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

Cover

Buzard Pipe
Organ Builders, Champaign, Illinois

Opus 29,
completed November, 2003

All Saints
Episcopal Church, Atlanta, Georgia

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

--John-Paul Buzard

GREAT (4-inch wind pressure)

Manual II - unenclosed pipework

16' Double Open Diapason

8' First Open Diapason

8' Second Open Diapason (ext 16')

8' Viola da Gamba

8' Harmonic Flute

8' Bourdon

4' Principal

4' Spire Flute

22/3' Twelfth

2' Fifteenth

2' Fourniture V

13/5' Harmonic Mixture IV

16' Double Trumpet

8' Trombas (ext Ped)

4' Clarion (ext Ped)

Tremulant

Chimes

8' Major Tuba (20" wind)

8' Tuba Solo (melody coupler)

8' Fanfare Trumpets (Solo)

SWELL (4-inch wind pressure)

Manual III - enclosed and expressive

8' Open Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste

4' Principal

4' Harmonic Flute

22/3' Nazard

2' Flageolet

13/5' Tierce

22/3' Full Mixture V

16' Bassoon

8' Trompette

8' Oboe

8' Vox Humana

4' Clarion (ext 16')

Tremulant

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHOIR (4-inch wind pressure)

Manual I - enclosed and expressive

16' Lieblich Gedeckt (wood)

8' English Open Diapason

8' Flûte à Bibéron

8' Gedeckt Flute (ext 16')

8' Dulciana

8' Unda Maris

4' Principal

4' Koppel Flute

2' Recorder

2' Mixture III–IV (Dulcianas)

11/3' Fourniture IV

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

16' English Horn

8' Cornopean

8' Clarinet

Tremulant

Cymbalstern (14 bells)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

Harp (digital)

Celesta (digital)

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

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

8' Open Diapason

8' Viola da Gamba

8' Gamba Celeste (CC)

8' Melodia

8' Flute Cœlestis II (Ludwigtone)

4' Principal

4' Flûte d'Amour

2' Doublette

11/3' Mixture IV

8' Flügel Horn

8' Corno di Bassetto

Tremulant

Cymbalstern (8 bells)

Chimes (Gt)

8' Fanfare Trumpets

8' Major Tuba (Gt)

Harp (digital)

Celesta (digital)

PEDAL (various wind pressures)

32' Double Open Diapason (digital)

32' Subbass (digital)

32' Lieblich Gedeckt (Ch, digital)

16' First Open Diapason

16' Second Open Diapason (Gt)

16' Bourdon

16' Lieblich Gedeckt (Ch)

8' Principal

8' Bass Flute (ext 16' Bourdon)

8' Gedeckt Flute (ext 16' Lieblich)

4' Choral Bass

4' Open Flute (ext 16' Bourdon)

22/3' Mixture IV

32' Contra Trombone (wood)

16' Trombone (wood, ext 32')

16' Double Trumpet (Gt)

16' Bassoon (Sw)

8' Trumpet (ext 16')

4' Clarion (Sw)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHAPEL (4-inch wind, floating)

8' Open Diapason

8' Aeoline

8' Vox Angelica (tc)

4' Principal

Chapel on Great

Chapel on Swell

Chapel on Choir

Chapel on Solo

Chapel on Pedal

Intraddivisional couplers

Gt/Gt 16-UO-4

Sw/Sw 16-UO-4

Ch/Ch 16-UO-4

Solo/Solo 16-UO-4

Interdivisional couplers

Gt/Ped 8, 4

Sw/Ped 8, 4

Ch/Ped 8, 4

Solo/Ped 8, 4

Sw/Gt 16, 8, 4

Ch/Gt 16, 8, 4

Solo/Gt 16, 8, 4

Sw/Ch 16, 8, 4

Solo/Ch 16, 8, 4

Pedal Stops to Divisional Pistons

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

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

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

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

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

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

--Brent Johnson

Great (exposed)

16’ Violone*

8’ First Open Diapason

8’ Second Open Diapason

8’ Violoncello

8’ Harmonic Flute (Ch)

4’ Principal

4’ Flute Octaviante

2’ Fifteenth

IV Full Mixture

8’ Chorus Tuba (Ch)

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Chimes* (Ant)

Swell (expressive)

16’ Minor Bourdon*

8’ Open Diapason

8’ Stopped Diapason*

8’ Viola*

8’ Viola Celeste*

8’ Flauto Dolce*

8’ Flute Celeste*

4’ Octave Diapason

4’ Triangular Flute*

22/3’ Nazard*

2’ Recorder*

13/5’ Tierce*

IV Plein Jeu

16’ Waldhorn*

8’ Cornopean

8’ Oboe*

4’ Clarion

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Tremolo

Choir (expressive)

8’ Geigen (1-12*)

8’ Concert Flute

8’ Dolcan*

8’ Dolcan Celeste*

4’ Octave Geigen

4’ Transverse Flute

2’ Harmonic Piccolo

16’ Bass Clarinet

8’ Clarinet

8’ English Horn

8’ French Horn*

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

8’ Chorus Tuba

Tremolo

Harp*

Antiphonal (unenclosed - floating) (prepared)

8’ Festival Trumpet*

8’ Tuba Mirabilis*

Chimes*

Antiphonal Pedal (prepared)

Pedal

32’ Contre Bourdon*

16’ Open Wood

16’ Major Bourdon

16’ Violone* (Gt)

16’ Minor Bourdon* (Sw)

8’ Principal

8’ Flute

8’ Stopped Flute

4’ Octave

4’ Harmonic Flute (Gt)

32’ Ophicleide*

16’ Trombone (1–12*)

16’ Waldhorn (Sw)

8’ Tromba

8’ Trumpet (Sw)

4’ Oboe (Sw)

7-bell zimbelstern

*= Digital Voices

Glück Pipe Organs,

New York, New York

Faith Lutheran Church,

New Providence, New Jersey

The new pipe organ for Faith Lutheran Church was created for use in traditional worship and for the performance of solo organ literature with a reasonable degree of historical accuracy. Although conservative in its core concept and tonal structure, some unusual pipe forms and design elements take it beyond the realm of the tonal cookie-cutter.

The instrument replaces a very heavily unified organ from the 1960s that subsequently had been altered by a local tuner. Inspection revealed that it contained several ranks of flue pipes that could be rescaled and incorporated into the new organ. While the mouths of these salvageable ranks were “cut to speech,” the pipes had never been truly voiced or tonally finished. They were essentially raw pipes of good alloy, straight from the pipemaker. Retaining these heritage pipes accomplished three goals: it enabled us to broaden the scope of the instrument from two manuals to three, it made the congregation understand that pipe organs could be investments, not merely expenses, and it gave church members a deeply satisfying feeling of historical continuity.

