressive civic buildings along the famous Ring Road that replaced the demolished fortifications.
The Musikverein is an imposing building in neoclassical style that houses a number of facilities, amongst which is the Grand Hall that many regard as Europe’s most acoustically perfect concert hall. It is also undoubtedly one of the most beautiful. Its rich decorations and abundant gilding are opulent, yet not overbearing, resulting in the hall being referred to colloquially as the Golden Hall. At the rear of the stage, Hansen designed an organ case that visually forms the hall’s focal point, with a design derived from the form of a Greek temple. Behind this historic façade, a completely new organ has been installed by the leading Austrian organbuilding firm, Rieger Orgelbau (www.rieger-orgelbau.com); the festive inaugural concert took place on March 26, 2011 in the presence of leaders of the Austrian state, church, and civil society. This magnificent instrument complements the fame and beauty of its setting and is a fine addition to the musical infrastructure of a city that is already, world-wide, at the apogee of civic music activity.

Inaugural concert
The inaugural concert was played by the five leading European organists, who, together with two officials of the Music Society, had formed the committee that had awarded the contract to Rieger and overseen the project.
Given the organ’s significant and prominent location, this committee had specified a versatile instrument whose primary focus was for use together with orchestras, both as an instrument within the orchestral ensemble and as orchestral soloist, i.e., a symphonic organ; but also one that would do justice to the ‘classical’ organ literature. For these reasons, the organ was, among other things, to have two consoles—one mobile that could be placed amongst the members of the orchestra, and a second, with tracker action, on the cantilevered balcony above the orchestra.
Following the formalities by the Society’s dignitaries, including a speech by the president of Rieger, Wendelin Eberle, the music-making began. A fanfare by brass players from the Vienna Symphony Orchestra symbolically heralded the King of Instruments into the Golden Hall, there to be enthroned above the stage.
The first recitalist was Peter Planyavsky, former organist of St. Stephan’s Cathedral in Vienna and professor at the Vienna Music University. Planyavsky presented a brilliant improvisation to illustrate a selection of colors from the organ’s vast tonal palette. Being symphonic in character, the organ has a rich variety of possibilities, ranging from the delicately soft to the majestic, and including an array of solo stops—flutes, reeds and mutations.
The second performer was Ludger Lohmann, professor of organ and cathedral organist in Stuttgart, who gave an impressive rendering of J. S. Bach’s Toccata, Adagio and Fugue in C Major, BWV 564, using the attached mechanical-action console. This work demonstrated the beauty of the ‘classical’ diapason choruses that form the foundation of this organ, and combine effortlessly with its symphonic nature. The principal stops of these choruses blend admirably to form one sound and are crowned by glorious mixtures that add brilliance and clarity to the contrapuntal lines of the music without ever becoming overbearing or harsh. The organ’s copious reed stops made it possible for Lohmann to select ones that, in the Germanic tradition, added color while retaining the music’s transparency and lightness of texture. The direct action and responsiveness of the mechanical console allowed the organist to articulate his playing in a way that suited the Baroque style admirably.
Martin Haselböck, internationally known as conductor of performances on original instruments with the Wiener Akademie, recitalist and organ professor, led the audience into the Romantic era with Franz Liszt’s Prelude and Fugue on B.A.C.H. This piece enabled him to demonstrate the organ’s symphonic versatility and ability to swell in sound from the softest whisper to the point where it convincingly fills the hall. Playing from the detached console on stage, Haselböck made the audience forget that a few moments earlier they had been listening to a superb Baroque sound, as they were introduced to rich foundation stops, impressive chorus reeds, and convincing string-toned colors. The full organ’s sound, based on a foundation of 32′ stops, resonated majestically around the hall as the exciting piece came to its conclusion.
The next recitalist, Gillian Weir, the doyenne of English organists, who was honored for her contributions to organ music with the title Dame Commander of the British Empire in 1996, illustrated convincingly how the new organ accommodates challenging 20th-century repertoire by playing Olivier Messiaen’s “Alleluias sereins d’une âme qui désire le ciel” from L’Ascension and “Dieu parmi nous” from La Nativité du Seigneur. Her use, amongst others, of the Swell reeds—with their leaning towards the Gallic tradition—lent authenticity to this challenging music, as did her judicious choice of mutations for solo passages.
Olivier Latry, professor at the Paris Conservatoire and titular organist of Notre Dame Cathedral in Paris, France, played Alexandre-Pierre-François Boëly’s Fantasy and Fugue in B Major and the first and last movements of Charles-Marie Widor’s Organ Symphony No. 5 in F Minor. His faultless and seemingly effortless renderings of these demanding works enchanted the audience. The set of variations contained in Widor’s first movement gave the capacity audience of more than 2,000 further insights into the kaleidoscopic tonal variety attainable from the new Rieger organ.
The state-of-the-art technology of the playing aids, available on both consoles, of which more is said below, made it easy to accommodate the diverse needs of the five organists, who followed each other at the consoles in quick succession. The listener was also left with a sense of admiration for the way in which the organ’s stops have been scaled and voiced. The choice of pipe scales has resulted in the sound having sufficient fundamental tone for what is a very large hall, even when filled to capacity, without becoming turgid; care has also been taken to balance the constituent stops of the various choruses to ensure the seamless blending of their individual components. Furthermore, the voicing has resulted in clean, clear speech and a remarkable purity and evenness in tonal quality.

Tonal design
As mentioned above, the tonal design of the new organ is essentially symphonic. This term implies tonal warmth from a wealth of foundation stops, adequate numbers of which are string toned, a diversity of colors, including imitations of orchestral instruments, a wide volume range, and smooth crescendi and diminuendi. However, this style of organbuilding, stemming from the Romantic period, is also associated with less favorable characteristics, viz. tonal qualities that obscure part-playing in contrapuntal music, inadequate primary organ tone, i.e., insufficient stops of principal or diapason tone, insufficient upperwork and lack of brilliance, sluggish speech that impedes articulation, and thus, overall, the inability to do justice to the compositions of seminal organ composers, such as J. S. Bach.
In designing the Musikverein organ, Rieger was careful to capture the merits of the symphonic style while avoiding the excesses that led to the demise of such instruments in the 20th century. Accordingly, as already alluded to, the tonal core of each division of the Musikverein organ is a finely balanced principal chorus crowned with classical mixtures that impart the silvery brilliance required for playing much of the classical literature. In addition, the organ has three 32′ stops, fifteen stops at 16′ pitch and thirty-six 8′ stops, which in total ensure that its tone has the golden warmth and fullness required of a symphonic organ.
There are 21 reed stops of varying colors and strengths, some—in the Solo division—on high wind pressure; sufficient mutation stops; a mounted Cornet on the Hauptwerk, and the stops necessary for creating a Cornet Séparé on each of the Swell and Solo Organs. The 86 speaking stops are divided over four manual divisions and pedal, three of which (Orchesterwerk, Swell, and Solo) are enclosed to give the maximum possible dynamic range.
The imposing Hauptwerk’s comprehensive principal chorus is matched by a battery of trumpet-toned reeds at 16′, 8′ and 4′ pitch, whose characters lean towards the Germanic. In contrast, the chorus reeds of the large Swell Organ are modestly French in nature.
An interesting feature of the organ is the large Orchesterwerk division that was conceived to house stops that would blend exceptionally with actual orchestral instruments. The Orchesterwerk division has its own pedal stops contained within its swell box, based on a 32′ Subbass, to ensure that the dynamics of the pedal and manual sections are precisely aligned with each other. Although from the specification it would appear that no provision has been made for the traditional Positive organ that many would regard as important for playing much of the classical literature, compensation for this is made on the fourth manual: the Solo division contains a bright secondary principal chorus, alongside the expected solo reeds and flutes.

