Nashville Symphony’s flood-damaged Schoenstein organ will be operational early next year

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

Nashville, Tennessee

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

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

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

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

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

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

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

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

Cover photo by Louis Patterson

Schoenstein & Co.

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

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

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

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

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

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

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

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

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

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

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

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

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

Solo IV derived from Solo V, without tierce

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

†Includes Diaphone and Salicional

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

Unison
8′ 22 47%
4′ 8 17% 64%

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

David C. Kelzenberg studied music performance and music theory at Quincy University and the University of Iowa. He has an interest in and has performed on all keyboard instruments, including organ, harpsichord, clavichord, and piano, and has made a special study of the history of early keyboard performance practice in the 20th and 21st centuries. He has taught music theory, French horn, trumpet, organ, and piano. His organ teachers have included Richard Haas, Rudolf Zuiderveld, and Gerhard Krapf. He is co-owner of the international Internet mailing list PIPORG-L (devoted to the organ), and founder and co-owner of HPSCHD-L (devoted to stringed early keyboard instruments such as the harpsichord and clavichord). He serves on the board of directors of the Midwestern Historical Keyboard Society, the Cedar Rapids Area Theatre Organ Society, and the Iowa City Early Keyboard Society.

Mother Nature showed her dark side during the month of June, with repeated thunderstorms dumping rain and more rain on the Midwest. Rivers, lakes, and reservoirs rose, eventually spilling over dams, levees, and banks, flooding some areas in unprecedented amounts.
Eastern Iowa was particularly hard hit, as cities along major rivers and tributaries were inundated by floodwaters. The massive Coralville Dam, built by the Army Corps of Engineers in the 1950s, was designed to control the Iowa River upstream of the towns of Iowa City and Coralville, while creating a huge water reservoir—a man-made lake designed for recreation, boating, swimming, and fishing. For only the second time in its history, the reservoir’s capacity was exceeded, with water flowing freely over the emergency spillway of the massive dam and overrunning everything in its downstream path.
Both Iowa City and Coralville were impacted by the swiftly rising water. In Iowa City, the University of Iowa had built numerous buildings along the banks of the river, under the mistaken assumption that the Coralville Dam, some 10 miles upstream, would prevent future flooding of the Iowa River. Among the buildings constructed adjacent to the river is the Voxman Music Building, home to the university’s School of Music. Named for the renowned educator and long-time School of Music director Himie Voxman, the Voxman Music Building has housed the university’s School of Music since its construction in 1970. Along with other nearby buildings such as Hancher Auditorium, Clapp Recital Hall, the Theatre Building, the University of Iowa Museum of Art, and two art buildings, Voxman was built immediately adjacent to the scenic and usually tranquil Iowa River, a mistake that would come to haunt the university in 2008.
When it was apparent that a flood was coming, Iowa City and Coralville residents turned out in a massive sand-bagging effort. Walls of sandbags were erected along the riverbank and around low-lying buildings. But the rain kept coming, and so did the floodwaters. By the time the water stopped rising, every important university building along the river—the entire Fine Arts Complex, the Main Library, the Iowa Memorial Union, several other academic buildings, the university’s largest dormitory, and its power generating plant, not to mention numerous homes and businesses in both communities, were flooded.
Some of the victims of this devastating flood were organs. In the Voxman Music Building, two large studio organs and several practice instruments were flooded with mucky river water to a depth of about 18 inches for over a week. The most serious loss was to the university’s 1987 North German-style organ by Taylor & Boody, Op. 13, which has been widely acclaimed as a masterwork. In the other teaching studio, a large two-manual tracker instrument by Schlicker was also severely damaged. In addition, three practice instruments, by Casavant, Brombaugh, and Holtkamp, suffered a similar fate. Fortunately, the water never reached the level of the pipes, but many parts such as blowers, winding systems, pedalboards, and actions were essentially destroyed.
According to Delbert Disselhorst, longtime chair of UI’s organ department, the effect of the flooding has been devastating to the department. “All of these organs will be removed from the building and returned to organ builders for rebuilding. We estimate that the building itself will not reopen until the fall of 2009. However, it may be another year or more before the organs are back in place and ready to resume their teaching and recital duties.” Gregory Hand, new professor of organ at Iowa, added a note of optimism. “The organs, despite everyone’s best efforts, sat in 18 inches of dirty water for some nine days. However, everyone at the university has been extremely helpful towards the organ department, and there has never been any question whether the organs would be fixed.”
Carroll Hanson, the curator of organs for the university, explained further. “The damaged organs included the university’s original teaching instrument, a Holtkamp ‘Martini’, which is believed to be the last instrument built by Walter Holtkamp, Sr., in 1961. Also damaged were tracker practice instruments by Casavant and John Brombaugh. The large Schlicker studio organ, a two-manual tracker of about 25 stops, suffered severe damage to its winding system and mechanicals.”