The façade design

When this project began years ago, the bidding organbuilders were asked to design an organ for the front of the church as part of a comprehensive renovation. Despite my strong indication that I preferred a rear gallery location, I conceived two chancel designs, one unilateral, the other divided. As the years passed, larger considerations arose for this thriving church. Should they once again enlarge their present church and school complex, or build a new church on new land? The church retained respected organ, architectural, and acoustical consultant Scott Riedel of Milwaukee, whose calm advice and clear education resulted in the organ in place today, as well as enlarged facilities for the music department and an improved acoustic. 

In the end, I got my wish. The organ sings from an elevated, central position in the new rear gallery. The A-frame structure, characteristic of so many American Lutheran churches of the era, naturally calls for North European case morphology. The mahogany case, proportioned for a relaxed “fit” in the room, is accented with understated pipe shades and foliate carvings in maple.

Within this visual context, I engaged in a bit of iconography and mannerism. The central “Trinity” of pipes is non-speaking, allowing me the opportunity to increase their length and have them break through the cornice and soar heavenward. The remainder of the façade is composed of pipes from the Great 8′ Præstant. The twelve polished zinc pipes of the lowest octave, with their undulating mouth lines, represent the Apostles. They are, in turn, flanked by the spotted metal 4′ range, playing upon the number seven, which recurs often in scripture. In each “flat” of pipes, the outer two pipes are reversed to acknowledge the visual strength of the roofline, and pipe lengths are balanced by building every other pipe one semitone over-length. 

The console

When minister of music Dr. John Girvin asked that I address the needs of an easily navigable, mobile console with unobstructed sight lines, I took as a point of departure the Aeolian organ consoles designed for the homes of the aristocracy during the first quarter of the last century. In this restrained and modern version, the tablets operate vertically, rather than horizontally, so that there is no confusion as to whether a stop is on or off. Each divisional field is in the same location as it would be in a drawknob console. The console is equipped with a comprehensive combination action and record and playback system.

The organist can see and conduct over the console effortlessly, and musicians can even stand around it and read their music from atop its cabinetry. It glides anywhere in the new organ and choir loft on an undetectable, integrated dolly, since choral and instrumental ensembles of various configurations are a normal part of musical life at Faith Lutheran. I designed the new gallery rail to be somewhat visually opaque but tonally transparent, with rhythmic elements paying homage to the likes of Wright, Mackintosh, and Stickley.

Tonal structure

While assiduously avoiding the lure of the unthinking American Lutheran stoplist, the structure of the Great principal chorus nonetheless had to be the starting point. It is supplemented by an 8′ Harmonic Flute, a requirement of the French Romantic repertoire. Carried down in open metal to A10, the bottom nine notes are borrowed from the open 8′ Spitzflöte so as to have no break in the tone. Taking advantage of unit actions in the Swell, the unison flute and string are duplexed to the Great, making available the dense velour of the fonds d’huit. The 16′ Dexter Geigen, which begins at middle C, is a broad and rosiny string of both solo and ensemble capability, adding gravity to the right hand without weight. It was made from the 8′ Viola that was in the church’s original organ, a rank that had only extended to 4′ C, with a borrowed capped metal bass. 

The 8′ Trumpet is broad, warm, and round, with English shallots and bells of higher lead content than the division’s fluework. It nobly melds into the ensemble without making a brash entrance. It is actually an upward extension of the Pedal reed unit, playing on the Great but being of the Pedal.

The notably potent Swell department is home to the second, slightly brighter plenum. I did not want to overdevelop the unenclosed Positiv and leave the church with a vestigial, anemic Swell. While the Great Chorus Mixture IV assumes a predictable American formula, the Swell Mixture II–IV was composed for sparkle and clarity without losing its integrative powers. This is accomplished by having the quints and unisons either in balance or favoring the unisons at all times (which has great benefits in hymn accompaniment and contrapuntal music), and keeping a unison pitch at the top of the harmonic stack except for a very brief, essentially unnoticeable two-note break near the top of the keyboard. 

The Swell strings are firm and deliberately incisive. Two powerful wooden flutes of double-mouth construction come from the 1919 Hall organ formerly in the Swedenborgian church in New York City, a 38-rank instrument that I acquired when that building was remodeled. The 8′ Doppelgedeckt  seems exceptionally present at the console, yet is buoyant in the nave. The orchestral “spit” in the harmonic range of the 4′ Holzdoppelquerpfeife is extraordinary, and the stop is worthy of copying in the future. 

Faith Lutheran’s original organ had a handful of “wired” mutations, taken from the unified ranks of the small Swell division. Such practice can never meet with true success, because these harmonics must be independently scaled, voiced, and finished, and the laws of physics make it impossible for them ever to be in tune. The new organ’s independent Nazard and Tierce ranks are joined on one slider in deference to the budget. Although flute-scaled, the chameleon-like Cornetto II serves as a pointed Sesquialtera when drawn with the 8′ flute, yet forms a round Cornet of French flavor when drawn with the entire flute choir. The tierce remains unbroken throughout the compass, and was actually made from a fine 2′ rank that was in our stock, appropriately rescaled and revoiced.

The Swell 8′ Trompette, with Bertounèche shallots and harmonic resonators, is significantly more brilliant than its Great counterpart. The full-length resonators of the 16′ Basson assure grandeur and richness in anthem accompaniments. Half-length resonators always fall short of the mark, a imprudent expedient, especially in situations like this, where the worthier compromise is to extend the 16′ stop down from the 8′ Hautbois.

When Albert Jensen-Moulton, general manager of Glück Pipe Organs, devised the layout of the new organ, he placed the Positiv in “Brust” position, immediately behind the façade on the right side, in juxtaposition to the Great to its left and the Swell behind. It is in close proximity to the singers and instrumentalists, and enjoys the distinct physical separation sought in a Baroque tonal æsthetic. The metal flute choir (8′ capped, 4′ chimneyed, and 2′ open) forms the perfect continuo organ, its varied pipe forms avoiding the risk of duplicating or triplicating other manual stops. 

The instrument stands on slider soundboards, but the occasional extrapolation of ranks on electro-pneumatic unit actions expands the registrational possibilities, particularly in the Positiv. The center of gravity can be shifted by the warm and singing 8′ Spitzflöte, the other rank that was extended upward from the Pedal division. Once again, it is scaled and voiced as a Pedal stop, but balances perfectly here, with freedom of tonal finishing in the treble range. The 8′ Clarinet, poised for dialogue with the Swell tierce combination, has a more “antique” sound than its name implies, enhanced by the release characteristics of the pallets. Its color can be shifted quite effectively with other stops in the division, expanding its solo capabilities. The Positiv and Great manuals can be exchanged in order to accommodate music of the later French schools.