The organ’s layout
The organ is favorably situated directly behind the orchestra, its close proximity ensuring the maximum possible blending of the sound of these two partners. Physically, the base of the organ is at the level of the conductor’s podium, but is concealed by the raked seating of the orchestral musicians, which visually shortens the actual 36-foot height of the instrument. At the ‘basement’ level, two of the organ’s blowers are situated, as also a number of wind reservoirs and trunking. Above this, at the level of the rearmost musicians, one finds the enclosed Orchesterwerk division and its accompanying pedal section—meaning that there is literally no gap between the orchestra and this part of the organ.
The ‘lower story’ of the organ is hidden behind an elegant white screen, decorated with panels containing pairs of griffons, and is framed by six ornate gilded pillars that lead the eye upwards to the organ balcony and ‘upper story’ that they appear to support.
The main Pedal stops are placed at the lower level on either side of the Orchesterwerk division, with the longest pipes at the extreme left and right, rising up into the upper story, e.g., those of the full-length Kontraposaune 32′. In contrast, the open wooden pipes of the Kontrabass 32′ are mounted horizontally against the rear wall of the organ, behind the Orchesterwerk swell box, with the longest being mitered to fit them into the 30-foot width of the organ case.
The gallery that visually separates the lower and upper stories of the organ case provides the space for the mechanical action console. In order that organists using this console should not be isolated from the sound of the stops on the level below them, tonal passages have been constructed to link the two levels, those from the Orchesterwerk swell box appropriately being fitted with swell shutters.
The Hauptwerk is to be found in the central position behind the façade pipes that were grouped by Hansen into three classical sections (which always have been, and remain, silent). The prominent position of the Hauptwerk, raised above the stage, allows this important division to speak directly into the body of the hall, as is fitting for the core of the organ. Behind the Hauptwerk and to either side are the Swell Organ and Solo Organ, each in their respective boxes. These, together with the enclosed Orchesterwerk division, can be controlled from one swell pedal, thus enabling the player easily to make finely nuanced adjustments to the organ’s volume.
At the top of the organ, behind the façade pipes and partially in the space created by the triangular pediment that crowns the organ case, are a third blower and the wind reservoirs for the Hauptwerk, Swell and Solo organs.

Technical information
As already mentioned, the organ has two consoles. The attached console is made of walnut wood, whereas the mobile console has a black lacquered exterior that allows it to harmonize on stage with members of the orchestra. The key action of the attached console is mechanical, while that of the second, mobile console (which can be placed anywhere on the stage) is electric. In both cases, the stop action is electric. The normal couplers on the attached console are mechanical and the mobile console has additional “unison off” and adjustable “divided” pedal options. On the moveable console, the organist can choose between having the Hauptwerk or Orchesterwerk organs playable from the bottom manual. Furthermore, the mobile console is fitted with an electrically operated, adjustable feature that allows organists to save their preferred positions for the organ bench and the pedalboard in relation to the manuals, and to recall these when required, after which the preferred positions are taken up automatically. The use of these features at the inaugural concert, and the resulting speed with which one organist could follow another, proved their value in a concert hall setting.
A final, unique, feature of the electric console is that the pedalboard and bench can be retracted electrically to the point where the console can be pushed on its platform through the narrow stage doors when not required on stage. In all other respects, including the layout, the two consoles are identical.
The Rieger capture system, Rieger Electronic Assistant (REA), is used in the Musikverein organ, fully at both consoles and interchangeably between them. The system makes provision for 20 individual organists, each having up to 1,000 combinations, the possibility of inserting three additional combinations between existing ones, and the ability to archive registrations for 250 pieces, each with up to 250 registration combinations. The system’s features include, among other things, sequencing, sostenuto, copying, and repeat functions; divisional and general cancels; unison-off options; and four individually adjustable crescendi. The Rieger recording and playback functions, tuning system, transposing facility, and MIDI features are also available.
The organ has 6,138 pipes, most of which are on slider windchests that are operated by a tracker system from the mechanical console and by pallet magnets from the mobile console; some of the largest pipes are placed on auxiliary pneumatic chests. Individual wind pressures are used for the different divisions of the organ and all windchests are divided into bass and treble sections, each with their own appropriate wind pressures. The bass sections are supplied with stable wind from bellows, whereas the trebles are fed flexibly from schwimmer reservoirs. Of the pipes referred to above, 639 are made of wood, with the remainder being constructed of various alloys of tin and lead. The largest pipe is more than 32 feet in length and weighs approximately 880 pounds.

Postscript
Vienna is the cradle of the symphony as art form, and the glorious Great Hall of the Musikverein a venue par excellence for symphony concerts. It is therefore entirely appropriate that the Gesellschaft der Musikfreunde in Wien (the Society of Music Friends in Vienna) should have wanted a secular, symphonic organ for their beautiful hall. They specified an instrument that would match the quality of the world-renowned ensembles and artists that perform in their famous venue, a concert hall organ whose primary function is playing with orchestras, but also able to accompany other instruments and choirs, and at times be a recital instrument. Rieger Orgelbau has met these high (and potentially conflicting) expectations by judiciously combining the positive features of symphonic organs from an earlier era with the time honored attributes of classical organ building, thereby masterfully overcoming the shortcomings of instruments from the Romantic period, and creating a prototype for a second generation of symphonic organs.
The Musikverein organ is not a copy of an instrument from any historical school of organbuilding, but an absolutely modern instrument that draws on the rich values of and experience from different organbuilding periods, and simultaneously leads the art of organ building into the future. Its essence is ‘symphonic’—not by being ‘historic’, but through infusing the term with new meaning. Those involved in the project—the Society of Music Friends, the committee of organ experts, Rieger-Orgelbau—are all to be congratulated on creating a new milestone in the history of organ building and setting the highest standards for concert hall instruments of the future.
—Dr. Antony Melck
Professor, University of Pretoria

Photo credit: Wolf-Dieter Grabner/Musikverein

Vienna Musikverein, Golden Hall 2011
Orchesterwerk (expr.) I. C–c4
16′ Liebl. Gedackt
8′ Geigenprincipal
8′ Viola da Gamba
8′ Salicional
8′ Wienerflöte
8′ Blockflöte
8′ Holzgedackt
4′ Octave
4′ Viola
4′ Gedecktflöte
2′ Octave
2′ Mixtur IV
22⁄3′ Harm. aeth. II–V
16′ Fagott
8′ Euphonium
8′ Oboe
8′ Klarinette
Tremulant

