Goulding & Wood contracts for Opus 50 at Episcopal Church of the Good Shepherd, Lexington, KY

Goulding & Wood Organ Builders, Inc., Indianapolis, Indiana

Opus 50

The Episcopal Church of the Good Shepherd, Lexington, Kentucky

 

From the organbuilder

“Worship the LORD in the beauty of holiness” could well serve as the motto for the organ project at the Episcopal Church of the Good Shepherd in Lexington, Kentucky. The Gothic revival building holds a wealth of architectural and design detail, culminating in an extravagance of carved furnishings in the chancel. Wainscot paneling in the sanctuary depicts scenes from the life of Christ, and the reredos displays a large tableau of the Last Supper. 

Liturgical worship in the parish matches the opulence of the setting, with an unusually well-developed choral program encompassing all ages. Over the past twelve years, organist and choirmaster John Linker has built a music department known throughout the area for excellence. The Good Shepherd choirs have held residencies in English cathedrals and this summer made their first concert tour of continental Europe.

Throughout this period of musical expansion, the congregation has been served by a 1970s neo-Baroque organ of modest resources. Although the instrument was a fine example of its aesthetic approach and served the parish well for forty years, the organ was inadequate for the scope of the music program as it has evolved. It contained only one manual reed and no celeste rank. In short, the organ struggled to keep up with the demands of accompanying Anglican chant psalmody and the choral music of Stanford and Howells. 

Conversation about replacing the organ began nearly a decade ago, yet while the need was never in dispute, external forces seemed to derail the discussion at every turn. Building on the foundation laid by Fr. Robert Sessum, interim rector Fr. Ron Pogue seized the opportunity during the time of transition in leadership to force the issue. The committee moved quickly under the focused leadership of chair Joseph Jones, and a contract was signed after a brief flurry of activity.

The organ is thus designed primarily as a handmaiden for musical liturgy in the Anglican tradition as it has been received by the American church. The instrument’s resources are uniquely tailored to the setting it serves in every regard. Recognizing the value of a wide tonal palette, the chancel instrument is double the size of the previous organ, gaining variety in tone rather than increase in volume. A new chamber was created by renovating a second-story storage room, allowing organ on both sides of the chancel for the first time. The existing chamber, formerly housing the Swell, now holds the Choir in intimate proximity to the voices it accompanies. The Swell resides within the new chamber, high in the chancel where its robust voice can speak freely into the room. The Great is divided in twin cantilevered cases facing each other, with the plenum stops on the cantoris side and color stops on the decani. Maximizing the versatility of this arrangement, the two halves of the Great can be silenced through individual Unison Off controls and coupled to the fourth manual separately. This allows, for instance, the Great principal cornet to dialogue with the Great Trumpet.

Early on, the committee determined that having a division in the back of the room would be a top priority. For all the storied choir-centric nature of the Anglican tradition, worship in America resoundingly seeks to involve the assembly in song. With the acoustically compromising arrangement of chancel chambers off the central axis of the room, an Antiphonal organ on the back wall would help unify music-making throughout the church. Whenever the issue of funding was raised, the Antiphonal division was widely recognized as the most palatable sacrifice, yet it remained a strong desire among the committee. Thanks to the efficacy of the fund-raising campaign and the generosity of the Miller and Wrigley families, the committee was able to avoid any limitations. Twin cases frame the majestic western lancet window, and the polished display pipes reflect the colorful light from the stained glass. The polished brass Festival Trumpet completes the visual effect with a regal touch.

Any student of organ design will recognize the predictable nature of stop lists from instrument to instrument across styles of organ building. The distinctive quality of tonal design lies in the careful specification of scales, mouth widths, and voicing techniques. All of these details are meticulously overseen by our head voicer, Brandon Woods, who works with each stop through design to final regulation in the room. In this he is ably assisted by David Sims, who contributes to each step of the process. This instrument features a weight in tone and variety in color consistent with the demands of accompanying voices in a sensitive, supportive manner. Each division includes an 8′ principal stop, each of varying volume and personality. The plenum choruses complement each other in combination as well as stand individually with integrity. As with many of our recent instruments, mouth widths below 1′ C on principal pipes are kept fairly narrow, allowing the upper lips of mouths to rise. This imparts a tone with generous fundamental development. With diapason chorus stops, this yields 8′ and 4′ stops with compelling and distinctive personalities. Higher-pitched stops and mixtures step back in scaling and broaden in mouth width to permit more upper partial development. Volume and speech are reserved in these stops, preventing them from dominating the texture. The result is a chorus with sheen but whose power comes from the fundamental.

The reed stops of the organ traverse a wide spectrum of musical effect. The Great Trumpet has lead resonators of generous scale and shallots with sharply tapered openings. These combine for a sound rich and heavy, blending into the principal chorus seamlessly. The Swell reed chorus features parallel openings on the shallots for a full-throated brilliance that pours from its chamber. The Choir’s Clarinet is gentle and voluptuous in the style of E. M. Skinner stops. The instrument is crowned by two solo reeds, the Choir Tuba and the Antiphonal Festival Trumpet. The Tuba is a typical high-pressure reed, in the style of Willis, with a broad, enveloping tone. The Festival Trumpet is commanding, speaking from its dramatic position, yet mild enough to use (sparingly) in chords.

Celeste ranks are of particular note in this organ. In addition to the ubiquitous strings in the Swell and Dulciana in the Choir, the Antiphonal contains a Diapason Celeste. Both unison and celeste ranks use slotted pipes to encourage the undulation, and the keen tone that derives from the slots makes for a distinctive sound. The timbre is unapologetically diapason in quality, and the vigorous sound of the two ranks together fills the room in a luxuriant wash of sound.

Windchests throughout the organ feature our unique electro-pneumatic slider and pallet design. The combination of tone channels running across stops and wholly pneumatic action enables the pipework to speak incisively yet without any harshness in attack. Further, the stops meld together as they draw wind from a common source. Arranging the mechanics and structure proved to be an extremely challenging task, particularly as the new Swell chamber’s dimensions continued to be a moving target throughout design and even construction of the organ. Staff design engineer Kurt Ryll and shop manager Mark Goulding nonetheless arrived at a layout that, if not commodious, certainly supports maintenance access to every component. Moving about the organ for routine tuning is remarkably simple, belying the complexity of the design necessary to achieve this.

The cabinetry of the organ and console was executed by Robert Duffy and Robert Heighway, culling elements from the room, such as the Tudor roses that adorn the rood screen and ornamental bosses featured in the reredos. The console uses marquetry to separate the divisions within the stop jambs and to frame the burled central panel of the music desk. Throughout the organ, both internal and visible details are finished with an attention to detail consistent with the quality of woodworking in the church.

The sum of all these disparate parts is an instrument that truly speaks forth, carrying the people’s song and supporting the choir in their leadership. While our intention was for it to be specifically suited to the worship of this congregation, we made no attempt to embody shallow or derivative notions of English organ building. This is an American instrument embracing the gamut of organ literature, hymnody, and choral music employed by the congregation. In realizing this goal we gratefully acknowledge the contributions of organist and choirmaster John Linker and committee chair Joseph Jones. We also recognize the steady leadership of the rector, Fr. Brian Cole, who inherited a project already underway and oversaw the completion with a dedication and enthusiasm as if it were his own. We look forward to sharing with the congregation in the upkeep of the organ, watching as it enlivens the worship at Church of the Good Shepherd and enriches the musical life of Lexington.