The Pedal is based upon the 16′ Holzviolon, an open wood string stop also selected from the Swedenborgian organ. It was in rough shape, with its mitered basses broken and only two octaves of wood pipes, but it was needed to lend pitch definition to the Pedal line. While we could have completed the treble with metal pipes, the very capable pipemakers at OSI crafted matching wooden trebles as well as Haskell re-entrant tubes for the bottom four notes. This stop enables the Pedal to steer in contrasting directions: a gentle, clarified, open chorus, by adding the 8′ and 4′ Spitzflötes, or a bolder sound, using the 8′ Octave and 4′ Fifteenth. The stopped wood 16′ Infrabass, retained from the previous organ, provides a solid foundation, and other mezzo-forte borrows from the manual divisions make up the rest of this flexible arrangement. The full-length 16′
Posaune has spotted metal bells in the bottom octave to inject brightness into the round, firm, rolling tone. It is extended to 8′ pitch, and is available on both the Great and Positiv manuals.

The salient factors in place that contributed to the success of this project include a supportive pastorate, an enthusiastic and generous congregation, a Minister of Music who tirelessly educated himself through research and inquiry, and a truly knowledgeable, interdisciplinary consultant who guided the project without ever interfering with the artistic process. These elements paved the way for Glück Pipe Organs, our suppliers, our subcontractors, and all those involved in the enlarging of the church complex to achieve this long-anticipated goal.

—Sebastian M. Glück

Artistic and Tonal Director

Cover photo by Albert Jensen-Moulton

For information: 

212/608-5651

www.gluckpipeorgans.com

Glџck Pipe Organs Opus 13 (2011)

Faith Lutheran Church, New Providence, New Jersey

GREAT (Manual II)

16′ Dexter Geigen 34 pipes 50% tin, slotted, from C25

8′ Præstant 58 pipes polished zinc and 50% tin

8′ Harmonic Flute 49 pipes 50% tin, C1–G#9 from Spitzflöte

8′ Doppelgedeckt from Swell

8′ Viole de Gambe from Swell

4′ Octave 58 pipes 50% tin

2′ Fifteenth 58 pipes 50% tin

Chorus Mixture IV 232 pipes 50% tin

8′ Trumpet 28 pipes 30% tin, harmonic (Pedal extension)

Chimes 25 tubes G20–G44

Great Silent

16′ Swell to Great

8′ Swell to Great

4′ Swell to Great

8′ Positiv to Great

SWELL (Manual III)

8′ Viole de Gambe 58 pipes 50% tin, slotted

8′ Voix Céleste 46 pipes 50% tin, slotted, from C13

8′ Doppelgedeckt 58 pipes wood, double mouths, stopped

4′ Principal 58 pipes 50% tin

4′ Holzdoppelquerpfeife 58 pipes wood, double mouths, harmonic

2′ Gemshorn 58 pipes 50% tin

Cornetto II 116 pipes 50% tin

Mixture II–IV 176 pipes 50% tin

16′ Basson 12 pipes 50% tin

8′ Trompette 58 pipes 50% tin, harmonic

8′ Hautbois 58 pipes 50% tin

Tremulant

16′ Swell to Swell

4′ Swell to Swell

Chimes

POSITIV (Manual I)

8′ Spitzflöte 16 pipes 50% tin (Pedal extension)

8′ Viole de Gambe from Swell

8′ Bourdon 58 pipes 50% tin

4′ Rohrflöte 58 pipes 50% tin

2′ Recorder 58 pipes 50% tin

8′ Clarinet 58 pipes 30% tin

Tremulant

8′ Trumpet from Great

8′ Hautbois from Swell

8′ Swell to Positiv

Great/Positiv Transfer

PEDAL

16′ Holzviolon 30 pipes wood, C1–D#4 with re-entrant tubes

16′ Infrabass 30 pipes wood

8′ Octave 30 pipes zinc and 50% tin

8′ Spitzflöte 30 pipes zinc and 50% tin

8′ Gedeckt from Swell

4′ Fifteenth 12 pipes 50% tin

4′ Spitzflöte 12 pipes 50% tin

16′ Posaune 12 pipes zinc and 50% tin

16′ Basson from Swell

8′ Trumpet 30 pipes zinc and 30% tin

8′ Basson from Swell

4′ Hautbois from Swell

8′ Great to Pedal

8′ Swell to Pedal

8′ Positiv to Pedal

Great Chorus Mixture IV

C1 19.22.26.29

C13 15.19.22.26

C25 12.15.19.22

C37 08.12.15.19

C49 01.08.12.15

40 stops

32 ranks

Swell Cornetto II

C1 12.17 unbroken

Swell Mixture II–IV

C1 19.22

D15 15.19.22

F#43 12.15.19.22

C#50 08.12.15.19

D#52 01.08.12.15

Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

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

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

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

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

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

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

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

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal  (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

                        Great
to Great 4

                        Swell
to Great 16-8-4

                        Choir
to Great 16-8-4

                        Zimbelstern

SWELL

16'  Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola  (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4       

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave  (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass  (32 pipes)

II Rauschquint (64 pipes)

II Mixture  (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

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

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

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

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

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

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

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

                        Positiv
to Hauptwerk

                        Hauptwerk
to Pedal          

                        Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

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

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

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

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

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

                        Gt
& Sw to Ped 8

                        Sw
to Gt 16-8-4

                        Gt
4

                        Sw
16-UO-4

                        Antiph
to Ped 8

                        Antiph
to Gt 8

                        Antiph
to Sw 8

Cover feature

o:p>

St. John's Chapel (Episcopal)

Groton School

Groton, Massachusetts

Aeolian-Skinner 1935 (revised 1944, 1945, 1947, 1950,
1954, 1962, 1968)

Kinzey-Angerstein, 1975, 1976 (revoicing)

Nicholas-Bradford, 1986, 1990 (mechanical revisions,
Processional)

David A. J. Broome, 1991-1993 (renovation of reeds)

Nelson Barden Assoc. 1991-1993 (mechanical
rebuilding)

Foley-Baker, Inc./Jonathan Ambrosino & Jeff Weiler
2002-2003 (mechanical renovation/tonal work)

Organ people know about passion for their craft and
instrument; most acquire it at an early age. In my case, the fever was for
Skinner and Aeolian-Skinner, and it began in 1977 upon joining the Choir of Men
and Boys at St. Paul's Cathedral, Boston, under the direction of Thomas Murray.
In that 1820 Greek temple we sang to a then-new Andover in the chancel (reusing
many old Hook pipes) and a 96-rank Aeolian-Skinner in the gallery, completed in
early 1953, designed by Boston legend George Faxon, Groton School and
journalism star Edward B. Gammons, and the famous G. Donald Harrison. The
Aeolian-Skinner was selectably lovable; it had neither the charisma nor charm
of the Aeolian-Skinners at nearby Church of the Advent (with its golden
acoustics) or Trinity Church, which Mr. Murray, Frederick MacArthur and other
local musicians deployed to such silken effect accompanying Sunday evening
oratorios.