Hauptwerk II. C–c4
16′ Principal
16′ Violon
8′ Principal
8′ Flûte Major
8′ Gamba
8′ Gedackt
8′ Gemshorn
4′ Octave
4′ Salicional
4′ Spitzflöte
22⁄3′ Quinte
2′ Superoctave
22⁄3′ Großmixtur IV–VI
11⁄3′ Mixtur IV–V
8′ Cornet V
16′ Trompete
8′ Trompete
4′ Trompete

Swell (expr.) III. C–c4
16′ Salicet
8′ Principalviolon
8′ Gambe
8′ Aeoline
8′ Voix céleste
8′ Flûte harm.
8′ Bourdon
4′ Flûte oct.
4′ Fugara
22⁄3′ Nazard harm.
2′ Octavin
13⁄5′ Tierce harm.
1′ Sifflet
2′ Fourniture V
16′ Basson
8′ Trompette harm.
8′ Hautbois
8′ Clairon harm.
8′ Voix Humaine
Tremulant

Solo (expr.) IV. C–c4
16′ Quintatön
8′ Diapason
8′ Flauto Amabile
8′ Doppelflöte
4′ Prestant
4′ Traversflöte
22⁄3′ Nasard
2′ Flöte
13⁄5′ Terz
11⁄3′ Larigot
11⁄3′ Mixtur IV
8′ Englischhorn
8′ Tromp. Royal
8′ Tuba

Pedal C–g1
32′ Kontrabass
16′ Kontrabass
16′ Violonbass
16′ Salicetbass
8′ Octavbass
8′ Flöte
4′ Flöte
22⁄3′ Rauschpfeife III
32′ Kontraposaune
16′ Posaune
16′ Fagott
8′ Trompete
4′ Clairon

Orchesterpedal (expr.)
32′ Subbass
16′ Subbass
8′ Violon
8′ Gedackt
16′ Bassklarinette

Accessories:
Rieger Combination System
• 20 users, with 1,000 combinations with 3 inserts each
• Archive for 250 tracks with 250 combinations each
4 Crescendi, adjustable
Sostenuto
3 free couplers
Sequencer
Copy functions
Repeat functions
Division off
General off
Unisons off

Consoles:
Main console (mechanical)
Mobile console (electric)

Mechanical couplers:
Ow/Hw 8′, Sw/Hw 8′, So/Hw 8′
Sw/Ow 8′, So/Ow 8′, So/Sw 8′,
Ow/P 8′, Hw/P 8′, Sw/P 8′, So/P 8′

Electric couplers:
Ow/Hw 8′, Sw/Hw 8′, So/Hw 8′, Sw/Ow 8′,
So/Ow 8′, So/Sw 8′, Ow/Ow 16′, Ow/Ow 4′
Sw/Sw 16′, Sw/Sw 4′, So/So 4′
Sw/Hw 16′, Sw/Hw 4′, Ow/Hw 16′, Ow/Hw 4′, Ow/Ped 4′, Sw/Ped 4′

Special features:
Rieger Tuning System
Rieger Replay System
Divided Pedal (electric console)
Manual Change I–II (electric console)
Transposing Manual
MIDI

Wind pressures:
Pedal 100mm
Hauptwerk 85mm bass 105mm treble
Swell 80mm bass 90mm treble
Solo 75mm bass 90mm treble
Orchesterwerk 75mm bass 90mm treble
Orchesterpedal 80mm

Rieger-Orgelbau GmbH
Hofsteigstr.120
A-6858 Schwarzach
Austria
T: 0043 5572 58132-0
F: 0043 5572 58132-6
W: www.rieger-orgelbau.com

Cover

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

GRAND ORGUE

16' Bourdon

8' Montre

8' Flûte a cheminée

8' Flûte harmonique

4' Prestant

2' Doublette

 Plein Jeu III-V

 Cornet IV (MC)

8' Trompette

 Tremblant

Pos/G.O.

Réc/G.O.

RÉCIT

8' Flûte traversière

8' Viole de Gambe

8' Voix céleste

4' Flûte Octaviante

2' Octavin

8' Basson-Hautbois

8' Voix Humaine

Tremulant

POSITIF

8' Bourdon

8' Salicional

8' Unda Maris

4' Flûte à fuseau

22/3' Nasard

2' Flageolet

13/5' Tierce

1' Piccolo

8' Clarinette

8' Trumpet Royal (horizontal)

   Tremulant

  Chimes

  Zimbelstern

  Réc/Pos

PÉDAL

32' Bourdon (electronic)

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

8' Flûte

8' Violoncelle

16' Basson

4' Chalumeau

  G.O./Péd

  Pos/Péd

  Réc/Péd

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

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

GREAT

16' Double Open Diapason

8' Open Diapason

8' Open Diapason (2nd)

8' Viola da Gamba

8' Viola d'Amour

8' Doppel Flute

4' Octave

22/3 Octave Quinte

2' Super Octave

Mixture III-IV*

8' Trumpet

SWELL

16' Bourdon

8' Violin Diapason

8' Viol d'Orchestre

8' Aeoline

8' Voix Celeste

8' Stopped Diapason

4' Fugara

4' Harmonic Flute

2' Flautina

                        Cornet
IV*

8' Oboe

8' Vox Humana

                        Tremolo

CHOIR

8' Geigen Principal

8' Dulciana

8' Melodia

4' Violina

4' Flute d'Amour

2' Harmonic Piccolo

8' Clarinet

PEDAL

32' Resultant*

16' Open Diapason (wood)

16' Bourdon

16' Lieblich Gedeckt (Sw)

8' Violoncello

8' Flute Stop'd

16' Trombone*

*additions by Bond

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

GREAT

8' Principal

8' Rohrfloete

4' Octave

4' Spillfloete

22/3' Nasat

2' Hohlfloete

13/5' Terz

IV Mixtur

8' Trompete

                        Tremulant

                        Chimes

                        Zimbelstern
(prep)

SWELL

8' Gedackt

8' Viola

8' Celeste

4' Spitzfloete

2' Principal

11/3' Quinte

III Scharf-Zimbel (prep)

8' Schalmei

Tremulant

8' Trompete

PEDAL

16' Subbass

8' Offenbass

4' Choralbass

II Rauschquinte (prep)

16' Still Posaune

8' Trompete

4' Trompete

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

Analysis

16' Subbass (44 pipes)

16' Gedeckt (97)

8' Principal (61)

8' Geigen (73)

8' Gemshorn (61)

8' Gemshorn Celeste (77)

8' Bourdon (73)

4' Octave (73)

22/3' Twelfth (61)

16' Trompette (85)

8' Oboe (61)

                        Chimes
(25 tubes)

GREAT

8' Principal

8' Bourdon

8' Gemshorn

4' Octave

22/3' Twelfth

2' Fifteenth

Mixture III

8' Trompette

Chimes

Couplers

SWELL

16' Gedeckt

8' Geigen Principal

8' Rohrgedeckt

8' Gemshorn

8' Gemshorn Celeste

4' Prestant

4' Bourdon

22/3' Quinte

2' Blockflöte

13/5' Tierce

Scharf III

16' Trompette

8' Trompette

8' Oboe

4' Clarion

Tremulant

Couplers

CHOIR

Digital preparation

10 knobs

Couplers

PEDAL

16' Subbass

16' Lieblich Gedeckt

8' Principal

8' Pedalflöte

4' Choralbass

4' Rohrflöte

2' Super Octave

Mixture III

16' Trompette

8' Trompette

8' Fagotto

4' Clarion

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

Ronald Ebrecht

Ronald Ebrecht researches French music from 1870–1940 both for performance and publication. He has performed his reconstruction of the original versions of Duruflé’s organ works in Austria, Belarus, China, France, Germany, Lithuania, Mexico, Russia, and across the U.S. He is University Organist of Wesleyan University, Middletown, Connecticut.