—Jason Overall

Goulding & Wood, Inc.

Indianapolis, Indiana

 

Robert Duffy, casework, cabinetry, and wood carvings

John Goulding, reed racking

Mark Goulding, shop foreman, general shop construction

Chris Gray, general shop construction

Robert Heighway, console cabinetry, casework cabinetry, and slider chests

Jerin Kelly, wind chests, general shop construction

Phil Lehman, office manager

Tyler MacDonald, wind chests

Jason Overall, office support and tonal design

Kurt Ryll, case design and engineering

David Sims, system wiring, tonal finishing

Michael Vores, structure, expression boxes, general shop construction

Brandon Woods, tonal design, voicing, and finishing.

 

From the organist & choirmaster

Goulding & Wood Opus 50 (named “The Miller and Wrigley Organ”) is the physical manifestation of many years of consideration, consultation, site visits, fundraising, and, of course, prayer. On my appointment to the Church of the Good Shepherd in 2001, it was immediately apparent that the previous neo-Baroque instrument had limited resources for accompanying the Anglican liturgy. As more and more electro-magnets and memory capture components failed, it was decided to replace the instrument with an organ more suitable to the fine Gothic architecture of Good Shepherd, and having a more diverse tonal palette, rather than to restore the previous instrument.

Upon his retirement in 2009, former rector Fr. Robert Sessum suggested to the congregation that the next project in the immediate future of Good Shepherd should be to replace the organ. The congregation heeded the advice of Fr. Sessum, and over the next two years an organ committee and organ capital campaign committee were formed under the guidance of the interim rector, Fr. Ron Pogue. Our new rector, Fr. Brian Cole, oversaw installation of the new instrument. It is a privilege to have worked with these three clergymen in seeing the dream of a new instrument for Good Shepherd come true.

In selecting a builder, the committee had their work cut out for them. My personal preference favors mechanical action, as I have found tracker instruments to be superior tools of artistic expression. Early on in the process, however, our committee had to dismiss this as an option due to Good Shepherd’s architecture and our desire to have symmetrically balanced cases on both sides of the chancel, as well as an Antiphonal division at the west end to better support hymn singing. After reviewing numerous designs, specifications, and participating in site visits, the committee unanimously chose Goulding & Wood.

Over many months we worked closely with Goulding & Wood president Jason Overall and head voicer Brandon Woods on a specification that would meet Good Shepherd’s liturgical needs and be unique. We agreed to reuse some of the finest pipework from the old instrument in the new organ. The former Great 8′ Principal and 4′ Octave were revoiced and now reside in the Choir as 8′ Open Diapason and the 4′ Principal. The former 16′ Subbass (which was, in fact, from the parish’s Pilcher organ from the 1920s) was revoiced and at home again in Good Shepherd. The Pedal 4′ Schalmey as well as the Zimbelstern were also worthy of recycling.  

As its primary function is to accompany the Anglican liturgy, a complete and powerful Swell division is a must. The new Swell boasts a complete principal chorus, luscious strings, and harmonic flutes at 4′ and 2′ pitches, as well as a full complement of 16′ through 4′ reeds. While the Swell, Choir, and Pedal divisions appear fairly standard in specification, it is the Great and Antiphonal divisions that have the most innovative design and function. The Great is divided on both sides of the quire, and as such, each side can be coupled separately to the fourth manual to solo out melodies of hymns or other innovative uses. In addition to having a complete principal chorus, the Antiphonal also boasts a “Diapason Celeste.” While a Voce Umana or a Fiffaro might be common in Italian organs, a stop such as this is rarely found on English-inspired American organs. Furthermore, this stop is indeed an open, full-bodied, English-style Diapason. Though its use in repertoire is extremely rare (it is likely not the sound Frescobaldi had in mind!), it is incredibly useful in improvisations. The sound of this celeste is rich and embodying. Indeed, the entire instrument draws a new level of musicality and creativity from those fortunate to play it, and it is the prayerful congregant who receives the greatest benefit.

The people of Good Shepherd take great pride in our choir program, which has attained a high degree of international recognition over the past decade. Attention to and participation in congregational hymn singing is now at an all-time high for this parish. Now that this glorious instrument is in place, matching the beauty of the choir, the architectural environment, and the mighty singing of the congregation, we eagerly anticipate reaching new heights in our spiritual and musical journeys, and discovering new ways in which we are all able to see glimpses of heaven right here on earth.

—John Linker

 

From the organ committee

The organ committee consisted of a cross-section of the congregation, Dr. Schuyler W. Robinson, professor of organ at the University of Kentucky, and our church organist/choirmaster. The committee’s charge was to determine the type, size, and placement of the future instrument, and to set the budget. Its most important task was to find the perfect fit between the church and the company selected to build the instrument. The committee hired a consultant to help it identify the best North American organ builders, and we invited five of them to Lexington to present preliminary designs and cost estimates for the project. The committee then sent our two organists to play instruments representative of each builder. 

After careful deliberation, we chose Goulding & Wood of Indianapolis. Their plan was exciting and seemed to fit our needs perfectly. When the instrument was ready for installation, Goulding & Wood issued an invitation to the congregation to come to their workshop in Indianapolis to hear the organ before their team dismantled it and began to transfer it to Lexington. A few weeks later, the first pipes arrived and were paraded into the nave of the church, led by our bagpiper, and were blessed during a short service. The new and exciting musical voice of the Church of the Good Shepherd is a dream come true.

—J. R. Jones

Organ Committee Chair

 

From the rector

One of the real gifts of the Episcopal/Anglican tradition is the ability to keep a healthy tension between tradition and change. At Good Shepherd, the arrival of Goulding & Wood Opus 50 (the “Miller and Wrigley Organ”) is a fine example of that gift. 

The builders from Goulding & Wood were very sensitive to the change that takes place when an instrument like this is placed in an historic space. Throughout the weeks of building on site, we welcomed parishioners and community members to visit our church during construction. Numerous photographs and videos, both formal and informal, were taken to record the work. Even though the builders were guests to our space, they served as good hosts, as long-time members and newcomers asked questions while the installation process unfolded. 

Now that it is in place, the organ appears to have always been in our liturgical space. The antiphonal division now frames the glorious Abbott Window in the rear of the church and accentuates the colors of the stained glass. The new organ has also already been a catalyst for more vigorous congregational singing. The old organ console has been refashioned to make a smaller altar for our Sunday evening Eucharist. 

We are all blessed to be a part of Good Shepherd’s story at this time. The Miller and Wrigley Organ, while new, affirms the great strengths of traditional Anglican worship. Because of its incredible versatility, this instrument will serve as an anchor as we expand the musical life of the parish in arts offerings to the Lexington community. 