History's importance was furthered by "Mister
Murray" (as we boys squeakily called him back then), who in those years
was thick into his Hook documentary recordings, tracing the firm's work
from 1827 to 1875. I recall one summer at choir camp, a group of gentlemen and
boys huddled around a cassette player listening to rough edits from the 1875
Hook & Hastings organ at Boston's Holy Cross Cathedral: the Choir
organ alone sounded like a commanding Great division. That same summer,
returning from church one afternoon with Mr. Murray in his green Plymouth
Duster, he narrated a history of Ernest M. Skinner, G. Donald Harrison, and the
Skinner and Aeolian-Skinner companies. A few years later, upon the death of
William King Covell, Mr. Murray was given temporary possession of Mr.
Covell's library, and in the process photocopied all of Covell's
correspondence with G. Donald Harrison, including a copy for me. I was 16 at
the time, a full decade before many of these illuminating words were published
by Charles Callahan in his helpful book The American Classic Organ: A
History in Letters.

Thus for more than two decades now, the words of those who
built, discussed and theorized these instruments have echoed in my ears
alongside the sound of the untouched instruments themselves. This background in
the land of Skinner and Aeolian-Skinner becomes cardinal home turf when
considering a project such as Groton.

Op. 936 in St. John's Chapel at Groton School is the
Holy Grail of Aeolian-Skinner organs. Completed in November 1935, it was G.
Donald Harrison's prototype of an American Classic organ before the term
"American Classic" even existed. In one burst the instrument contains
all the key features that would characterize Harrison's mature style: an
unenclosed Choir organ, here called "Positif;" a 14-register
independent Pedal with two mixtures; a Great culminating in three mixtures,
self-consciously omitting reeds; lower wind pressures than had been used in the
20th century; and a crusade against extension, with a single extended stop and
only two borrowed ones. The instrument's statement was as much political
as musical. Even as he worked toward a 'Baroque' ideal, Harrison skillfully
clothed progress in a comfort sufficient for the old guard. However plentiful
the mixtures, none was acute in pitch. Pretty strings continued to abound,
though broader than their immediate Skinner predecessors. Manual chorus reeds,
even with Cavaillé-Coll-type shallots, recalled early Father
Willis in a gentler format. Harrison's desire for texture ahead of power
produced a mild organ--revolutionarily so--in which every stop and
coupler could be drawn to pleasing effect, and certainly not a shrill one.
"Had the organ been over-brilliant," he wrote, "it would have
done the cause more harm than good."

The pipes themselves speak of sophistication.
Aeolian-Skinner's first tin stops are found in the Positif flute family.
In the Great chorus Harrison introduced an octave larger than its corresponding
unison--not to make the octave louder, but broader and thus better
blending. Mixtures were likewise built with wider trebles, for a full, not
shrill tone. While the Great Principals are constructed as one might expect
(full scale, spotted metal, wide mouths, low cut-ups), the lesser Diapason has
a narrow mouth, while the Octave has both a narrow mouth and a slight taper.
The Sub Principal has a foot in all camps, with scaling related to the
Diapason, but with the slight taper of the Octave and a wide mouth like the
Principals. Perhaps most astonishingly for 1935, all principals were cone-tuned
from 2-foot C, which would alone account for the several-month period of
on-site tonal finishing.

The instrument's excellence was immediately evident;
its success, and that of Boston's Church of the Advent (completed five
months later), propelled Harrison ever further. In correspondence, Harrison
always acknowledged Groton as his starting point. Even after another fifteen
years, and more "advanced" instruments, he wrote Ralph Downes in
the early 1950s with the scales of the Groton Great chorus, saying that many
had claimed it to be the finest in the country.

From the historian's viewpoint, however, Groton poses
an unusual challenge: unlike most historically significant organs, it was not
regarded as a fixed statement. At the behest of organist Edward B. Gammons, who
came to the school in 1941, the organ was viewed almost as a laboratory: a
tableau whose core was not to be tinkered with, but whose details might be
periodically adjusted or exchanged. By 1944 Harrison's ideas had evolved
to encompass thin "Baroque" reeds, Great flute choruses to relate
to the Positif for trio work, and a different approach altogether to Positif
sections. Harrison wrote to Gammons, suggesting changes that would increase
flexibility and color without really affecting the organ's nucleus. By
1954, most of these had been carried out; also, the console had been relocated
from its nook beneath the organ to an area behind the pulpit. After
Harrison's death, Gammons had a few further changes made.

In 1975 Dan Hathaway succeeded Mr. Gammons as organist. At
his direction considerable revoicing of the Great and Positif was carried out
by Kinzey-Angerstein, along with loudening of other divisions. The connection
of firm to instrument was strong. Allen Kinzey had worked at Aeolian-Skinner
from 1954 until the firm's 1972 closing; Dan Angerstein joined much
later, and has forged a significant career as voicer, tonal finisher and
organbuilder.

With the arrival of the present organist Craig Smith in
1978, emphasis shifted from tonal alterations to the organ's mechanical
well-being. The largest program of renovation came in the mid-1980s, again
undertaken by Allen Kinzey; along with releathering, concerns for service
access led to fitting schwimmers to the Swell and Choir, replacement of one
pitman windchest with an all-electric equivalent, console electrification, and
solid-state switching and combination action. A new five-stop Processional
division was also installed. Restorative work was carried out during the 1990s
by Nelson Barden Associates of Boston, known for restoration work at
Boston's Church of the Advent.

Following exterior masonry cleaning and roof work in the
summer of 2000, the prospect of interior masonry cleaning in the summer of 2002
presented a rare opportunity. With chapel life already compromised by building
closure, a final program of organ work could be carried without undue
disruption. The scope of work evolved to include outstanding mechanical
details, upgrades, reinstating traditional wind to the Choir, removal, cleaning
and overhaul of all the flue pipes, and finally, remedial voicing and tonal
finishing. The vendors for this project were chosen at the outset in a
collaborative arrangement. Foley-Baker of Tolland, Connecticut executed all
removal, reinstallation, mechanical inspection and rebuilding. After acting in
an initial advisory role, I took charge of the pipe cleaning and remedial
voicing in my usual collaboration with the voicer Jeff Weiler. As he had been
since his arrival at Groton, organist Craig Smith was instrumental in securing
the instrument's visibility and requirements in the context of a larger
project.