Some scholars define French Impressionist composers as those born up to 1902 rather than 1900. This allows for the significant talent of the Debussy of the organ, Maurice Duruflé, who by the mid-20th century contributed to the musical world organ works that define Impressionistic virtuosity—and its most notable Gregorian-based Requiem, with an Impressionistic orchestral accompaniment.
Duruflé is Impressionist in his use of form, harmony, rhythm, and registration. Though organists are thought to favor counterpoint and there are contrapuntal movements, free forms predominate. He emulated his teacher Paul Dukas (1865–1935) not only in compositional style, but also like Dukas he left conspicuously little music for posterity. Beyond the beauty of his compositions, this scarceness may contribute to their being prized, for they are both rare and perfect, and, like the last of anything, especially delicious.
The music is consistently challenging and always rewarding. The melodies, harmonies, rhythm, registration—all grow more loved as they become more familiar, in part because long practice hours are necessary to learn these masterworks. The Suite, Opus 5 of 1934, sets performance demands that have not been exceeded—for the insight to interpret the subtle “Sicilienne,” or the technique necessary for the daunting “Toccata.” His scores are the pinnacle of organ writing, yet in all this remarkable complexity there is never a superfluous note. Duruflé regularly revised the pieces in later life. Of the major works, the Suite, Opus 5, had the fewest revisions from its first publication until the final version. The closing “Toccata” was, however, often the subject of his self-critical eye. He regularly disparaged the piece in masterclasses, never recorded it, advocated cuts, and eventually re-wrote the closing cadenza.
His continual reassessment of his works, his reticence to compose once he began teaching harmony at the Conservatoire National (Supérieur) de Musique in 1943, and his quiet, unassuming manner would have left his music on the shelf were it not for his marriage in 1953 to his brilliant, effusive student Jeanne Marie-Madeleine Chevalier (1921–1999). Her vividly remembered performances and recordings are public testament of her devotion to her husband; her care for him in his infirmity was her private testament. From her début to her final recitals, she performed his works with insight and verve.

Ties that bind:
Opus-to-instrument links in the first editions of the major organ works

The premise
Performance practice studies of other French composers such as Franck or Messiaen investigate connections between their music and the specifications and tone of the organs of which they were titulaire. For Duruflé, information gleaned from masterclasses and suggestions made to private pupils of the composer and of his wife have constituted the basis for performance. Though interesting, this advice given decades after the composition of the works was already stale. Many are unaware that the versions of the scores currently in print were changed from the originals because, unlike most composers who are eager to extend the copyright of their works, Duruflé never renewed his even when pieces such as the Scherzo and “Adagio” from Veni Creator were substantially altered.
For performance today, a careful re-examination of the Duruflé first editions and of the instruments at his disposal when the works were written suggests subtle yet important links between two organs and the compass and registration of the pieces. From 1926 to 1934, the years of his most active organ composition, he regularly played four instruments: in his home town Louviers, the parish church Notre-Dame; and in Paris, the cathedral Notre-Dame, and parishes Sainte-Clotilde and Saint-Étienne du Mont. Of these, he could only play his compositions using his indicated registrations on the organs of the churches he served as titulaire, Louviers and Saint-Étienne. Those where he assisted his Parisian teachers—Tournemire at Sainte-Clotilde then Vierne at the cathedral—were perhaps idealized but are not referenced in the registrations he suggests. These famous instruments are further precluded by their restricted compass.

The background
After a few years of piano and solfège lessons in Louviers, where his father was an architect, in 1912 Maurice went to study in the provincial capital, Rouen. After 1914, he was organist of two Rouen parishes: Saint-Sever and Saint-André, neither with interesting organs. In 1916, his father did design work for the country estate of conservatoire history professor Maurice Emmanuel. After an audition in Louviers, Duruflé began commuting to Paris for lessons with Tournemire to prepare for his entrance into the conservatoire. Emmanuel was a classmate, lifelong friend, and scholar of Claude Debussy. Emmanuel recounts an event he attended in 1887. Théodore Dubois, professor of harmony at the conservatoire, accompanied some verses of the Magnificat at the organ with the then “new” harmonies à la Debussy, using unresolved successions of ninths, elevenths, and thirteenths. Perhaps Emmanuel, a great raconteur, regaled the impressionable conservatoire-bound Duruflé by retelling this incident, or demonstrating the process at the organ, which we certainly hear in Duruflé’s writing.
Once admitted to the conservatoire, he won all the coveted prizes: premier prix in organ with Eugène Gigout in 1922, harmony with Jean Gallon in 1924, and accompaniment with Abel-César Estyle in 1926. That year he wrote his Scherzo to enter the composition program under Charles-Marie Widor. Widor was eventually officially replaced by Dukas, who may have been substituting for him. Duruflé obtained the premier prix of counterpoint, fugue and composition in 1928. In the next two years, he won the improvisation and playing competitions of the French organists’ association, Les Amis de l’Orgue. These dates—1926, 1929, 1930—are critical, for at this time Opus 2 and his two larger works Opus 4 and Opus 5 were in progress on that desk at which he notoriously used the eraser more than the pencil.
The Scherzo, Opus 2, a charming yet intimidating miniature, can be played on a much smaller organ than the large-scale works. The registrations were later changed by Duruflé to a more Neoclassic æsthetic, and the “da capo” was revised. The sonata-rondo form of this piece is exceptional for a scherzo, particularly because of the abrupt changes of tempo. The most remarkable textual variation from the modern version occurs in the da capo, or final reprise of the main scherzo theme. In the 1929 edition, Duruflé quotes the ascending chords from the third theme on the Grand Orgue between each phrase of the scherzo theme. These vignettes were removed in 1947.
The original registrations are more subtly linked to the themes, and sections of the piece are less abruptly demarcated. The effects such as multiple unison stops with Voix humaine, trémolo and sub-couplers are certainly luxurious. Throughout, the ample, embracing original registrations and less pronounced solos reinforce the Impressionistic atmosphere. (See Example 1.)
In addition to registrations, the Scherzo is linked to Louviers by its dedicatee: “A mon cher Maître Charles Tournemire, Hommage reconnaissant.” Tournemire performed the concert for the rededication of the Louviers organ in 1926, at which Duruflé also participated. Perhaps the Scherzo was then played, if only privately. Opus 2 specifies the quiet Récit flute as “Cor de nuit.” Louviers and organs from his Rouen period such as his teacher’s house organ were the ones he knew in 1926 with a Récit flute thus termed. A stop of this name is curiously absent from Duruflé’s monumental specification for Saint-Étienne du Mont of 1956.
Another piece that requests the Cor de nuit is the “Sicilienne” of the Suite, Opus 5, linking it to the Scherzo. In addition to stipulating “Cor de nuit,” the Scherzo and “Sicilienne” require the same manual and pedal compass. Although by 1926 Duruflé was quite familiar with the Sainte-Clotilde organ, its pedal compass precludes that organ. The “Sicilienne” explores a modal, proto-folk melody in the characteristic Sicilian rhythm. The solo appears first in the soprano using Hautbois and Cor de nuit, then in the tenor using Cor de nuit, Clarinette, and Nasard. The second statement is accompanied on the Positif with Bourdon and Dulciane 8'. The “Sicilienne” is further linked to the 1926 specification of Louviers by the request for two 8' strings and a 4' Dulciana on the Grand Orgue, which of all the organs known to him, only Louviers had. In the “Sicilienne,” the Récit “Oboe” is called “Hautbois,” while in the “Prélude” of the Suite, “Basson.” Some may argue that the names are synonyms, but are perhaps unaware that at Sainte-Clotilde, Notre-Dame de Paris, and Saint-Étienne du Mont, the Oboe is called “Basson” or “Basson-Hautbois,” while at Notre-Dame de Louviers, on the house organ of Jules Haelling, and at Saint-Sever, Rouen, the Récit stopped flute is “Cor de nuit” and the Oboe, “Hautbois.” These facts give evidence that the “Sicilienne” may be earlier than the other movements from the Suite and confirm that both works were conceived with Louviers as reference.
Two examples of nonfunctional harmony from the Scherzo and the “Sicilienne” can provide a synopsis of the many stylistic similarities between these two pieces. (See examples 2 and 3: Scherzo measures 181–190, and “Sicilienne” measures 57–61).