—The Rev’d Brian Cole

Goulding & Wood, Inc.,
Indianapolis, Indiana
Opus 28 (1996) and Opus 49 (2009)
First United Methodist Church, Rocky Mount, North Carolina

From the organbuilder
One of the greatest pleasures we have as organbuilders is seeing the development of our relationships with the congregations whose churches house our instruments. We have found that our organs serve as catalysts for ongoing shared experiences with musicians, clergy, and lay people across a wide spectrum of geographic, demographic, and denominational ranges. We are grateful for our ever-growing circle of friends, many of whom feel like family. Nowhere is this truer than with the people of First United Methodist Church in Rocky Mount, North Carolina. We have continued to maintain close ties with the congregation even as the staff musicians have changed through the years. As such, it was with great excitement that we received word that the church was interested in fulfilling the preparations left on our Opus 28 instrument from 1996. As the conversation continued, the church further inquired about the realization of an Antiphonal division as well.
Discussion over this Antiphonal organ had been brief at the time of the chancel instrument installation. Console preparations to control the division were included, but no timeline was established for moving forward. Part of this preliminary design was to situate the instrument on the rear wall of the main sanctuary, allowing it to also speak into the adjacent chapel. The two rooms are perpendicular in orientation, with the back wall of the sanctuary serving as the side wall of the chapel. Although no definite decisions were made in 1996, the assumption was that the small Kilgen extension organ that served the chapel would provide a repository for the pipework of this very modest division.
As we considered the project more fully, it became apparent that the resources of the Kilgen organ were insufficient for either chapel or sanctuary use. Rather than using any sort of unit chest design, we proposed building an instrument employing a slider windchest with all new pipework. To maximize the flexibility of the organ for chapel use, we split the slider chest grid at middle C and furnished separate stop controls for bass and treble slides. The chapel console then accesses the instrument through divided stops, much in the way of a seventeenth-century English organ. This concept similarly influenced the specification, although the organ is not an attempt to copy any historical style. At the same time, the choice of a wooden Stopped Diapason, an elegantly thin Dulciana with matching celeste, and treble Cornet derives from English precedents. In scaling and voicing, however, the pipework adheres to the acoustical environment of both chapel and sanctuary, balancing with the tonal style of the chancel instrument so as to contribute to a satisfying musical ensemble when paired together.
In order to negotiate the dual uses of the organ, and to maximize the division’s expressive capabilities, the organ speaks through shade frames behind each façade. Upon turning on the chapel console, the shade frame facing into the main sanctuary closes and remains fixed, focusing all the sound into the chapel. Conversely, turning on the chancel console closes the chapel shades and allows the sanctuary side shade to be assigned to either the Swell or Choir shoe. All stops reside within the expression enclosure, including the 16′ Stopped Diapason. Within the chapel, the organ has a wide dynamic range, from the faint whisper of the Dulciana with the box closed to a satisfying full organ that fills the room with warmth. Although the chapel has a modestly sized floor plan, it has the same ceiling height as the main sanctuary. The proportions of the room, then, create a generous acoustical environment. The large cubic volume accommodates the abundant sound of the organ, while the placement of the instrument high on the wall distributes sound evenly, resulting in a musical presence that is embracing but never oppressive.
Mechanically, the organ is arranged in two levels, with the bass chest above the treble chest. Access for tuning and maintenance is easy throughout the layout despite the small size of the case. All mechanical systems and winding, including the blower, are located inside the case, yet the organization is logical and efficient. The division of the windchest into bass and treble facilitates imaginative use of the organ within the chapel. By drawing different combinations for right and left hands, two-manual repertoire can be rendered convincingly. Cornet voluntaries and trios with obbligato pedal are especially effective.
Tonally, the organ is typical of our organs in favoring fairly high cut-ups, substantial scaling, and thick-walled pipework, all of which encourages fundamental development. The Open Diapason is modestly scaled at 149 mm, taking into account the intimate context of the chapel. By contrast, the Stopped Diapason is a full 85 mm by 114 mm, adding thickness and weight to ensembles. Similarly, the 4′ Recorder is scaled at 81 mm with a 20th halving ratio and constructed of linen lead with a gentle 2:3 ratio taper. The Dulciana is a slender 88 mm at 8′ C and bearded for the first two octaves. Mouth widths are narrow, allowing for high cut-ups; all stops below 2′ pitch have 2/9 mouths, with the exception of the 4′ Recorder, whose first two octaves have 1/5 mouths. Only the treble of the 2′ and the Fourniture have 1/4-width mouths, restraining the upper end from growing glassy or obtrusive.
The current project also completed the chancel organ, rounding out the reed choruses in particular. The Great division received a new 16′ Fagotto, lending gravitas and weight to the ensemble. The Swell’s battery of reeds is now capped with a powerful 4′ Clairon, and the 16′ Basson is extended to 32′ pitch for the Pedal division. Other additions to the Pedal are a blending 8′ Trompete and solo 4′ Schalmei. Crowning the organ in the chancel is a commanding 8′ Bombarde with generous fundamental development and rich power. This reed also provides an effective contrast with the brilliant 8′ Fanfare Trumpet located within a section of the Antiphonal case partitioned from the main division. As such, it does not speak into the chapel, nor is it accessible by the chapel console. As an Antiphonal solo color, however, it is a thrilling presence in the room, able to stand up against full organ from the front. The only flue preparation was the 8′ Harmonic Flute on the Great, and the addition of this color opens up its own wealth of repertoire.
As with all of our recent work, the metal pipework for both the new instrument and the preparations was built by A. R. Schopp’s Sons, Inc. of Alliance, Ohio. Bob Schopp, David Schopp, Joe Russo, and their entire staff are a terrific resource and helpful partners in achieving the musical goals we seek. This job also required some sophisticated alterations to the chancel console solid-state systems, modifying controls built before the organ in back was even designed. We are grateful to Duncan Crundwell, Mark Gilliam, and Alan Bragg of Solid State Organ Systems for providing these changes and the new control systems, all of which worked from the start without a single glitch. Norman Y. Chambliss III of Chambliss and Rabil Contractors, Inc. ably and cheerfully coordinated the room modifications, including preparation of the rear wall to accommodate the steel support structure. Dr. Marcia Heirman, director of music for First United Methodist Church, has been a great friend to our shop throughout her tenure, and this project was especially fulfilling to embark upon with her. We look forward to watching as she continues to develop the music ministries of the church and incorporates the organ into the worship life of the congregation. We also wish to recognize the important work, sincere friendship, and unflagging support of the late Harry Pearsall. Harry was instrumental in the 1996 organ project, and we enjoyed keeping in touch with him through the intervening years. He was the first one to notify us of the prospect of this project in the spring of 2007, and he anticipated the completion of the organ with great eagerness. Unfortunately, Harry passed away in August shortly before the installation of the Antiphonal organ. We shall miss Harry’s kind smile and gentle presence on our future trips to Rocky Mount, and we are grateful to have this instrument as a testament to his perseverance and commitment to liturgical music in the church. May his dedication and stewardship serve as a reminder to all who hear the organ that, in the words of senior pastor Bob Bergland, music is “means of grace that people may come into the presence of God and have that experience of God’s nearness.”
—Jason Overall

Goulding & Wood, Inc.
Robert Duffy—case design and construction/supervision, installation
Mark Goulding—project team leader, installation
Robert Heighway—console design and construction, case construction, structure, installation
Phil Lehman—business manager, office support
Tyler MacDonald—slider chest construction, installation
Jason Overall—project development, onsite regulation
Tim Piotrzkowski—winding, chest construction, installation
Kurt Ryll—engineering and design
David Sims—voicing, console and system wiring, onsite tuning and regulation
Michael Vores—structure, winding, case construction, installation
Brandon Woods—tonal design and voicing