The most severe loss was the Taylor & Boody recital instrument, which has served as a focal point for teaching and recitals. Many students and guest artists have enjoyed its remarkable qualities since its installation. This instrument and the Brombaugh practice instrument will be returned to the Taylor & Boody shop in Virginia for restoration. Work on the large Schlicker instrument and the Holtkamp Martini will be undertaken by Gene Bedient’s shop in Lincoln, Nebraska. The Casavant practice instrument will be returned to Casavant in St. Hyacinthe, Quebec, Canada, for restoration.
Fortunately, the Casavant recital instrument in Clapp Recital Hall was not damaged by the flood. This large concert instrument, reportedly the first large tracker instrument to be installed in a major American teaching institution in the 20th century, was installed in the new Clapp Recital Hall in 1971 under the supervision of the “father” of organ instruction at Iowa, the late Gerhard Krapf. But, while the organ sits high in the hall and remained above the flood-waters, the hall itself was inundated, and will require major renovation. Another survivor of the devastation, a small portable continuo organ by Taylor & Boody, was moved to the second floor before the waters rose, and was untouched by the floodwaters.
Other instruments at the university were also compromised by the flooding. Some pianos and a harpsichord were removed from the path of the rising waters, while others were not as fortunate. Steve Carver, piano maintenance coordinator for the university, recalls details of their efforts to save the instruments. “We moved pianos all week until Friday the 13th (of June). We were initially told we could work through Friday but the river came up much faster than expected, so the building was locked down early Friday morning. We will lose about 25 upright pianos, a mixture of Steinway and Everetts. We left nine Steinway grands on the first floor to finish on June 13, but were unable to access the building to complete the move. These will at the least require all new legs and lyres (about $2000 per piano), but may well be totaled too.
“I am more concerned about what the exposure to high humidity after standing in 18 inches of water will do to the soundboards, etc. of the instruments. We were able to move about 20 more Steinways upstairs. But even these may suffer from lack of proper ventilation this summer and fall. I have been recently told that all 50 grands and uprights on the second floor will have to be relocated before winter.
“We removed the Italian harpsichord (built by the Zuckermann shop) from the building on June 12 and were planning to do likewise to the remaining two (a French double by David Rubio and a Flemish single by Edward Kottick) on June 13. As we were locked out of the building, these two stood in 18 inches of water for about nine days. I cannot comment on their condition other than to say there is a good chance they will be severely damaged. I have grave concerns in the long term how this flood will impact our inventory.”
This is a crushing blow to the UI School of Music. However, their resolve to work through these problems remains strong. Teaching will continue for the current academic year in facilities provided elsewhere in town. Local churches in particular have opened their space for teaching. It is anticipated that the Voxman Music Building, Hancher Auditorium, and Clapp Recital Hall will reopen in time for the 2009–2010 academic year, although it is unclear whether the organs will be back in place by then. But return they will, hopefully in better shape than ever and with provisions in place to prevent repeating this sort of tragedy. The harpsichords and pianos will also be restored, and music instruction will continue at the high level for which the University of Iowa has become known.
Meanwhile, in nearby Cedar Rapids, it was the Red Cedar River that caused problems, and if anything, the flood was even more devastating here than in Iowa City and Coralville. Organs were severely damaged in Cedar Rapids as well, although it was organs of a different type entirely.
The Red Cedar River runs through the heart of Cedar Rapids. Much of the city’s history is tied to industry lining the river, and downtown Cedar Rapids is bisected by this body of water. In the middle of the river in the heart of the city, Mays Island has stood for hundreds of years. A prominent landmark, Mays Island is home to the city’s municipal government, making Cedar Rapids one of just a few cities whose seat of government is located on an island. Also on the island are the courthouse and Veteran’s Memorial Coliseum, home of a famous large stained glass window designed by artist Grant Wood. At the height of the flood, Mays Island was completely invisible, with only the tall buildings standing above the water to show where it once was.
Cedar Rapids knew a flood was coming, and her citizens prepared accordingly. As in Iowa City and Coralville, volunteers turned out in a monumental sand-bagging effort. What no one could have anticipated was the magnitude of the flood of 2008. The water rose, up and up, and UP, and when it peaked it had completely inundated Mays Island, downtown Cedar Rapids, and many residential neighborhoods near the river. Hundreds, if not thousands, of homes and businesses were damaged or destroyed. Countless people were left homeless, and the government offices of Cedar Rapids and many of its downtown and neighborhood businesses were compromised. Amid the devastation, overshadowed by the tragedies of people left homeless, businesses destroyed, and historic buildings damaged, two significant cultural icons were also devastated by the raging waters. These were architectural treasures: two historical theatres dating back to 1928, and musical treasures—the theatre pipe organs that they housed. While these instruments represent a tragic loss, things could have been worse.
In 1929, the city was proud to acquire a new municipal organ, a 4-manual, 56-rank instrument built by the Ernest M. Skinner Company and installed in Veteran’s Memorial Coliseum on Mays Island. If that important instrument were still installed in that arena, it would have been completely destroyed during this flood. Fortunately, it was spared this fate. In the 1950s, the instrument was moved to Sinclair Auditorium on the campus of Coe College, some 10 blocks above the high water line. As a result, it suffered no damage during the flood.
Unfortunately, Cedar Rapids’ two historic theatre organs did not fare as well.