Two works linked to Saint-Étienne, as rebuilt in 1928
In 1930 when Prélude, Adagio et Choral varié sur le thème du “Veni Creator,” Opus 4, won the composition prize of Les Amis de l’Orgue, Duruflé was but recently named to Saint-Étienne du Mont, where he had been substituting previously. This was not an instrument such as the monumental, hundred-stop Cavaillé-Coll at Saint-Sulpice played by his fellow Norman Marcel Dupré. Cavaillé-Coll’s Saint-Étienne rebuild of 1873 was succeeded by another in 1883. Renovations were continued by Théodore Puget in 1902 and in 1911 when the Récit was completed with a bass octave. Another rebuild was undertaken beginning in 1928 by Paul-Marie Koenig. This work continued for a time during Duruflé’s tenure, but was abandoned in April 1932. Though mechanically unreliable and unsatisfactory in other ways, Koenig provided 56-note manuals and a 32-note pedal, standard couplers, and a new manual order with the Grand Orgue on the bottom. The only known recital given in these years was by the blind organist Gaston Litaize in March 1931. After 1931 the organ went from bad to worse and ceased functioning sometime before it was dismantled for a rebuild by Debierre in April 1939. From then until 1956, Maurice Duruflé played the Puget choir organ.
The Prélude, Adagio et Choral varié sur le thème du “Veni Creator” is the first work using Duruflé’s familiarity with the organ of Saint-Étienne as reference. A tenor register solo of Récit Clarinette 8' with Nasard is requested. Though the organ did not yet have one in 1928, the replacement of the Cor with a Clarinet was intended as shown in the composer’s specification for Beuchet in 1938, which rebuild would have been with electric action and super-couplers.
On most French organs of the time, pieces like the “Final” of Opus 4 and “Prélude” and “Toccata” of Opus 5 that conclude at the top of the keyboard and request the use of super-couplers in those passages would actually have had no pipes in that range because there were no chest extensions. Therefore, when Duruflé was making requests for super-couplers he had never actually heard them. Perhaps his real-life experience in 1943 of super-couplers with chest extensions at the Palais de Chaillot for the premier of Prélude et Fugue sur le nom ALAIN, Opus 7, convinced him to omit requests for them from the blazing finale of that fugue. One wonders why the sub- and super-coupler indications in Opus 4 and Opus 5 were not among his revisions.
Among many connections linking Opus 4 and Opus 5 to Saint-Etienne are registrations that request Positif at 8' “Principal,” “Bourdon,” and “Salicional” and 4' “Prestant” rather than the generic French names. Saint-Étienne is the only organ he knew offering this precise combination.
Before the introduction of combination action, ventils were used to produce a crescendo. The reeds and mixtures stop knobs were drawn, but the ventil kept them from speaking until a foot lever (appel) was activated. Saint-Étienne was not equipped with a ventil for the Positif because of mechanical limitations. The Opus 4 “Final” begins with Récit mixtures and reeds, Positif foundations, Grand Orgue and Pédale foundation stops with “Anches et Mixtures préparés.” The crescendo calls first for the Positif mixture then separately the reed, followed at Largemente by Grand Orgue and Pédale reeds and mixtures. The drawing of Positif single stops is facilitated by rests in the manual parts, while rests in the pedal allow the use of the appel for the Grand Orgue and Pédale. Because both Notre-Dame de Paris and Saint-Clotilde had a Positif appel, Duruflé’s suggestions in contradiction of standard practice seem clearly intended for Saint-Étienne. Comparison of compass added to the analysis of composite registrations and specifications reinforces the pairings of Scherzo and “Sicilienne” to Louviers and Veni Creator and Suite to Saint-Étienne.
Opus 4 (Veni Creator) was substantially altered in August 1956, and the revised version was issued by the publisher from 1957 onward. There are extensive revisions of the climax, which though treating the same theme, has a much more rhythmically complicated and technically difficult accompaniment. Passages bear a very striking similarity to accompanimental figures in the orchestrated version of the Scherzo. As in the rewriting of the Scherzo da capo, the rewriting of the Adagio climactic section includes removal of interruptions to the crescendo, showing Neoclassic motivation. Tempo and registration revisions seem calculated to make the effect of the piece more homogenized.
A second enclosed division (Positif or Grand orgue) is another curiosity. There was an enclosed Grand orgue on the Haelling studio organ in Rouen where he had lessons in his youth, but he never had one on any organ of which he was titular nor any he designed. Yet, he suggests an enclosed Grand Orgue by a crescendo in the “Prélude” of Opus 4 and a decrescendo in the “Prélude” of Prélude et Fugue sur le nom d’ALAIN, Opus 7.
Although theoretical aspects of the compositional structure of the organ works may exceed the space limitations of this article, similar to the cadence preference of Duruflé in his choral works, third modulations are important. This is clearly demonstrated through the key relationships of the movements of the Suite, which progress by major thirds. The “Prélude” is in E-flat minor, the “Sicilienne” is in G minor and the “Toccata” is in B minor.