From the director of music
A long anticipated completion of the original 1996 Goulding & Wood (Opus 28) organ was realized in November 2009 as the company installed 1,048 additional pipes at First United Methodist in Rocky Mount. The installation included the addition of an Antiphonal division for the main organ, a new console in the chapel, the completion of the reed choruses in the chancel, a new fanfare trumpet in the antiphonal division for use in the sanctuary only, and a harmonic flute solo stop on the Great. Completed, the organ now fills the sanctuary with 69 ranks of beautiful and warm timbres.
The most obvious addition to the organ is the stunning Antiphonal division with a beautiful double façade, whose presence at the rear of the sanctuary fits so well architecturally it seems as if it has always been there. The chancel side of the double façade allows this division to be played independently from a new one-manual, split console in the chapel to serve as a new chapel organ. Independently, this organ is catalogued as Opus 49 by Goulding & Wood. The organ now embraces and surrounds the congregation with music and fills the large sanctuary without overpowering and overwhelming.
The organ completion was dedicated in the worship service on January 10. Upcoming dedication recitals will be presented by Dr. Monica Sparzak of Fayetteville, North Carolina, February 21; Dr. William Weisser of Edenton Street United Methodist in Raleigh, March 14; Christin Baker, sub dean of the East Carolina AGO chapter and an East Carolina University student, April 11; and Dr. Marcia Heirman with Lawrence Goering on May 16; all of these recitals will be at 4 pm. Coming in the fall will be Dr. Marilyn Mason, University Organist and Chairman of the University of Michigan Organ Department in Ann Arbor, Michigan; Dr. Michael Stefanek of Green Bay, Wisconsin; and Jeffrey Thompson of Goldsboro, North Carolina. Dates and times for the fall 2010 recitals will be announced later.
—Dr. Marcia Heirman

Goulding & Wood, Inc.
Opus 28 (1996) and Opus 49 (2009)
First United Methodist Church
Rocky Mount, North Carolina

Opus 28 Chancel Organ
(prepared pipework installed in 2009 listed in bold)
GREAT (Manual II)
16′ Violone
8′ Principal
8′ Violone (extension)
8′ Harmonic Flute
8′ Bourdon
4′ Octave
4′ Block Flute
2′ Super Octave
22⁄3′ Sesquialtera II (tenor c)
11⁄3′ Mixture IV
16′ Fagotto
8′ Trumpet
8′ Bombarde
8′ Fanfare Trumpet (hooded, in
Antiphonal case)
Tremulant
Great to Great 16
Unison Off
Great to Great 4
Chimes

SWELL (Manual III, enclosed)
8′ Geigen
8′ Geigen Celeste (tenor c)
8′ Stopped Diapason
4′ Principal
4′ Clear Flute
2′ Octave
11⁄3′ Quint
2′ Plein Jeu III–IV
1′ Cymbale II
16′ Basson-Hautbois
8′ Trompette
8′ Hautbois (extension)
4′ Clairon
8′ Fanfare Trumpet (Antiphonal)
Tremulant
Swell to Swell 16
Unison Off
Swell to Swell 4

CHOIR (Manual I, enclosed)
16′ Rohr Gedeckt (extension)
8′ Rohrflöte
8′ Salicional
8′ Salicional Celeste (tenor c)
8′ Flauto Dolce
8′ Flute Celeste (tenor c)
4′ Principal
4′ Spielflöte
22⁄3′ Nazard
2′ Spitzflöte
13⁄5′ Tierce
11⁄3′ Larigot
1′ Sifflöte
8′ Oboe
8′ Bombarde (Great)
8′ Fanfare Trumpet (Antiphonal)
Tremulant
Choir to Choir 16
Unison Off
Choir to Choir 4

PEDAL
32′ Resultant (from Rohr Gedeckt)
16′ Principal
16′ Subbass
16′ Violone (Great)
16′ Rohr Gedeckt (Choir)
8′ Octave
8′ Pommer
8′ Violone (Great)
8′ Rohr Gedeckt (Choir)
4′ Choralbass
4′ Koppelflöte
2′ Octavebass
11⁄3′ Mixture II
32′ Contre Basson (extension/Swell)
16′ Posaune
16′ Basson (Swell)
8′ Trompete
8′ Basson (Swell)
4′ Schalmei
8′ Bombarde (Great)
8′ Fanfare Trumpet (Antiphonal)

Opus 49 Antiphonal/Chapel Organ

MANUAL
8′ Open Diapason (1–13 in façade)
8′ Stopped Diapason
8′ Dulciana
8′ Unda Maris
4′ Principal (1–6 in façade)
4′ Recorder
2′ Fifteenth
22⁄3′ Sesquialtera II (from middle c)
11⁄3′ Fourniture II–III
Tremulant

PEDAL
16′ Stopped Diapason (extension of
Manual stop)
8′ Stopped Diapason (Manual stop)
Manual to Pedal Coupler

Chapel console: One-manual mahogany keydesk with natural keys in maple and sharps in rosewood. Stop controls divided bass and treble (b-24/c-25) except Fourniture, Dulciana, and Unda Maris.

Chest action: Goulding & Wood’s exclusive design of electro-pneumatic slider and pallet windchest.

Casework: Dual façades with two sets of speaking display pipes. Woodwork designed and painted to match church interior.

Goulding & Wood, Inc.
823 Massachusetts Ave.
Indianapolis, IN 46204

800/814-9690
[email protected]
www.gouldingandwood.com

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia

First Presbyterian Church, Savannah, Georgia

The new pipe organ for First Presbyterian Church, Savannah, Georgia is a custom-built instrument comprising 47 ranks of pipes with an eclectic specification paying homage to the American Classic school of organbuilding. A core concept of our company’s tonal ideal is “to design instruments that have warmth but not at the expense of clarity and clarity not at the expense of warmth.” We believe this to be one of the most important considerations in an instrument that draws its lineage from the organbuilding schools of Germany, France, and England. Of utmost concern was adequate support of the choir and congregation taking into account the acoustics of the church and the literature required of the organ in this worship setting.

The church musicians and organ committee had a clear vision for the type of organ they desired for worship when they contacted our firm three years ago. They listened to many instruments in order to define their ideals. Certain styles of organ design were clearly not suitable for First Presbyterian. Ultimately, they gravitated toward the collective work of Aeolian-Skinner circa 1940s–1950s as directed by G. Donald Harrison. As our firm worked with the church to develop a specification, it was decided that our work was to be in the spirit of this great builder but not a stop for stop copy. Key points of departure are found in the presence of an 8' Principal chorus in each manual division, a more dominant Choir division than would have been found in the period, and the choice of English reeds. Many of our decisions were guided by voicing sample pipes in the church prior to construction of the organ. While setting samples in the church it became evident that the French reeds often found on a Harrison-era organ would not be suitable in this acoustical environment.

During the planning and tonal finishing stages of the organ we worshipped with the choir and congregation in order to gauge critical balances and dynamic levels. We were also able to use the talents of the church musicians and other Savannah organists, each bringing their own playing and registration style to the instrument. This has been very important in the sound of the organ as it is heard in its final form.

A primary challenge was where the organ would be located. The church was built in the late 1940s and was designed to be enlarged by removing the front chancel wall. Until this came to pass, a temporary front chancel wall was built containing a large stained glass window depicting the Stations of the Cross. As the dream of a pipe organ lay dormant for many years, the congregation grew to accept the chancel design with its stained glass window and stone arch as key elements of the sanctuary. These elements were a cornerstone of the visual integrity and symmetry they wanted to maintain. Numerous design studies were undertaken with free-standing organ cases inside and outside the arch and its impact on the chancel stained glass window.