Pipework reconditioning was purposefully conservative. Most
of the cone-tuned pipes had been later hand-trimmed and fitted with tuning
sleeves. The pipes were not built with proper reinforcement for cone tuning,
and some had been damaged as a result. In the interests of preventing further
harm, the top of every pipe was machine-trimmed and fitted with a new tuning
sleeve (archiving the originals). Metal flue pipes were cleaned with a mild
detergent. The radically altered Swell Gedeckt was restored to its original
condition, reopening nicks and plugging bored stoppers. Capped metal flutes
were cleaned, and much of the gorgeous Aeolian-Skinner maroon felt was
re-used--excess felt sections from the larger caps were in superb
condition, available for re-use on smaller caps. Wood pipes were not treated
with additional coats of shellac, as has been common restoration practice in
recent years, but instead cleaned and waxed in accord with conservation
principles. Foley-Baker took charge of cleaning and waxing all the zinc pipes;
they too were conservatively cleaned, not refinished, and the original tuning
scrolls were retained. While in our shop, pipes were thoroughly documented.
However, none was placed on the voicing machine. We wanted our evaluation and
decisions to be exclusively site-guided.

Many factors converged to make this effort different from
normal tonal work. There is first the strange sensation of working on an icon:
this is one of the best-known of all American organs and has been revered at
most every stage of its existence. Having managed Nelson Barden's
restoration business in the late 1980s, I knew the Groton organ from service
work. Revisiting the instrument for the first consultation in 2000 renewed my
conviction that the tone had strayed beyond Harrison's intentions--that
he would not have recognized much of the organ he considered among his two or
three best. Increasing and repeated exposure to other significant 1930s
Aeolian-Skinners (particularly Trinity Church, New Haven; St. Mark's,
Philadelphia; and Columbia University in New York) left a strong desire to
recapture, insofar as possible, an organ Harrison himself might recognize.
Given the remarkable lack of understanding Harrison's work has been
subject to in recent years, here was a rare opportunity in a context perhaps more
deserving than any other.

On the other hand, the organ's
"laboratory" aspect means that different rules apply where
historical status is concerned. This is not an instrument that can, or perhaps
even should, be returned to its 1935 state--its very creator sought and
accomplished changes that form an important aspect of its historical voice.
Moreover, it has never been an unsuccessful instrument. Though housed in a
tall, narrow and deep chamber, the organ transcends its location. The acoustics
are excellent. In addition to a graceful reverberation period, tone is
reinforced across a wide range with admirable evenness. Extreme treble is not
particularly reinforced or reverberated, however, greatly promoting clarity (a
feature Harrison would have prized). In its altered condition, the organ was
still unquestionably handsome, noble and effective, an instrument Craig Smith
had come to know and love for a quarter-century.

The common point of departure came in wanting to rectify the
poor speech of many pipes. Either they chiffed in a manner Harrison would have
sanctioned only in the occasional stopped flute, or they had been loudened
(though not actually revoiced) beyond the point of comfortable attack or tone.
Some pipes, including those of the Great and Positif choruses, had been
radically revoiced. By developing mutually agreeable guidelines for what was
and was not acceptable in speech, tone and effect, and then taking cues from
how the pipes themselves responded to various treatments, an ethic
evolved--uncertain at the outset, but soon gaining clarity as the process
moved forward.

When considered from the standpoint of speech, most stops
had only two logical remedies: further revoicing (cutting up) to stabilize
speech at the louder volume, or softening back into a range of acceptable
speech. All agreed that further modification was unacceptable, so softening was
judiciously attempted. In so doing, it was revealed the extent to which some of
the organ's voicing remained in original condition (a happy discovery we had
first glimpsed in the initial survey, and further observed during the
cleaning). Rather than seeming softer per se, the tone gained fullness as the
pipes returned to greater efficiency.

It was with real relief that Craig Smith gave us increasing
encouragement in this uncertain process. For example, after smoothing out the
Great Rohrbordun in its existing condition, Mr. Smith questioned the
appropriateness of its tone and speech. After setting samples for study and
approval, conservative revoicing, as far as possible along the lines of the
original, yielded tones and balances both pleasing and believable. The same
pattern occurred with the Blockflöte, and then onward through other
changed stops.

From there, the work unfolded in an unorthodox order. After façade
pipes, most site voicing begins with the Great 8-foot Principal, to which the
rest of the organ can be logically referenced. In this instance, we began with
the 'unchanged' (i.e., merely loudened) material: the Great
Diapason and Octave; the entire Swell, Choir and Pedal; and portions of the
Positif. With these stops complete--and the benefit of a Christmas break
for perspective--many clues had surfaced about how the revoiced stops
might best be resolved, not necessarily in an "original" manner
(not an option, given what had happened to some of the pipes) but in a
"plausible" one. In general, our feeling was that we should leave
matters as close as we could conjecture (based on research) to the
organ's state in 1954, when Harrison last knew it. Equipped with both
documentary and practical evidence, we returned to complete the Great at
job's end. The original 21-rank chorus (16-8-8-6-4-4-3-3-2-1-IV-IV-III)
comprised a statement of the highest intellectual and musical purpose from any
era. William King Covell wrote of it:

The chorus of the Great is one of real distinction. So
complete is it that reeds are dispensed with, being considered not only
unnecessary but actually undesirable. It consists of two choruses, one within
the other. The principals constitute the major chorus, the diapason, octave and
superoctave the minor. There is actually little difference in power between the
ranks, as the 8ft principal is only moderately powerful, and the diapason 8ft
is only slightly softer. But the ranks are so treated that each has its own
accent: hence the major chorus has an effect by itself separate from that of
the minor chorus; and, what is more interesting and unusual, the minor chorus
adds appreciably to the strength of the major . . . [the mixtures] form a complex
texture in which breaks are imperceptible.

This chorus had been the object of the greatest revoicing,
some of it inconsistent, none of it particularly well documented. Even if the
chorus in its present condition is but a shadow of what Harrison himself knew,
it becomes easier to understand why he was so taken with his own work. It
contains all the qualities he sought: clarity, cohesion, flexibility, a full
rather than shrill treble, and the complexity of many ranks of similar power
and scale--a chorus voiced along late-romantic lines to be sure, but
conceived and balanced in the classical tradition.