In conclusion
The examination of the original registrations of the pre-war works makes clear that when writing them, Duruflé’s model organ was highly influenced by nineteenth-century instruments with strings, celestes and harmonic flutes. His registrations are sometimes generic, such as “Anches” or “Fonds”; however, when specific—“Principal,” “Dulciana 4,” “Cor de nuit,” “Hautbois”—they have been shown to be references to two instruments: Louviers in 1926 and Saint-Étienne in 1928. The composite of the original registrations of the four major works requires 49 manual stops: four 16' flues, thirteen 8' flues, two 16' reeds and six 8' reeds. In the nineteenth century, Barker machines were used to divide the chest between foundations and the reeds/mixtures, which could be controlled by ventils. Cavaillé-Coll and other builders of the late nineteenth century used Barker lever-assisted playing action. The placement of the Positif manual below the Récit and above the Grand Orgue is consistent in all editions of the major works.
Tempo indications were altered in the printed versions. Tempo markings are generally less contrasting in revisions than in original versions. The composer’s ability to update the Scherzo while changing so few notes is quite adept, but the vignettes in the final statement recall the slower themes and intensify his original whimsical concept. The revisions of Opus 2 and Opus 4, and tempo changes, especially taken together with the less warm registrations, lead to this conclusion: in later life he wished them to sound more reserved and matter-of-fact. These “homogenizations” appear to have Neoclassic motivation.
Thus, in many ways, the first edition version of the organ works sounded quite different to his ears and those of his contemporaries when played on instruments of the period with their original Romantic registrations. Their tone and voicing was smooth. Their power was derived from reeds that were rich in fundamental. Unfortunately, most of the instruments Duruflé knew in 1919–1934 have been altered beyond recognition.
In his style there is nothing especially progressive, as one encounters in Stravinsky or Schoenberg. Duruflé was able to manipulate his Ravelian harmonies, Gregorian-like melodies, and contrapuntal textures to go to the very core of the listener’s life. For his is a music that eschews tantalizing the intellect but, in the interest of art, above all pleases the ear. To the end, Duruflé retained the same principles of creativity, which excluded nothing of human warmth. The organs of the turn of the century can inform the performer. The links are too close and too numerous to be coincidental. These are the ties that inextricably bind the works, both the last and the summit of Impressionist organ music, to the late Romantic organ tone for which they were written.

Notre-Dame, Louviers, John Abbey 1887/Convers 1926
I Grand Orgue (54 notes)
16' Montre
16' Bourdon
8' Montre
8' Flûte harmonique
8' Violoncelle
8' Gambe
4' Prestant
4' Dulciana
2' Doublette
Cornet
Plein jeu III
16' Basson
8' Trompette
4' Clairon

II Positif (54 notes)
8' Flûte
8' Bourdon
8' Salicional
8' Unda maris
4' Prestant
4' Flûte douce
22⁄3' Nasard
2' Doublette
8' Clarinette
8' Trompette

III Récit (54 notes)
8' Flûte
8' Cor de nuit
8' Gambe
8' Voix céleste
4' Flûte 4
22⁄3' Quinte
2' Octavin
13⁄5' Tierce
1' Piccolo
16' Cor anglais (free reed)
8' Trompette
8' Hautbois
8' Voix humaine

Pédale (32 notes)
16' Contrebasse
16' Soubasse
8' Flûte
8' Bourdon
16' Bombarde
8' Trompette

Saint-Étienne du Mont, Paris, Cavaillé-Coll 1883/Puget 1911/Koenig, 1928

I Grand Orgue (56 notes)
16' Montre
16' Bourdon
8' Montre
8' Bourdon
8' Flûte harmonique
8' Gambe
8' Flûte creuse
4' Prestant
2' Doublette
Plein-Jeu VI
Cornet V
16' Bombarde
8' Trompette
4' Clairon

II Positif (56 notes)
8' Salicional
8' Unda Maris
8' Bourdon
8' Principal
4' Prestant
4' Bourdon
22⁄3' Nazard
2' Doublette
Fourniture III
Sesquialtera II
8' Cromorne
8' Trompette

III Récit expressif (56 notes)
16' Quintaton
8' Cor de Chamois
8' Flûte
8' Gambe
8' Voix céleste
4' Flûte
4' Salicet
22⁄3' Nazard
2' Octavin
13⁄5' Tierce
Plein-Jeu III
8' Trompette
8' Cor
8' Basson-Hautbois
8' Voix humaine
4' Clairon

Pédale (32 notes)
32' Soubasse
16' Soubasse
16' Contrebasse
10' Quinte
8' Dolce

8' Flûte
4' Flûte
Carillon III
16' Bombarde
10' Trompette-Quinte
8' Trompette
4' Clairon

Saint-Étienne du Mont, proposed specification of 1938

I Grand Orgue
16' Montre
16' Bourdon
8' Montre
8' Flûte harmonique
8' Bourdon
5' Gros Nasard
4' Prestant
4' Flûte
22⁄3' Quinte
2' Doublette 2
Plein jeu II
Plein jeu IV
Cornet V
16' Bombarde
8' Trompette
4' Clairon

II Positif
8' Principal (timbre flûté)
8' Salicional
8' Bourdon
4' Prestant
4' Flûte à cheminée
22⁄3' Nasard
2' Quarte de Nasard
13⁄5' Tierce
Fourniture III
Cymbale III
8' Trompette
8' Cromorne
4' Clairon

III Récit expressif
16' Quintaton
8' Diapason
8' Flûte ouverte
8' Cor de nuit
8' Gambe
8' Voix céleste
4' Flûte
22⁄3' Nasard
2' Octavin
13⁄5' Tierce
1' Piccolo
Plein jeu IV
16' Bombarde-acoustique
8' Trompette
8' Clarinette
8' Basson-Hautbois
8' Voix humaine
4' Clairon
IV Écho expressif
8' Quintaton
4' Principal italien
2' Doublette
Terciane II (Tierce 13⁄5' et
Larigot 11⁄3')
Cymbale III
8' Hautbois d’Écho
4' Chalumeau

Pédale
32' Bourdon
16' Principal
16' Bourdon (ext)
10' Quinte
8' Principal
8' Flûte
8' Bourdon
4' Principal
4' Flûte
Grand Fourniture V
16' Bombarde
8' Trompette
4' Clairon

Composite of registrations of the Scherzo, Opus 2 (III 54/30) and “Sicilienne,” Opus 5b (III 54/31)

I Grand Orgue exp
8' Montre
8' Flûte
8' Flûte harmonique
8' Gambe
8' Salicional
4' Dulciane
III/I, II/I
III/I 16'

II Positif exp (middle manual)
8' Flûte harmonique
8' Flûte douce
8' Bourdon
8' Dulciane
4' Bourdon

III Récit exp
8' Flûte
8' Cor de nuit
8' Gambe
8' Voix céleste
4' Flûte
22⁄3' Nasard
2' Octavin
8' Hautbois
8' Clarinette
8' Voix humaine
Trémolo

Pédale
32' Soubasse
16' Soubasse
16' Bourdon
8' Flûte
8' Bourdon
III, II, I/Péd

Comparison of composite registrations derived from first editions of Veni Creator, Opus 4, and “Prélude” and “Toccata” from the Suite, Opus 5.