A visual design emerged from our engineering study that provided a focal point for the stained glass window with Christ as the center. The solution was to build a large chamber on the front of the sanctuary and to utilize a suspended light box for display of the window. In this manner we were able to speak around and under the window with a large degree of tonal freedom and minimal tonal occlusion. The organ chamber is built of solid concrete to concentrate the sound of the organ forward without a loss of energy. This allowed us to work with more modest scales and wind pressures than might have been required under other circumstances due to placement and chamber depth. During the installation and subsequent tonal finishing we were very pleased with the transfer of energy from this organ chamber design and construction.

The organ case was built of native white oak, finished to match other woods in the sanctuary. The lower case panels are designed as a reflective surface for the choir. The organ grille panels were designed to provide a decorative allure while acting tonally transparent. Our treatment of the organ grille panels allowed us to eliminate the use of grille cloth that is often tonally absorptive and does not allow a free exchange of air between the sanctuary and the organ chambers.

Ever mindful that an organ is musical only when it is in tune, we took great efforts in the design to provide a stable environment. A primary consideration was to place all of the manual and pedal pipework at one common level, thus avoiding differing thermo climes and the resulting tuning issues. The organ blower is located beneath the organ and draws its air from the bass of the Swell and Choir chambers. In this manner air is drawn from the same environment as the pipes to promote tuning stability. Metal windlines were used to dissipate heat buildup. The chambers were also designed with air returns in the ceiling to draw the ambient sanctuary air back into the chamber. This system is coupled to the sanctuary HVAC and runs whenever it is engaged. Thus no special controls are needed to set proper conditions in the church in respect to the organ. This careful attention to layout and other issues that affect the environmental conditions of the organ has enabled us to maintain a one-degree variance between all divisions, which promotes tuning stability.

To provide control over the volume of the organ’s resources, the organ contains two expressive boxes, one for the Swell division and one for the Choir division. Built with extra-thick shades that overlap and interlock, the expressive boxes provide wide dynamic control with electro-pneumatic servo-motors faithfully duplicating the performer’s movement of the expression shoes at the organ console. This degree of expression finds additional favor with control of the high-pressure hooded Tromba Heroique in the Choir division. Constructed with small Willis tuba shallots on 16? wind pressure, this dynamic reed is duplexed to the Great division and can be tamed for use as a chorus reed by its enclosure. Indeed, the degree of control allowed by truly effective expression allows the use of a variety of stops for choral and congregational accompaniment and tonal layering that is not often possible in other instruments.

Our firm built electro-pneumatic slider chest actions of the Blackinton variety with our electro-pneumatic primary design. This type of chest action has the ability to operate over a wide pressure range without the repetition problems and pressure limitations often associated with electric pull-down slider chests. Electro-pneumatic unit chests are provided for all large bass pipes, offset chests, and reeds.

One fabled and often debated element in organ mechanical design is the winding system of the modern organ. Often in art one can consider that anything that draws attention to itself is probably too much. This maxim is used as an internal compass in our decision-making processes. Our concern is a winding system that provides a solid wind supply without being sterile. The winding on the Savannah organ is accomplished through the use of ribbed and floating lid regulators fitted with weights and springs. The organ reeds are placed on independent wind regulators to allow a pressure differential from the flue stops and to permit independent tremulant control. All of the windchests are individually fitted with tunable concussion bellows to allow fine regulation. In this manner, we achieved stable winding that still maintains a presence of life.

The resources of the organ are controlled by a three-manual drawknob console. Built in the English style, the console sits on a rolling platform to allow mobility. The console exterior is built of white oak with an interior of mahogany and ebony. The console features modern conveniences for the organ performer such as multiple memory levels, programmable crescendo and sforzando, transposer, MIDI, and the ability to record and play back organ performances.

As the music ministry continues to grow, the organ is prepared for additional stops in the Great, Swell, and Choir divisions. There is also preparation for an Antiphonal division with a horizontal Trompette en Chamade in the rear of the sanctuary. These design considerations allow the organ to grow with the needs of the congregation.

The organ chassis, inclusive of the organ case, console, windchests, winding system and wood pipes were built entirely by the Schlueter craftsmen. Delivery and installation of the organ took five weeks with the tonal finishing lasting six weeks beyond the installation. Tonal finishing was completed under the direction of Arthur Schlueter III and Daniel Angerstein with the assistance of Lee Hendricks, John Tanner, Marc Conley, and Al Schroer. As is the practice of our firm, the tonal finishing of the organ has occurred with several repeat trips to work with the pipes and evaluate the results. We find that this method of tonal finishing results in a finer degree of voicing than is possible from one concentrated trip. It is expected that over the course of the year we will continue to make small changes and refinements.

Quality organ building is never the result of one individual but is the result of the synergy of a team. In this respect our firm was ably assisted by the clergy, music staff, church staff, organ committee chairman and the members of the organ committee. These individuals readily gave of their time and talents and provided invaluable assistance from the inception of the organ project to its installation and tonal finishing. Their effort, coupled with that of the craftsmen of our firm, has resulted in the creation of this unique instrument. We would like to take this opportunity to thank each of the individuals involved with this project. We would also like to publicly thank the members of the First Presbyterian Church in Savannah, the organ committee, and individual members including but certainly not limited to minister Stephen Williams, parish associate Nelle McC. Bordeaux, Ray McClain, organist, Jim Adams, music director, and organ committee chairman Bill Ricks.

Established in 1973, the A. E. Schlueter Pipe Organ Company is located of 20 miles east of Atlanta in the town of Lithonia, Georgia. The facility contains over 22,000 square feet of space dedicated to building organs for worship and recital. Created as a family business, the company is operated under the guidance of Arthur Schlueter, Jr. and Arthur Schlueter III. Together they provide direction to over 25 artisans in the building and rebuilding of pipe organs. In a desire to be mindful of the reason for the instruments, the seal of the company incorporates “Soli Deo Gloria,” God alone the glory. Additional information on our firm and projects can be viewed at .

—Arthur Schlueter III



A. E. Schlueter Pipe Organ Company wishes to thank its staff including:


Art Schlueter Jr.—president

Arthur Schlueter III—vice president/ tonal and artistic direction

John Tanner—vice president of production/tonal finisher

Howard Weaver—senior design engineer

Shan Dalton—office manager/ administrative assistant

Bob Parris—executive assistant

Marc Conley—shop foreman/tonal finisher

Randy Wilson—assistant shop foreman

Rob Black—master cabinetmaker/CAD organ design

Sam Polk—organ assembly, tuning assistant

Al Schroer—voicing, organ assembly & tuning

Dallas Wood—organ assembly, tuning assistant

Michael DeSimone—leather & small parts

Katrina Thornton—financial secretary

Barbra Sedlacek—office support

Joe Sedlacek, Sr.—console wiring

Joe Sedlacek, Jr.—organ assembly

Mark Montour—CNC operator/woodwright

Dustin Carlisle—organ assembly

Jeffery Chilcutt—organ assembly

Kelvin Cheatham—organ assembly

Kevin Cartwright—tuning & service

Bob Weaver—tuning & service

Othel Liles—electrical engineer

Patty Conley—organ assembly

Herb Ridgely, Jr.—sales and support staff

Don Land—sales and support staff

David Stills—sales and support staff

Noel Jones—sales and support staff

A. E. Schlueter: First Presbyterian Church, Savannah, Georgia,

III manuals, 47 ranks

GREAT (Unenclosed)