The beautiful Paramount Theatre, built in 1928, stands at the corner of Third Avenue and Second Street in the heart of downtown. Built in the grand style, this 2,000-seat movie palace was completely restored to its former glory just a few years ago to the tune of 7.8 million dollars. Its grand Hall of Mirrors, modeled after the great Palais de Versailles in France, ushered generations of moviegoers toward the opulent auditorium, where the sound of the 3/12 Mighty Wurlitzer beckoned. All of this glory came to an ignominious end during the first week of June, when the river crested its banks and inundated downtown Cedar Rapids.
A wall of water rushed through the Paramount Theatre building and into the auditorium. The heavy Wurlitzer console, raised on its lift to stage level in anticipation of the flood, was savagely tossed onto its back and onto the stage. The stage extension, built of heavy reinforced panels and extending over the orchestra pit, was knocked into complete disarray. In the end, some 8.5 feet of water covered the stage, organ console, and the entire auditorium. The lift and console were completely submerged for at least a week, and in the sub-basement, the organ’s blower was under at least 30 feet of water.
Fortunately, the organ chambers were not breached by the water, or the tragedy would have been far worse. The pipes, percussions, and windchests, as well as the original Wurlitzer relay, appear to have been spared. The blower was not reachable until one full month after the floodwaters receded. It is damaged, but still responding to a turn of its motor.
The most serious loss is the console itself, which was virtually destroyed. While it was found essentially intact after the waters receded, the waters had weakened wood and joints, and it literally fell apart as workers carefully attempted to remove it from the theatre. This is particularly tragic as this was an unusual Wurlitzer console, with unique decorative details, controlling an unusual instrument. Classified by Wurlitzer as a model Balaban 1A, the Paramount’s organ (Opus 1907) is the only extant instrument of this model still in essentially original condition, still in its original home. Only seven Balaban 1As were built by Wurlitzer, and this one has resided in the Paramount Theatre since opening night in 1928.
Like the theatre itself, the Wurlitzer organ is owned by the City of Cedar Rapids. It has been carefully maintained by, and at the expense of, the Cedar Rapids Area Theatre Organ Society (CRATOS) since that group was formed in 1969. CRATOS volunteers are working hard now to restore this organ to its former glory, but many questions remain about the structural integrity of the building, possible insurance coverage, and funding. The generous support of friends of the theatre organ will be needed to allow this special Wurlitzer organ to sing again. Obviously, the console will need to be completely rebuilt or replaced.
Meanwhile, at nearby Theatre Cedar Rapids (originally the RKO Iowa Theatre), Cedar Rapids’ other historic theatre organ suffered a similar fate. Theatre Cedar Rapids is home to the celebrated “Rhinestone” Barton theatre organ (opus 510), so named because of its spectacularly decorated console. This is another unique instrument, the largest of several Bartons that were actually built by the Wangerin Company of Milwaukee, and like its Wurlitzer neighbor an original installation from the year 1928. As far as is known, this is the only organ ever delivered with a console covered in black velvet, brilliant rhinestones, and sparkling glitter. This organ was historian and restoration expert David Junchen’s favorite Barton organ, and anyone who has heard or played it in its original home in Cedar Rapids can understand why.
The news from Theatre Cedar Rapids is somewhat brighter than that from the Paramount. At First Avenue and Third Street, TCR is a bit further from the river, and there was no wall of water crashing into the building. But creep in it did, and although the console had also been raised to stage level in anticipation of the flooding, the water rose to about the level of its solo (top) manual, where it remained for several days. The console damage was disastrous. Fortunately, the blower and relay for this instrument are located at chamber level, so only the console and its Barton four-post lift were damaged by the floodwaters.
The Barton organ is owned and maintained by a small non-profit corporation, Cedar Rapids Barton, Incorporated (CRBI). The organ was not insured, and funds for its restoration will need to come from generous donors and grants. Already a grant has been provided by the National Endowment for the Humanities, which has been used for the removal of the Barton console from the theatre and into safe storage where the damage is being assessed. However, significant funds are still needed to support the restoration or replacement of the organ’s console and other work needed to bring the Rhinestone Barton back to life.
With all of the personal tragedies the people of Cedar Rapids and Eastern Iowa have suffered as a consequence of this devastating flood, the restoration of these two historic theatre organs may seem an insignificant goal. Yet the people have demonstrated a strong will to restore their beloved theatres, which they consider important cultural landmarks for their city. Many of these same people have spoken out in support of restoring the organs, which they consider the “voice” of these theatres, providing much needed moral if not financial support. And it is the firm goal of CRATOS and CRBI working together to do whatever it takes to bring these unique historical instruments back to their former glory.
It will take time for these transformations to take place. And, it will take the generous financial support of many of our friends in the organ community and the music world. At the recent annual convention of the American Theatre Organ Society in Indianapolis, many people contributed to the cause of these two organs. But this is only the beginning. An online fundraising appeal is underway.
How can you help? If you would like to support the ongoing restoration and upkeep of the Cedar Rapids theatre organs, please consider making a contribution to the cause. You can do so online by visiting <www.cr-atos.com&gt;, where you may make an online contribution and view many photos and news stories on the flood damage to the organs. You may also purchase a copy of “Back in the Black,” Scott Foppiano’s spectacular CD recorded on the Rhinestone Barton, proceeds from which will support the organ fund. Or, you can send a check (made payable to CRATOS) to CRATOS, PO Box 611, Cedar Rapids, IA 52406. You can designate your donation for the Wurlitzer, the Barton, or both. The people of Cedar Rapids thank you for your support and encouragement during these difficult times.