Opus 4         Opus 5
56/30           58/31

I Gd. Orgue        I Gd. Orgue
Montre 16           Fonds 16
Bourdon 16
Montre 8             Fonds 8
Bourdon 8
Fl. harm. 8
Prestant 4             Fonds 4
Quinte
Fond 2
Mixtures               Mixtures
Anches 16, 8, 4     Anches 16, 8, 4
                            (Bombarde 16)
III/I, II/I 8, 4         II/I, III/I 8, 4
III/I 16                 III/I, II/I 16

II Positif exp         II Positif
Bourdon 16
Fonds 8
Principal 8          Principal 8
Salicional 8         Salicional 8
Flûte 8

Bourdon 8           Bourdon 8
Prestant 4            Fonds 4
Fond 2
Mixtures             Mixtures
Anches 8, 4         Anches 8, 4
Clarinette 8
III/II                 III/II

III Réc. exp         III Réc. exp
Fonds 16
Fond 8                 Fonds 8
Flûte 8
Bourdon 8             Bourdon 8
Gambe 8
Voix céleste
Fond 4                 Fonds 4
Flûte 4
Nasard
Fond 2
Octavin
Mixtures                Mixtures
Anches 16, 8, 4
Trompette 8         Tpt douce 8
Hautbois 8            Basson 8
Clarinette 8
V. humaine 8
Clairon 4
Trémolo

Pédale                 Pédale
Fonds 32
Flûte 32
Bourdon 32
Fond 16               Fond 16
Flûte 16
Soubasse 16         Bourdon 16
Fond 8                 Fond 8
Flûte 8
Bourdon 8           Bourdon 8
Flûte 4                Flûte 4
Anches 32–4        Anches 32–4
                        (Bombarde 32)
I,II,III/Péd         I,II,III/Péd
II,III/Péd 4         II,III/Péd 4

First Baptist Church, Ocala, Florida

 

The Wicks Organ Co., Highland, Illinois, Opus 6382

 

In 1992, First Baptist Church of Ocala, Florida began a process of rebirth after a fire claimed all they had: furnishings, libraries, a concert grand piano, a Skinner pipe organ, choir robes, hymnals and Bibles. The congregation built a new 2,800-seat facility, which is one of the largest churches in Ocala. The final step of their rebuilding process was bringing a pipe organ into the new building.

David Kocsis, Wicks Area Sales Director writes:

Among the unique features of this project, the organ was to be a gift from a non-member--but one whose daughter and son-in-law were members. Secondly, the church provided a single sheet outlining their requirements for this instrument. The organ was to be a "supplemental" instrument, used mostly to enhance the 25-piece orchestra and 180-voice choir. It would also, upon occasion, be used as a recital instrument. They wanted an instrument of the "American Classic" school with the following characteristics incorporated: four-manual drawknob console; multiple Principal choruses; plentiful and opulent strings; a variety of flute choruses and solo stops; reeds to complement the overall instrument and offer solo opportunities; a Pedal division that offers strong, solid underpinning with at least two 32’ stops; a Trompette-en-Chamade of polished copper with flared bells; exposed pipework across entire chamber area (52 ft.) to eliminate existing latticework and grillwork; preparation on console for Chimes and Zimbelstern; MIDI capability.

Our proposal was for an instrument of 74 pipe ranks over five divisions with an additional four 32-foot computer-generated stops in the Pedal division, using the Walker Paradox system. The plan also called for (at the direction of the church) preparations for an 11-rank Solo division, and a 9-rank Antiphonal division.

We decided early on that Daniel Angerstein would tonally finish the instrument. Although First Baptist, Ocala was not a bad room, the irregular shape and carpeting did not make it acoustically live, either. Our factory-trained technician in Florida, Mr. Robert Campbell, would handle the  installation.

The specification for the instrument was a joint venture design involving Area Director David Kocsis, his associate Herb Ridgely, and voicer Dan Angerstein. After the contract was signed in late November, 1998, the three members of the design team met at the church to study the acoustics, room layout, chamber space, etc., so that detailed design work could begin. On the drive back to Atlanta, the pipe scales for the organ were discussed and finalized. The entire organ would be on 5" wind pressure with the notable exception of the Trompette-en-Chamade, which was to be on 10" wind pressure, and the Choir division English Tuba on 12". In order to "ring" the room, the Great 8' Principal would be built to a 40 scale, and the Great 8' Montre a 42 scale. One of the features of the design is the placement of the lowest pipes of the Pedal 16' Open Wood in the organ facade, stained to match the rest of the woodwork in the sanctuary. This placement allows the most profound of 16-foot foundation tone immediate access to the room. Of particular interest in the Walker system designed for this organ is that the computer-generated harp in the Choir can also be used with the Tremulant, providing a vibraharp sound.

There are several ancillary console controls that enhance ease of playing such a massive console, and also add facility to the instrument. These include: Pedal, Solo and Swell Melody couplers to the Great, all Swells to Swell, all Mixtures Off, all 32's Off, All Reeds Off, and All Celestes Off. To allow maximum visibility and eye contact between the organist and the minister of music, all inter-manual couplers were placed in the stop jambs, rather than on a coupler rail. This resulted in a console somewhat wider than normal (slightly over 8 feet). There are eight divisional pistons and 15 General pistons with 32 levels of memory. A 13-position transposer is included. The main body of the casework is painted semi-gloss off white, again matching the main color in the sanctuary. The whole idea was to give the impression that the building and the organ had been conceived as an integral whole.

The first of two truckloads of pipe organ arrived in Ocala on March 22, 2000, and the second truck arrived on April 12. Installation was completed on June 3 and voicing of the instrument in the room began on June 5. The logistical problems associated with installing a large pipe organ are many. The crew faced a 52-foot facade that begins 12' above the top choir riser and extends upward to accommodate full length 16-foot metal Principals and full length 16-foot Open Wood pipes. Bob Campbell's crew had scaffolding from floor to ceiling that would cover one of the four sections, and it took a considerable amount of careful planning to insure that all work was completed on one bay before tearing down the scaffolding and moving it to the next location.

From the beginning of the installation, the entire organ facade was covered every Sunday during church services so that the completed installation could be unveiled at one time. This occasion occurred on Sunday, June 4, 2000. The Sanctuary was dimly lit, and at the appropriate time, the entire organ facade was lit by a battery of specially placed lighting. This was only the prelude--the organ was heard for the first time by the congregation on July 2.

We at Wicks thank the committee and staff of first Baptist Church of Ocala for placing their trust in us to build an instrument according to their wishes. In particular, we would like to thank Dr. Ed Johnson, Sr. Pastor; Mr. Terry Williams, Minister of Music; and Mr. Larry Kerner, Chair of the Organ Committee. The entire congregation placed its confidence in us from the outset, and was extremely helpful from the beginning of the detailed design process through the installation. Several members of the church also volunteered their time and talents to help with the installation, especially with fitting and trimming of the facade to accommodate slight building irregularities. This really was a "team" effort, and everyone should be very proud of the results.

The dedication of the new IV/74 instrument at the First Baptist Church of Ocala, FL will be held on Sunday, September 24, 2000, featuring John Weaver, organ chair at The Curtis Institute of Music in Philadelphia and The Julliard School of Music in New York City.

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GREAT

1. 16' Montre

2. 16'    Bourdon

3. 8' Principal

4. 8' Montre (from #1)

5. 8' Flute Couverte

6. 8' Flute Harmonique

7. 4' Octave

8. 8' Gemshorn

9. 4' Nachthorn

10. 22/3' Twelfth

11. 2' Fifteenth

12. 2' Hohlflute (from #6)

13. 13/5' Seventeenth

14. IV-V Fourniture

15. IV Cymbale

16. 16' Kontra Trompete (from #17)

17. 8' Trompete

18. 8' Trompete en Chamade (10≤ w.p.)