16' Sub Principal

8' Open Diapason

8' Principal

8' Harmonic Flute

8' Bourdon

8' Gemshorn (Choir)

8' Violone

4' Octave

4' Flute

2' Fifteenth

IV–V Fourniture 11?3'

8' Clarinet (Choir)

16' Tromba Heroique (non-coupling) (Choir)

8' Tromba Heroique (non-coupling)
(Choir)
4' Tromba Heroique (non-coupling) (Choir)

Zimbelstern

Chimes (Choir)

Tremulant


SWELL (Expressive)

16' Lieblich Gedeckt

8' Geigen Principal

8' Chimney Flute

8' Viole de Gambe

8' Viole Celeste

8' Flauto Dolce

8' Flute Celeste

4' Geigen Octave

4' Nachthorn

22/3' Nazard

2' Recorder

11/3' Tierce

IV Full Mixture 2'

16' Bassoon

8' Trumpet

8' Oboe

4' Clarion

Tremulant

Swell to Swell 16'

Swell Unison Off

Swell to Swell 4'


CHOIR (Expressive)

16' Gemshorn

8' Principal

8' Holzgedeckt

8' Gemshorn

8' Gemshorn Celeste

4' Principal

4' Spindle Flute

2' Fifteenth

11/3 ' Larigot

1' Sifflote

III Scharf 2/3'

8' Clarinet

16' Tromba Heroique (non-coupling)

8' Tromba Heroique (non-coupling, high-pressure, hooded)

4' Tromba Heroique (non-coupling, high-pressure)

Harp (digital)

Tremulant

Choir to Choir 16'

Choir Unison Off

Choir to Choir 4'


Antiphonal (prepared for)


PEDAL

32' Violone (digital)

32' Bourdon (digital)

16' Contra Bass (digital)

16' Sub Principal

16' Gemshorn (Choir)

16' Subbass

16' Lieblich Gedeckt (Swell)

8' Octave

8' Gemshorn (Choir)

8' Bourdon

8' Gedeckt (Swell)

4' Choral Bass

4' Cantus Flute (Great)

2' Flute (Swell)

III Mixture 22/3'

32' Contra Trombone (digital)

16' Trombone

16' Bassoon (Swell)

8' Tromba (Choir)

8' Trumpet (Swell)

4' Tromba (Choir)

4' Clarinet (Choir)



Inter-Manual Couplers

Great to Pedal 8', 4'

Swell to Pedal 8', 4'

Choir to Pedal 8', 4'

Antiphonal to Pedal 8'



Swell to Great 16', 8', 4'

Choir to Great 16', 8', 4'

Antiphonal to Great 8'

Swell to Choir 16', 8', 4'

Antiphonal to Choir 8'

Antiphonal to Swell 8'

Choir/Great Transfer (latching piston)

(divisional pistons transfer)



MIDI Controls (with record/playback)

MIDI to Great

MIDI to Swell

MIDI to Choir

MIDI to Pedal



Combination system with a minimum of 128 levels of memory

Six thumb pistons each division

12 General pistons—thumb and toe

Great to Pedal—thumb and toe

Swell to Pedal—thumb and toe

Choir to Pedal—thumb and toe

Swell to Great—thumb

Choir to Great—thumb and toe

Swell to Choir—thumb

32' Violone—reversible—thumb

32' Bourdon—thumb

32' Contra Trombone—reversible—thumb and toe

Sforzando—thumb and toe (programmable)

Crescendo Pedal (programmable)

Set Piston—thumb

General Cancel—thumb



Additional Features

Zimbelstern—9 bells

Chimes—32 notes

MIDI (programmable as preset stops)

Data File Sequencer provided for Playback/Record of organ performance

Transposer

Programmable Sforzando

Programmable Crescendo

Tracker touch keyboards

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

Fratelli Ruffatti, Padua, Italy

Buckfast Abbey, 

Devon, United Kingdom

The sound

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—Francesco Ruffatti

 

Architecture and technical features

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

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

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

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

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

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

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

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

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

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

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

—Piero Ruffatti

 

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

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

 

QUIRE ORGAN

Location: Quire and Triforium 

POSITIVO (unenclosed–Manual I)

8′ Principale 61 pipes

8′ Bordone 61 pipes

8′ Voce Umana (tenor G) 42 pipes

4′ Ottava 61 pipes

4′ Flauto Veneziano 61 pipes

2′ Decimaquinta 61 pipes

11⁄3′ Decimanona 61 pipes

22⁄3′ Sesquialtera II 122 pipes

2⁄3′ Ripieno III 183 pipes

8′ Cromorno 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Glockenspiel (tenor C) 30 bells

Tremulant

Nightingale 5 pipes

Cymbelstern 12 bells

Drum 3 pipes

6′ Bagpipe F 1 pipe

4′ Bagpipe C 1 pipe

22⁄3′ Bagpipe G 1 pipe

GREAT (unenclosed–Manual II)

16′ Bourdon 61 pipes

8′ Principal 61 pipes

8′ Bourdon 61 pipes

8′ Spitzflöte 61 pipes

4′ Octave 61 pipes

4′ Blockflöte 61 pipes

22⁄3′ Quint 61 pipes

2′ Superoctave 61 pipes

11⁄3′ Mixture IV 244 pipes

1⁄2′ Terz Zimbel III 183 pipes

8′ Trumpet 61 pipes

4′ Clarion 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Sub Octave

Unison Off 

SWELL (enclosed–Manual III)

8′ Flûte à Cheminée 61 pipes

8′ Gemshorn 61 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Céleste (tenor C) 49 pipes

4′ Prestant 61 pipes

4′ Flûte Creuse 61 pipes

22⁄3′ Nazard 61 pipes

2′ Octavin 61 pipes

13⁄5′ Tierce 61 pipes

2′ Plein Jeu IV 244 pipes

16′ Basson 61 pipes

8′ Trompette Harmonique 61 pipes

8′ Hautbois (ext 16′) 12 pipes

4′ Clairon Harmonique (ext 8′) 12 pipes

Tremulant

Sub Octave

Unison Off

Super Octave

SOLO (enclosed–Manual IV)

16′ Lieblich Bourdon 61 pipes

8′ Orchestral Flute 61 pipes

8′ Doppelflöte 61 pipes

8′ Salicional 61 pipes

8′ Unda Maris (tenor C) 49 pipes

8′ Flûte Douce 61 pipes

8′ Flûte Céleste (tenor C) 49 pipes

4′ Flauto d’Amore 61 pipes

22⁄3′ Harmonic Nazard 61 pipes

2′ Harmonic Piccolo 61 pipes

13⁄5′ Harmonic Tierce 61 pipes

8′ Bassett Horn 61 pipes

8′ Vox Humana 61 pipes

8′ Pontifical Trumpet* 61 pipes

8′ Abbatial Trumpet** 61 pipes

Tremulant

Sub Octave

Unison Off

Super Octave

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

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

PEDAL

32′ Contra Bourdon digital

16′ Contrabass 32 pipes

16′ Subbass 32 pipes

16′ Bourdon Great

16′ Lieblich Bourdon Solo

102⁄3′ Quintflöte 32 pipes

8′ Octave 32 pipes

8′ Flûte Ouverte 32 pipes

51⁄3′ Nazard (ext 102⁄3′) 12 pipes

4′ Superoctave 32 pipes

2′ Flûte 32 pipes

22⁄3′ Mixture IV 128 pipes

32′ Fagott 32 pipes

16′ Bombarde 32 pipes

16′ Basson Swell

8′ Trompette (ext 16′) 12 pipes

4′ Schalmei 32 pipes

 