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia
New Orleans Baptist Theological Seminary
Monday, August 29, 2005, Hurricane Katrina made landfall. The levee system failed, and over 80% of New Orleans was flooded. For weeks, portions of the city remained under water, with heat and moisture completing the destructive cycle that Katrina began. While waiting for the water to dissipate, we knew that the damage to persons and property would be immense.
Our firm was called by the New Orleans Baptist Theological Seminary to evaluate and salvage the damaged instruments on the campus. Founded in 1917, the seminary sits on a 75-acre campus in the hardest-hit 9th Ward area of New Orleans. The Division of Church Music Ministries aims “to equip leaders for excellence in music ministry among Southern Baptists through performance, education, and technology.” Our charge was to assure that the musical resources were available for their mission.
What we found upon our arrival is perhaps best described by Seminary President Dr. Charles S. Kelly, Jr.:

Hurricane Katrina well and truly earned its designation as the worst natural disaster in the history of the United States. Our campus, like most of the city, was devastated. Our homes, many of our buildings, most of our grounds, and virtually all of our musical instruments were hit very, very, hard. The recovery process was long, difficult, and messy beyond anyone’s ability to describe. . . . What made our plight even more difficult was the massive damage to the rest of the campus and the severe losses sustained by our faculty, staff, and student families. The larger picture of what had to be done to reopen the campus and care for our families made allocation of the necessary dollars for the recovery of our lost and severely damaged instruments a very difficult thing to do.