This project reflects the qualities of those who contributed
so materially to its success. The Foley-Baker team executed their end of the
work to perfection, exercising uncommon diligence in tracking down every last
mechanical detail. Far from taking offense that his earlier work was being
revised, Allen Kinzey provided every scrap of documentation that might inform
our understanding and approach; Doug Brown from Groton opened up the
school's archives to us. Jeff Weiler had the unerring temperament,
patience and voicing skill to meet the varied conditions, a long daily commute
and the changing parameters of an evolving ethic. Joseph Rotella and the Spencer
Organ Company offered invaluable support. John Watson gave helpful advice on
documentation and conservation treatments. Tom Anderson, the celebrated
pipemaker at Aeolian-Skinner, helped with pipe repairs, as did Timothy Fink;
John Hupalo crafted several dozen replacement pipes in the original style.

Finally, Craig Smith not only made the entire project
possible, he blessed us with endless patience and good humor. Beyond his wry,
bespectacled welcome over five months, he paid us the compliment of a career by
encouraging us to follow our convictions.

--Jonathan Ambrosino

1935 Specification

Great (unenclosed, 3-inch wind)

16'           Sub
Principal                      61
             tapered,
1-22 5-inch wind

8'               Principal
                                      61
style='mso-tab-count:1'>               1-12
façade

8'               Diapason
                                    61

8'               Flûte
Harmonique      61
style='mso-tab-count:1'>             open
metal throughout

8'               Gemshorn
                                61

51/3'     Grosse
Quinte                   61
             tapered

4'               Principal
                                      61

4'               Octave
                                            61
             very
slight taper

31/5          Grosse
Tierce                    61
             tapered

22/3'     Quinte
                                              61

2'               Superoctave
                        61

13/5'     Tierce
                                               61

IV                Full
Mixture    244

style='mso-tab-count:1'>                        12.15.19.22
style='mso-tab-count:1'>      
style='mso-tab-count:1'>                        12

                       
style='mso-tab-count:3'>                                                                        8.12.15.19
style='mso-tab-count:2'>                                    12

                                                                                                1.8.12.15
style='mso-tab-count:2'>                                        37

IV                Fourniture
        244

                                                                                                15.19.22.26
style='mso-tab-count:1'>       12

                                                                                                12.15.19.22
style='mso-tab-count:1'>       12

                                                                                                8.12.15.19
style='mso-tab-count:2'>                                    12

                                                                                                1.8.12.15
style='mso-tab-count:2'>                                        25

III                Cymbel
                                          183

                                                                                                29.33.36
style='mso-tab-count:2'>                                          12

                                                                                                22.26.29
style='mso-tab-count:2'>                                          12

                                                                                                15.19.22
style='mso-tab-count:2'>                                          12

                                                                                                8.12.15
style='mso-tab-count:2'>                                              12

                                                                                                1.5.8
style='mso-tab-count:2'>                               13

Positif (unenclosed, 21/2-inch wind)

8'               Rohrflöte
                                     61
style='mso-tab-count:1'>               1-19
stopped wood, 20-61 90% tin

4'               Principal
                                      61
style='mso-tab-count:1'>               spotted
metal

4'               Koppelflöte
                            61
style='mso-tab-count:1'>               90%
tin

22/3 '   Nasard
                                            61
style='mso-tab-count:1'>               90%
tin, tapered

2'               Blockflöte
                                  61
style='mso-tab-count:1'>               90%
tin, tapered

13/5'     Tierce
                                               61
style='mso-tab-count:1'>               90%
tin, tapered

1'               Sifflöte
                                            61
style='mso-tab-count:1'>               90%
tin

IV                Scharf
                                              244
         spotted
metal

                                                                        19.22.26.29
style='mso-tab-count:1'>       12

                                                                        15.19.22.26
style='mso-tab-count:1'>       12

                                                                        12.15.19.22
style='mso-tab-count:1'>       12

                                                                        8.12.15.19
style='mso-tab-count:2'>                                    12

                                                                        1.8.12.15
style='mso-tab-count:2'>                                        13

Choir (enclosed, 33/4-inch wind)

16'           Quintaton
                                  73
             1-12
wood, 13-73 capped spotted metal

8'               Viola
                            73

8'               Orchestral
Flute             73
             open
wood 1-24, harmonic & metal upper lips 25-49

8'               Dulciana
                                      73

8'               Unda
Maris                             61
style='mso-tab-count:1'>               tenor
c

4'               Lieblichflöte
  73

2'               Zauberflöte
                            61
style='mso-tab-count:1'>               stopped
harmonic, 8-49

16'           English
Horn                        73

8'               Trompette
harmonique             73

8'               Clarinet
                                         73

                        Tremolo

Swell (enclosed, 33/4-inch wind)

16'           Flûte
Conique                    73
             tapered
open metal

8'               Geigen
                                            73

8'               Viole
de Gambe             73

8'               Viole
Celeste                       73

8                    Gedeckt
                                        73
             stopped
wood

8'               Echo
Viole                                 73

4'               Octave
Geigen                 73

4'               Flûte
triangulaire         73
             wood
1-49

4'               Fugara
                                            73

22/3'     Nasard
style='mso-tab-count:2'>                                              61

2'               Fifteenth
style='mso-tab-count:2'>                                        61

13/5'     Tierce
style='mso-tab-count:2'>                         61

VI                Plein
Jeu                                     366

                                                                                                12.15.19.22.26.29
style='mso-tab-count:1'>          15

                                                                                                8.12.15.19.22.26
style='mso-tab-count:1'>              12

                                                                                                1.8.12.15.19.22
style='mso-tab-count:1'>                   12

                                                                                                1.5.8.12.15.19
style='mso-tab-count:1'>                       12

                                                                                                D.1.5.8.12.15
style='mso-tab-count:1'>  10

16'           Bombarde
                                73

8'               Trompette
I    73

8'               Trompette
II 73

4'               Clairon
                                            73

8'               Vox
Humana 61

                        Tremolo

Processional (in vestibule)

8'               Gedeckt
style='mso-tab-count:2'>                                          61

8'               Viole
style='mso-tab-count:2'>                              61

Pedal (unenclosed, 5-inch wind)

32'           Contrebasse
                        56
             bearded
wood violone to 36, spotted metal 37-56

16'           Principal
                                      32
style='mso-tab-count:1'>               7-28
in façade

16'           Contrebasse
                        --

16'           Bourdon
style='mso-tab-count:2'>                                         32

16'           Flûte
Conique                    Sw

102/3' Grosse
Quinte                   32
style='mso-tab-count:1'>               tapered
metal

8'               Octave
style='mso-tab-count:2'>                                              32

8'               Flûte
ouverte                       32
style='mso-tab-count:1'>               open
wood, triangular from 13

8'               'Cello
                         --

8'               Gedackt
                                        Sw

51/3'     Quinte
                                              32
style='mso-tab-count:1'>               tapered
metal

4'               Superoctave
style='mso-tab-count:2'>                          32