19. Tremulant (Flutes)

20. Chimes [D]

21. Zimbelstern

22. Pedal Bass Coupler to Great

23. Swell Melody Coupler to Great

24. Solo Melody Coupler to Great

25. MIDI on Great

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SWELL (Enclosed)

26. 16' Bourdon Doux

27. 8' Geigen Principal

28. 8' Rohrflute (from #26)

29. 8' Viola Pomposa

30. 8' Viola Celeste

31. 8' Flauto Dolce

32. 8' Dolce Celeste TC

33. 4' Prestant

34. 4' Flauto Traverso

35. 22/3' Nazard

36. 2' Quarte de Nazard

37. 13/5' Tierce

38. IV-V Plein Jeu

39. III-IV Cymbale

40. 16' Contre Trompette

41. 8' Trompette

42. 8' Oboe

43. 8' Vox Humana

44. 4' Clairon (from #40)

45. 8' English Tuba (Ch)

46. 8' Trompette en Chamade (Gt)

47. Tremulant

48. MIDI On Swell

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CHOIR (Enclosed)

49. 16' Gemshorn [D]

50. 8' English Diapason

51. 8' Flute Ouverte

52. 8' Gemshorn

53. 8' Gemshorn Celeste TC

54. 4' Principal

55. 4' Koppelflute

56. 2' Principal

57. 11/3' Larigot

58. 1' Principal (from #56)

59. II Sesquialtera

60. IV-V Scharf

61. 16' Dulzian (from #62)

62. 8' Cromorne

63. 4' Rohr Schalmei

64. 16' English Tuba TC (from #65)

65. 8' English Tuba (12≤ w.p.)

66. 8' Trompette en Chamade (Gt)

67. 8' Harp [D]

68. 4' Harp Celesta [D]

69. Tremulant

70. MIDI On Choir

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SOLO (Enclosed)

15 Prepared Stops

71. 16' Trompette en Chamade TC (Gt)

72. 8' Trompette en Chamade (Gt)

73. 4' Trompette en Chamade (Gt)

74. 16' English Tuba TC (Ch)

75. 8' English Tuba (Ch)

76. 4' English Tuba (Ch)

77. MIDI On Solo

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ANTIPHONAL (Floating)

12 Prepared Stops

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ANTIPHONAL PEDAL

1 Prepared Stop

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PEDAL

78. 32' Contra Principal [D]

79. 32' Contra Bourdon [D]

80. 16' Open Wood

81. 16' Bourdon

82. 16' Principal

83. 16' Montre (Gt)

84. 16' Bourdon Doux (Sw)

85. 16' Gemshorn (Ch)

86. 8' Octave

87. 8' Major Bass (from #80)

88. 8' Bourdon (from #81)

89. 8' Viola (Sw)

90. 8' Open Flute (Ch)

91. 62/5' Gross Terz (Gt)

92. 51/3' Gross Quinte (Gt)

93. 4' Choral Bass

94. 4' Cantus Flute

95. 2' Flute (from #94)

96. IV Grave Mixture

97. IV Acuta

98. 32' Contra Bombarde [D]

99. 32' Contra Fagotto [D]

100. 32' Cornet des Bombardes IV

101. 16' Bombarde

102. 16' Contre Trompette (Sw)

103. 16' Kontra Trompete (Gt)

104. 16' Dulzian (Ch)

105. 8' Trompette

106. 8' Trompete (Gt)

107. 8' Oboe (Sw)

108. 4' Bombarde Clarion (from #101)

109. 4' Oboe (Sw)

110. 4' Schalmei (Ch)

111. 8' Trompette en Chamade (Gt)

112. 8' English Tuba (Ch)

113. Chimes (Gt)

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[D] = Digital Ranks

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Couplers

Sw/Gt 16 8 4

Ch/Gt 16 8 4

So/Gt 16 8 4

Ant on Gt

So/Sw 16 8 4

Ant on Sw

Sw/Ch 16 8 4

So/Ch 16 8 4

Ant on Ch

Ant on So

Gt 16 UO

Sw 16 UO 4

Ch 16 UO 4

So 16 UO 4

Ant UO 4

Gt/Ped 8 4

Sw/Ped 8 4

Ch/Ped 8 4

So/Ped 8 4

Ant/Ped 8

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Charles M. Ruggles, Conifer, Colorado, has built a new organ for The Randolph Church, Randolph, New Hampshire. The organ is designed on classic models typical of instruments found in New England and European churches; two manuals and pedal, mechanical action. Its structural and tonal characteristics make it suitable for the needs of The Randolph Church--for service playing, accompanying congregational singing, and playing a wide segment of standard organ literature. The case features cherry wood frame, redwood panels, and walnut trim. The Rohrflöte 8 and Octave 2 are common between the two manuals; the Bourdon 16 is an extension of the Bourdon 8. Manual compass 56 notes, pedal compass 30 notes; standard AGO pedalboard. Couplers, operated by foot levers, include Great to Pedal, Swell to Pedal, and Swell to Great.

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GREAT

                  8'             Principal

                  8'             Rohrflöte

                  4'             Octave

                  2'             Octave

                                    Mixture

                                    Sesquialtera II (from middle c)

SWELL

                  8'             Rohrflöte

                  8'             Gamba (tenor C)

                  4'             Flute

                  2'             Octave

                  8'             Dulcian

PEDAL

                  16'          Bourdon

                  8'             Bourdon

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B. Rule & Company, New Market, Tennessee, has rebuilt and installed a Hook & Hastings organ for Covenant Baptist Church, Houston, Texas. Built by Hook & Hastings in 1893 for First Baptist Church of Georgetown, Kentucky, the organ was removed from this church in 1963. It was owned for many years by David Bottom, of Lexington, Kentucky, who set it up in several different locations before carefully putting it in storage several years ago. B. Rule recommended the organ to Covenant Baptist Church, who bought it from David Bottom. Compass: 58/27.

B. Rule & Co. rebuilt the organ, including a complete rebuild of the chests and bellows and re-covering the manual keys with bone. The hand-pumping mechanism was also restored. Two changes were made: the Dulciana was replaced with a 2' Fifteenth, and the Oboe was extended to full compass from its previous tenor C status.

The small new sanctuary has a concrete floor and live acoustics, creating an environment which encourages congregational singing. The acoustical consultant was Charles Boner. The organist of the church is Carl McAliley, who played a joint dedication recital with Bruce Power on March 4.

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GREAT

                  8'             Open Diapason

                  8'             Melodia

                  4'             Octave

                  2'             Fifteenth

SWELL

                  8'             Stopped Diapason

                  8'             Viola (1-12 from St. Diap)

                  4'             Harmonic Flute

                  8'             Oboe

PEDAL

                  16'          Bourdon

Accessories

                                    Sw/Gt

                                    Gt/Ped

                                    Sw/Ped

                                    Sw/Gt Octaves

                                    Tremolo

                                    Blower Signal