Our work on the campus involved the protection and removal of many of the significant music instruments including multiple grand pianos, a harpsichord, and the 1954 Möller (III/27) and 1966 Aeolian-Skinner Opus 1468 (IV/38) pipe organs. Of prime concern was protecting the instruments to prevent further damage. In addition to water, the storm brought massive amounts of airborne contaminants into the instruments, and, with heat, mold.
The Möller organ, located in the Sellers Music Building Recital Hall, was damaged when the roof gave way, flooding the organ with thousands of gallons of water that passed through the two chambers and filled the pitman chests and winding system. When we arrived several weeks later and opened the chests, there was still a significant amount of water in the organ.
The Aeolian-Skinner was damaged when the 150-mile-per-hour winds blew out the window behind the organ. For hours on end, the outside became the inside as the storm vented its fury on the Skinner. As with the recital hall organ, we found water in the organ many weeks after the storm.
It was inevitable that there would be long and intense negotiations with insurance companies about the losses and rebuilding. The enormity of Katrina simply overwhelmed insurers. One could go on at length about the negotiations and the efforts and education that were required with the insurance companies. Suffice it to say that at one point the insurers appraised the older, smaller Möller at a greater amount than the larger, newer Aeolian-Skinner.
The Möller organ’s status was very clear cut because of the extreme damage to the chassis and its utilitarian design. The Aeolian-Skinner and its disposition was a thornier issue. The damage to the organ was severe, but with heroic measures it could have been restored. The problem was that a true restoration would involve tremendous expense that could exceed the organ’s replacement cost. The insurance company did not understand that if you replace the chests, swell box, some pipework, the winding system, and the console with new materials, the organ would cease to be Opus 1468. While we fought for funds for restoration, the client and our firm resolved that either the Skinner would be unaltered and restored without change, or if changes were required, that the resources would be folded into a new instrument. As negotiations concluded, funds available for the Skinner were not sufficient for a true restoration.
In addition to wide-ranging discussions about how the instruments would be used, we also traveled with Dr. Becky Lombard, professor of music theory and keyboard studies, to hear many of our recent instruments. We evaluated how these differing specifications might relate to the needs of the seminary and the church music program. From these visits it became apparent that we would build two distinctly different instruments.

Sellers Recital Hall (III/34)
The recital hall organ is used primarily for teaching and for literature performance. Space was limited, but we felt that the organ could be enlarged to provide additional resources not present in the 1954 instrument. With the performance of literature being the goal, choices had to be made about meeting the requirements of specific periods—yet the stoplist couldn’t be too era-specific.
The decision was made to design an instrument that could create the colors of all periods of music history. We also had to consider accompaniment of voice, both solo and choral. In this diminutive hall with seating for around 100, we had to create a rich, full palette without overwhelming the performer or listener. Tonally, the voicing is in a very clean, unforced style. There is crispness to registrations that will promote clean, articulate playing.
This organ had to be able to transform itself into any number of service instruments that the student might encounter in music ministry. The organ we designed is three manuals with 34 ranks of pipe resources. It is equally tempered to accommodate contemporary worship and use with piano accompaniment, and also offers full MIDI capability. This was the first instrument delivered to the campus.