4'               Flûte
Harmonique       32

4'               Kleingedeckt
                      Sw

III                Mixture
                                          96
style='mso-tab-count:1'>               10.12.15

III                Fourniture
                                96
style='mso-tab-count:1'>               15.19.22

16'           Bombarde
style='mso-tab-count:2'>                                  32

16'           English
Horn                        Ch

8'               Trompette
style='mso-tab-count:2'>                                  32

4'               Clairon
style='mso-tab-count:2'>                                              32

Specification in 2004

(1) = reworking of material revoiced after 1954

(2) = reregulation of material loudened but unchanged
after 1954

(3) = regulation of material in essentially original
condition

(4) = reconditioned and revoiced by David Broome, 1990s

Great (unenclosed, 31/4 -inch wind [1954], basses
& façade 3-inch wind)

16'           Sub
Principal                      61
style='mso-tab-count:1'>               (1)

8'               Principal
                                      61
style='mso-tab-count:1'>               (1)

8'               Diapason
                                    61
style='mso-tab-count:1'>               (2)

8'               Rohrbordun
   61               1954:
1-19 new, remainder ex-Positif (1)

8'               Gemshorn
                                61
style='mso-tab-count:1'>               (1)

51/3'     Grosse
Quinte                   61
style='mso-tab-count:1'>               (2)

4'               Principal
                                      61
style='mso-tab-count:1'>               (1)

4'               Octave
                                            61
style='mso-tab-count:1'>               (2)

4'               Flûte
couverte                   61
style='mso-tab-count:1'>               new
in 1944, replacing 31/5' (3)

22/3'     Quinte
                                              61
style='mso-tab-count:1'>               (1)

2'               Superoctave
                        61
style='mso-tab-count:1'>               (1)

2'               Blockflöte
                                  61
style='mso-tab-count:1'>               ex-Positif,
replacing 13/5' in 1968 (1)

IV                Sesquialtera
                        244
style='mso-tab-count:1'>           Full
Mixture reworked 1968, incorporating 13/5' (1)

                                                                        15.17.19.22
style='mso-tab-count:1'>       12

                                                                                                12.15.17.19
style='mso-tab-count:1'>       12

                                                                                                8.12.15.17
style='mso-tab-count:2'>                                    27

                                                                                                8.10.12.15
style='mso-tab-count:2'>                                    10

IV                Fourniture
                                244
style='mso-tab-count:1'>           (1)

                                                                                                15.19.22.26
style='mso-tab-count:1'>       12

                                                                                                12.15.19.22
style='mso-tab-count:1'>       12

                                                                                                8.12.15.19
style='mso-tab-count:2'>                                    12

                                                                                                1.8.12.15
style='mso-tab-count:2'>                                        25

III                Scharf
                                              183
         ex-Positif
plus new pipes, 1950 (1)

                       
style='mso-tab-count:1'>                       
style="mso-spacerun: yes">                                               22.26.29
style='mso-tab-count:2'>                                          12

                                                                                                19.22.26
style='mso-tab-count:2'>                                          12

                                                                                                15.19.22
style='mso-tab-count:2'>                                          12

                                                                                                12.15.19
style='mso-tab-count:2'>                                          12

                                                                                                8.12.15
style='mso-tab-count:2'>                                              13

8'               Bombarde
                                73
style='mso-tab-count:1'>               new
chest and pipes 1950, gift of Dr. and Mrs. William H. Barnes; relocated above
Great organ, horizontal, 1986 (4)

Positif (unenclosed, 21/2 -inch wind)

8'               Lieblich
Gedeckt           61
style='mso-tab-count:1'>               1-12
original, 13-61 ex-Choir 4' Flute (1)

4'               Principal
                                      61
style='mso-tab-count:1'>               (1)

4'               Koppelflöte
style='mso-tab-count:2'>                              61
style='mso-tab-count:1'>               (1)

22/3'     Nasard
                                            61
style='mso-tab-count:1'>               (1)

2'               Principal
                                      61
style='mso-tab-count:1'>               (1)
leftovers from ex-Great Full Mixture, exchanged 1968; 38-61 replaced with
A-S vintage pipes 2003

13/5'     Tierce
                                               61
style='mso-tab-count:1'>               (1)
plus new replica tin replacements 2003

11/3'     Larigot
                                            61
style='mso-tab-count:1'>               (2)
1-5 new 1954; 6-35 original Sifflöte transposed; 36-61
random A-S fill pipes from 1954

IV                Cymbel
                                          244
         reworked
1950 (1)

                                                                                                26.29.33.36
style='mso-tab-count:1'>       12

                                                                                                22.26.29.33
style='mso-tab-count:1'>       6

                                                                                                19.22.26.29
style='mso-tab-count:1'>       6

                                                                                                15.19.22.26
style='mso-tab-count:1'>       6

                                                                                                12.15.19.22
style='mso-tab-count:1'>       6

                                                                                                8.12.15.19
style='mso-tab-count:2'>                                    6

                                                                                                8.8.12.15
style='mso-tab-count:2'>                                        6

                                                                                                1.8.12.15
style='mso-tab-count:2'>                                        13

Choir (enclosed, 41/2-inch wind, [1954])

16'           Quintaton
                                  73
             (3)

8'               Viola
                            73
             (3)

8'               Orchestral
Flute             73
             (3)

8'               Dulciana
                                      73
             (3)

8'               Unda
Maris                             61
style='mso-tab-count:1'>               (3)

4'               Nachthorn
                                73
             new
in 1954 (2)

2'               Zauberflöte
                            61
style='mso-tab-count:1'>               (3)
49-61 ex-Positif Sifflöte 38-49

16'           English
Horn                        73
             (4)

8'               Trompette
harmonique             73
             ex-Sw
Trompette II from 13-56, 1954 (4)

8'               Clarinet
                                         73
             (4)

4'               Rohrschalmei
style='mso-tab-count:1'>                       61
             new
chest and pipes, 1954 (3)

                        Tremolo

8'               Bombarde
                                Gt

Swell (enclosed, 4-inch wind, [1950])

16'           Flûte
Conique                    73
             (3)

8'               Geigen
                                            73
             (2)

8'               Viole
de Gambe             73
             (1)

8'               Viole
Celeste                       73
             (1)

8'               Gedeckt
                                        73
             (1)

8'               Flûte
Conique                    --
style='mso-tab-count:1'>                   unified
to 8' in 1954

8'               Flute
Celeste GG        54
             no
61-73; new in 1954, replacing Echo Viole (3)

4'               Octave
Geigen                 73
             (2)

4'               Flûte
octaviante             73
             ex-Great
Flûte Harmonique 13-61; new pipes
50-73; 1954 (2)