GALLERY ORGAN

Location: West Gallery

GRAND-ORGUE
(unenclosed–floating) 

16′ Bourdon 61 pipes

8′ Montre 61 pipes

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

4′ Prestant 61 pipes

4′ Flûte Octaviante 61 pipes

22⁄3′ Cornet III (tenor G) 126 pipes

2′ Doublette 61 pipes

2′ Plein Jeu III–V 264 pipes

8′ Clarinette 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Tremblant

Sub Octave

Unison Off

EXPRESSIF (enclosed–floating)

8′ Violoncelle 61 pipes

8′ Violoncelle Céleste (TC) 49 pipes

8′ Cor de Chamois 61 pipes

8′ Cor de Chamois Céleste (TC) 49 pipes

4′ Prestant 61 pipes

8′ Trompette 61 pipes

4′ Clairon 61 pipes

Tremblant

Sub Octave

Unison Off

Super Octave

 

PÉDALE

16′ Soubasse 32 pipes

16′ Bourdon Grand-Orgue

8′ Basse 32 pipes

8′ Bourdon (ext 16′) 12 pipes

4′ Flûte (ext 16′) 12 pipes

32′ Bombarde* 32 pipes

16′ Bombarde (ext 32′)* 12 pipes

8′ Trompette (ext 32′)* 12 pipes

* located in the Gallery Organ Triforium

 

Positivo special effects located in the Quire Organ Triforium

 

Solo located in the Quire Organ Triforium

 

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

Four-manual movable Gallery console

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

 

CONSOLE CONTROLS

Identical for both consoles

 

COUPLERS (tilting tablets)

Solo to Swell 16-8-4

Expressif on Manual III

Solo to Great 16-8-4

Swell to Great 16-8-4

Positivo to Great 8

Grand-Orgue on Manual II

Gallery* on Manual I

Solo to Positivo 16-8-4

Great to Positivo 16-8-4

Swell to Positivo 16-8-4

Solo to Pedal 8

Swell to Pedal 8

Great to Pedal 8

Positivo to Pedal 8

Grand-Orgue to Pedal 8-4

Expressif to Pedal 8-4

* Grand-Orgue and Expressif combined

 

Reeds Off (for entire organ)

Mixtures Off (for entire organ)

 

Gallery* on Manual I on key cheek

Grand-Orgue on Manual II on key cheek

Expressif on Manual III on key cheek

*including both Gallery Organ manual divisions

 

Quire Organ Tutti

Full Organ Tutti

Pédale Off on key cheek

 

Sustain for Solo, Swell, Great, Positivo

 

Great and Pedal combinations coupled

Grand-Orgue and Pédale combinations coupled

 

All Swells to Swell

 

Quire Organ On – on key cheek

Gallery Organ On – on key cheek

 

Record and Playback

 

COMBINATION ACTION:

Twelve general pistons for Quire and Gallery organs

Eight Quire Organ divisional pistons

Six Gallery Organ divisional pistons

Set, General Cancel

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

Thousands of memory levels for the “common memory area”

Thousands of private memory folders accessible by password or magnetic sensor

 

Touch-screen control panel featuring multiple functions, including:

• Transposer

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

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

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

Storage of piston sequences in “piece”-labelled folders

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

 

Swell, Expressif, Solo expression pedals

 

Crescendo Pedal: standard and multiple personalized settings 

 

MIDI In, Out, Through

 

SUMMARY OF PIPE MATERIALS:

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

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

 

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

Principal choruses 75% tin alloy 

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

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

 

SUMMARY OF WIND PRESSURES:

 

QUIRE ORGAN

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

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

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

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

Pedal 100 mm and 80 mm upperwork

 

GALLERY ORGAN

Grand Orgue 90 mm

Expressif 100 mm

Pédale 120 mm

 