4'               Fugara
                                            73
             (3)

22/3'     Nasard
                                            61
style='mso-tab-count:1'>               softened
1954 (3)

2'               Flageolet
                                     61
style='mso-tab-count:1'>               softened
1944 (3)

13/5'     Tierce
                                               61
style='mso-tab-count:1'>               softened
1954 (3)

III                Mixture
                                          183
         1944
replacement of Plein Jeu ranks 1-2

                                                                        15.19.22
style='mso-tab-count:2'>                                          12

                                                                                                12.15.19
                                        12

                                                                                                8.12.15
style='mso-tab-count:2'>                                              24

                                                                                                1.8.12
style='mso-tab-count:2'>                           13

IV                Plein
Jeu                                     244
         upper
four ranks of original VI (2)

                                                                                                19.22.26.29
style='mso-tab-count:1'>       15

                                                                                                15.19.22.26
style='mso-tab-count:1'>       12

                                                                                                12.15.19.22
style='mso-tab-count:1'>       12

                                                                                                8.12.15.19
style='mso-tab-count:2'>                                    12

                                                                                                5.8.12.15
style='mso-tab-count:2'>                                        10

16'           Bombarde
                                73
             25-61
replaced 1950 (4)

8'               Trompette
style='mso-tab-count:2'>                                  73
             1-61
replaced 1950 (4)

8'               Hautbois
                                     73
             provided
new 1944 on Trompette II slot (4)

4'               Clairon
                                            73
             ex-Ch
Trompette Harmonique, 1950 (4)

8'               Vox
Humana                        61
style='mso-tab-count:1'>               (3)

                        Tremolo

Processional (enclosed, 31/4-inch wind, in chamber
behind choir stalls, 1985 Nicholas-Bradford)

8'               Principal
                                      61
style='mso-tab-count:1'>               revoiced

8'               Holzgedeckt
61               (3)

4'               Octave
                                            61
style='mso-tab-count:1'>               revoiced

2'               Fifteenth
                                      61
style='mso-tab-count:1'>               revoiced

8'               Fagotto
                                          61
style='mso-tab-count:1'>               regulated

Pedal (unenclosed, 5-inch wind)

32'           Contrebasse
                        56
             (3)

16'           Principal
                                      32
style='mso-tab-count:1'>               (3)

16'           Contrebasse
                        --

16'           Bourdon
                                       32
style='mso-tab-count:1'>               (3)

16'           Flûte
Conique                    Sw

16'           Quintaton
                                  Ch
            borrow
added 1954

102/3' Grosse
Quinte                   32
style='mso-tab-count:1'>               (3)

8'               Octave
                                            32
style='mso-tab-count:1'>               (3)

8'               Flûte
ouverte                       32
style='mso-tab-count:1'>               (3)

8'               'Cello
                         --

8'               Gedackt
                                        Sw

51/3'     Quinte
                                              32
style='mso-tab-count:1'>               (3)

4'               Superoctave
                        32
style='mso-tab-count:1'>               (3)

4'               Hohlflöte
                                     32
style='mso-tab-count:1'>               renamed,
revoiced 1968; 25-32 cut to natural length) (2)

4'               Kleingedeckt
                      Sw

2'               Waldflöte
                                    32
style='mso-tab-count:1'>               older
pipes (Hook & Hastings) added on new chest, 1954 (3)

III                Mixture
                                          96
style='mso-tab-count:1'>               (3)

III                Fourniture
                                96
             (3)

16'           Bombarde
                                32
style='mso-tab-count:1'>               (4)

16'           English
Horn                        Ch

8'               Trompette
                                32
style='mso-tab-count:1'>               (4)

4'               Clairon
                                            32
style='mso-tab-count:1'>               (4)

Bedient Pipe Organ Company, Roca, Nebraska

Dr. Peter Eklund Residence, Lincoln, Nebraska

Dr. Peter Eklund of Lincoln, Nebraska, Director of Choral
Music and Professor of Voice at the University of Nebraska-Lincoln,
purchased the last in a series of Boston models built in 2002. The small,
one-manual, three-rank organ fits nicely into the Eklund home of ceramic tile
floors, two pianos, and four boys. The case is of hand-rubbed white oak.
Façade pipes feature the Praestant and are embellished with 23-karat
gilding. The center pipe of the façade is embossed in a diamond pattern.
The flat pedalboard is permanently coupled to the manual keyboard.

MANUAL

8'               Gedackt

4'               Rohrflute

2'               Praestant

                        Manual
to Pedal

Berghaus Organ Company, Inc., Bellwood, Illinois, has built a new organ for the First Unitarian
Society of Milwaukee, Wisconsin. The organ was installed and completed in the
summer of 2003. Since pipework from the original instrument, built by
Lancashire-Marshall in 1891, was still in use even after several interim
rebuilds, it was decided to retain a number of these sets of pipes and
incorporate them into a new organ whose tonal design and voicing would reflect
a fullness and warmth expected to be heard at the onset of the twentieth
century. The existing façade was retained as non-speaking pipes since
the cost to repair the pipes that once did speak would have taken the total
price of the organ beyond the limits set by the congregation. The new pipes,
added to the organ, were scaled and voiced to complement the tonal character of
the earlier instrument, and still provide clarity and brightness for leading
congregational singing and for the performance of organ literature in both
congregational and recital situations.

The Great and Swell windchests are of the slider type fitted
with electric stop and key actions. The Pedal windchests are electro-mechanical
"unit" style. Wind pressure throughout the organ is 31/2
style="mso-spacerun: yes">  inches. The console features all oak
construction with keyboard coverings of maple naturals and blackwood sharps.
The pedal key coverings are maple naturals and walnut sharps.

Berghaus Organ Company thanks Scott R. Riedel and
Associates, Ltd., the consulting firm, for preliminary design and specification
details, and also expresses its appreciation for the privilege to build this
organ to Christian Rich, director of music, Jean Johnson, the church
administrator of the congregation, and the building committee, Myrna Packard,
committee chair.

--Leonard Berghaus

GREAT

8'               Principal

8'               Dulciana

8'               Gamba

8'               Rohr
Flute (wood)

4'               Octave

4'               Traverse
Flute (wood)

2'               Octave

IV                Mixture
(draws 2' Octave)

8'               Trumpet

                        Tremulant

SWELL

8'               Salicional

8'               Celeste
(TC)

8'               Gedackt
(wood)

4'               Fugara

2'               Flageolet

11/3'     Larigot

8'               Oboe

                        Tremulant

PEDAL

16'           Open
Wood

16'           Bourdon

8'               Octave

4'               Octave

16'           Trombone
(prep)

4'               Clarinet

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