STATISTICS

81 real stops

100 ranks of pipes

5,542 pipes and 42 bells

Parkey OrganBuilders,
Duluth, Georgia
Opus 11, First Presbyterian Church, Gainesville, Georgia
Our first conversations with Michael Henry, director of music for First Presbyterian Church, Gainesville, Georgia, took place in early 2007. At that time, the church had a two-manual, 23-rank Möller organ installed in 1975. Our discussions revolved around the mechanical condition of the Möller and the limitations of the tonal design. The church knew that work was imminent for the Möller in order to maintain reliability. As usual, funding remained an issue.
In mid-2008, Joseph S. Hatfield, a local business owner and church member, made provisions for a large bequest shortly before he passed away. This meant that the budget actually became larger than originally projected, and the discussions expanded to replacement of the Möller organ. The planning process broadened to include a consultant, James Mellichamp, Vice-President of Academic Affairs and organ professor of Piedmont College in Demorest, Georgia.
The original organ was a product of the neo-baroque influence and presented many challenges for use in church services. Our collaboration with Dr. Mellichamp produced a new three-manual and pedal specification of 40 ranks. The specification was designed to provide a more comprehensive instrument for choral accompaniment, congregational hymns, and an expansive list of organ literature.
The new organ incorporates two enclosed divisions—Swell and Choir. The Great and main Pedal stops remain unenclosed. Secondary Pedal stops are drawn from the Swell and Choir divisions, offering options for enclosed Pedal. The organ offers a tremendous level of independent stops, with very minimal unification. Three principal choruses are available. The primary principal chorus is located in the Great division, with a secondary principal chorus located in the Choir division. The Pedal division also features its own independent chorus from 16′ pitch to Mixture. The organ retains some of the flutes and strings from the previous Möller. These stops were rescaled and revoiced for new locations and pitches. We then completed the complement of flutes. Along with new strings in the Swell division, a secondary string and celeste stop were added to the Choir division.
The Great division is more eclectic than our previous designs. The principals are generously scaled, with the foundation pitch focused on the 8′ rather than the 4′ pitch as in the previous organ. The principals offer a warm body of sound, with a clear articulation and singing character to provide an excellent backbone for congregational singing. The 8′ and 4′ flutes offer a nice complement to the principals, while providing good color on their own. The 8′ and 4′ flutes also provide the foundation for a complete French flute Cornet décomposé. The Great Trompete is of German design, so while powerful it allows for a good blend with the principal chorus for ensemble use.
The Swell division is conceived as a French-based design, including the use of harmonic flutes at 4′ and 2′ pitches. The Trompette is fiery and is complemented by the 16′ Basson and 8′ Oboe. The commanding presence of the 8′ Trompette in the space did not require a 4′ reed. The foundations are drawn from the 8′ Viola and 8′ Chimney Flute, with the focus of the chorus from the 4′ Principal. Our use of violas helps to reinforce the 8′ foundation in a division that does not contain separate principal or diapason tone. Our violas provide a slightly more weighted sound, yet retain the sonority of string tone. The 4′ Harmonic Flute and 2′ Octavin (Harmonic Piccolo) provide a soaring intensity for the Swell division and tie in well to the Plein Jeu IV. The swell box construction features our own sound-insulated, double-wall design for excellent expression, providing a much greater effect than the previous Möller swell box.
The Choir division offers the versatility of an English Choir, while blending some of the options for sounds of a Positiv. The Choir features the same style of expression box construction as the Swell division. An 8′ Violin Diapason is our starting point for the Choir division. The 8′ Violin Diapason and 4′ Violin Principal were conceived to provide some of the missing sounds from the old organ. First Presbyterian has long enjoyed the presence of a strong choral ministry, with an expansive repertoire of anthems and oratorios from the Baroque period to the contemporary era. The shortcomings in choral support and expressiveness of the Möller organ were the main considerations and concerns of the organ committee. The principals and the inclusion of an 8′ Dulciana and 8′ Unda Maris add a new dimension of options and sound that the organist never had in the old organ. The 2′ Principal and 11⁄3′ Quint add the final clarity to the Choir division with sparkling elegance. The 8′ Schalmei provides a pleasant crossover between a small ensemble reed and a light solo reed.
The Pedal division provides more than ample undergirding for the entire organ. A new polished façade comprises the Pedal 16′ Principal and 8′ Octave as well as the bass of the Great 8′ Principal. The division hosts an independent 16′ Subbass, 4′ Choral Bass, 4′ Nachthorn, Mixture III, and 16′ Posaune. After our discussions with the consultant, we provided both a 32′ Resultant and a derived 32′ Cornet from the tonal resources. Both offer that extra level of depth in the pedal line between soft and full registrations.
During the construction of an organ at Parkey OrganBuilders, it is our goal to provide a cohesive musical instrument. While adopting influences and ideas from many of the schools of organ construction, the specification nomenclature and the tonal finishing reflect the solidity of American organbuilding. One of the best compliments we receive regularly is that “stops blend beautifully and do what they are supposed to do.” Much care is given to the scaling of each stop as it relates to its solo and ensemble needs. All of our instruments are carefully finished in their space at completion of the installation.
When tracker action is not an option, our firm elects to use electro-pneumatic action in slider, unit, and pitman variations. Winding systems are always regulated via wedge or box reservoirs for optimal control, yet allowing for a gentle wind flex to prevent a sterile sound. Our operation in Duluth, Georgia is one of the largest facilities in the southeastern United States dedicated solely to the construction of pipe organs. Our use of modern-day technology—including CAD (computer-aided design), Photoshop, and CNC (computer numerically controlled) machinery—allows us to create organs with artistic flair, established mechanical designs, and high levels of accuracy. Our staff is involved with the creation of the organ from paper to final installation. Custom consoles, casework, windchests, wooden pipework, and winding systems are all constructed in our Duluth location.
The console for Opus 11 is constructed in a solid walnut case with burled walnut veneers as well as maple, mahogany, and ebony. The console features turned wooden drawknobs in ebony with maple faces. Engravings provided throughout are laser-engraved in our shop. Custom English keyboards feature bleached bone naturals with ebony sharps. Our ergonomic designs for console construction are based on AGO standards to provide a comfortable familiarity for the organist. Solid State Organ Systems are used for capture, relay, and MIDI and are known the world over for their reliability and intuitive designs for the organist.
We appreciate the cooperation of Michael Henry and the staff and members of First Presbyterian Church, Gainesville, Georgia. The church has made a conscious effort already on three occasions to involve children and youth in the organ project through the removal of the original pipework, an excursion to our shop to view the new organ through assembly, and a hands-on “bringing in the pipes” event for celebratory installation of the first pipes on Epiphany. We also thank James Mellichamp for his direction and cooperative collaboration in this instrument. The end results have provided a substantial experience in both sight and sound. Instruments of this caliber continue to provide enthusiasm and excitement for our staff. The dedicatory recital is scheduled for April 18, 2010, and will be performed by Dr. Mellichamp. First Presbyterian Church appreciates the generosity of Mr. and Mrs. Joseph S. Hatfield, who made this project a reality.
—Phillip K. Parkey
President and Tonal Director
Parkey OrganBuilders

Parkey OrganBuilders
Staff listing, Opus 11
Tonal design and finishing: Phillip Parkey
Mechanical engineering and visual design, installation: Michael Morris
CNC operations for console, structure, windchest construction winding systems and installation: Philip Read, Josh Okeson
Console and relay wiring, installation: Doug Rogers
Chest actions, wiring, winding, assembly, installation: Otilia Gamboa
Office manager and installation: Josh Duncan
Voicing and tonal finishing, installation: Kenny Lewis

Parkey OrganBuilders, Opus 11
First Presbyterian Church,
Gainesville, Georgia

GREAT (Unenclosed)
16′ Bourdon Swell
8′ Principal 61 pipes
8′ Metal Gedackt 61 pipes
4′ Octave 61 pipes
4′ Spitz Flute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Tapered Flute 61 pipes
13⁄5′ Tierce 61 pipes
11⁄3′ Mixture IV 244 pipes
8′ Trompete 61 pipes
8′ Fanfare Trumpet Prepared for
Tremolo
Zimbelstern

SWELL (Enclosed)
16′ Bourdon 12 pipes
8′ Chimney Flute 61 pipes
8′ Viola 61 pipes
8′ Viola Celeste GG 54 pipes
4′ Principal 61 pipes
4′ Harmonic Flute 61 pipes
2′ Octavin 61 pipes
1′ Plein Jeu IV 244 pipes
16′ Bassoon 12 pipes
8′ Trompette 61 pipes
8′ Oboe 61 pipes
Tremolo
Swell 16
Swell Unison Off
Swell 4

CHOIR (Enclosed)
8′ Violin Diapason 61 pipes
8′ Gedeckt 61 pipes
8′ Dulciana 61 pipes
8′ Unda Maris TC 49 pipes
4′ Violin Principal 61 pipes
2′ Principal 61 pipes
11⁄3′ Quint 61 pipes
8′ Schalmei 61 pipes
8′ Fanfare Trumpet Great
(Uncoupled)
Tremolo
Choir 16
Choir Unison Off
Choir 4

PEDAL
32′ Resultant 32 notes
16′ Principal 32 pipes
16′ Subbass 32 pipes
16′ Bourdon Swell
8′ Octave 12 pipes
8′ Bass Flute 12 pipes
4′ Choral Bass 32 pipes
4′ Nachthorn 32 pipes
2′ Mixture III 96 pipes
32′ Cornet V 32 notes
16′ Posaune 32 pipes
16′ Bassoon Swell
8′ Trompete 12 pipes
4′ Schalmei Choir
8′ Fanfare Trumpet Great

Couplers
Great to Pedal 8
Great to Pedal 4
Swell to Pedal 8
Swell to Pedal 4
Choir to Pedal 8
Choir to Pedal 4

Swell to Great 16
Swell to Great 8
Swell to Great 4
Choir to Great 16
Choir to Great 8
Choir to Great 4

Swell to Choir 16
Swell to Choir 8
Swell to Choir 4

MIDI on Swell
MIDI on Great
MIDI on Choir
MIDI on Pedal

Great/Choir transfer

Capture System
(100 levels of memory)
10 general pistons, thumb and toe
6 divisional pistons, thumb/manual
6 divisional toe studs for Pedal
Swell to Pedal reversible, thumb and toe
Great to Pedal reversible, thumb and toe
Choir to Pedal reversible, thumb and toe
Swell to Great reversible, thumb only
32′ Resultant reversible, toe only
32′ Cornet reversible, toe only
Zimbelstern reversible, thumb and toe
Full Organ reversible, thumb and toe
General Cancel, thumb only
Set piston, thumb only

“Any Piston Next” sequencer

Full MIDI interface and record/playback is included
Cover photo by Travis Massey, Magic Craft Studio