Leavell Chapel (IV/83)
The chapel organ was designed with a different focus. While literature will be performed regularly, the organ’s role in service playing determined the overriding design. Each week chapel services are held and the organ is called on to support congregational singing and to accompany soloists. Collaborative performances with the organ and piano are quite common. The organ is also used to play for services with small numbers in the congregation and, at the end of each semester, for a “packed house” during graduation ceremonies, so a wide dynamic range was needed. The chapel is a cavernous space with seating for over 2000.
When the Aeolian-Skinner was installed, it had 38 ranks with “prepared for” Choir and Positiv divisions and additional Pedal and Great registers that were never added. The room had been acoustically altered from its 1966 incarnation, and the gently voiced Great and Swell on the Skinner did not have the presence required for this hall. Because of other uses of the chapel, the room had been softened with acoustically absorbent material, and this was to remain in place.
The new organ was conceived as a four-manual with Great, Swell, Choir, and Solo divisions. It is located on the central axis of the room on a shelf. The dimensions of this space are 36 feet wide and 18 feet deep.
It was important to the school that the room remain visually unaltered; so, the old façade and casework were restored. The Skinner 16′ Sub Principal was revoiced into a 16′ Violone for the Great division. The college wanted to leave the window at the rear of the organ, which was a concern thermally and acoustically. To overcome this problem, the new windows were designed as insulated units rated to resist a storm stronger than Katrina. We placed the enclosed expression boxes across the rear span of the space with inward partitions to provide our own back chamber wall. With a height of over 16 feet, the expression boxes provide a forward focus for the organ in addition to the needed thermal barrier, while still allowing light through the windows above the organ.
In designing the specification and scaling, I wanted to provide the resources that would allow the performer a vast array of color and weight, suitable for any repertoire. The organ was built with the classical underpinnings of principal, flute, and reed chorus structure to support classical and sacred repertoire; in a bow to Romanticism, I included elements of the American romantic or symphonic organ. This blending provides an instrument that would be evocative of early American Classicism, albeit with cleaner and more articulate flue choruses.
In concert with this eclectic tonal design, an expressive, floating Solo division was included. Included in this division are some of the rarer high-pressure stops, including French Horn, English Tuba, Solo Gamba and companion Celeste, and the hauntingly beautiful 8′ Philomela and 4′ Flauto Major.
We were able to retain about half of the Skinner resources, which were revoiced and rescaled for the new instrument. Some stops were either too damaged, or the material suspect, to consider their reuse. The original Skinner reeds were French in design and small-scaled. We felt that the size and acoustic of the chapel, in conjunction with the stoplist design, would be better served with English shallots, thicker tongues, and higher wind pressures. In addition to chorus reeds, the organ has a full battery of high wind pressure solo reeds that were duplexed in a floating Trompeteria division at multiple pitches with separate couplers.
In keeping with the accompanimental nature of the organ, each division is designed around an independent 8′-weighted principal chorus. The divisional choruses, while differing in color, are designed to be compounded as a unified whole. The mixtures in this instrument are pitched lower than what might be found in many contemporary instruments. Where additional treble ascendency is required, secondary higher-pitched mixtures were also included in each division, scaled and voiced to serve as a functional foil to the divisional chorus without stridency.
The strings and flutes in the expressive divisions are designed to build weightless accompaniment for choral work, or massed in support of romantic or transcription repertoire. The organ features a divided string division located among the Swell, Choir, and Solo divisions, to be compounded by means of couplers. Ever present, to be blended with this string chorus, is the 8′ Vox Humana, which has its own enclosure and tremulant.
With the exception of some 32′ Pedal registers and percussions, the organ does not include digital augmentation. We wanted the organ to stand on wind-blown resources. In support of this decision, we added an additional register to the Pedal—the independent 16′ Wood Open. Installed to the right and left of the center organ core and on 7½ inches of wind pressure, it provides a solid fundamental that is truly felt in the room.
Our experience in servicing instruments in this region has made us aware of the need for stability in the materials and action choices, due to the temperature extremes and constant humidity. The organ chest action is electro-pneumatic slider, with all reeds on electro-pneumatic unit action. The flue pipes and the reed pipes are thus on actions that maximize the speech characteristics of each type of pipe. This also allows the flues and reeds to be placed on differing wind pressures and tremulants. The wind is regulated with dual-curtain valve, spring and weighted reservoirs.
The wind pressures on this instrument vary from 4 to 18 inches. To control these resources, the expression boxes are built 1½ inches thick, with interlocking shades. Multiple motors are used on the shade fronts to allow a full dynamic gradation. The four-manual, drawknob console, built of mahogany and ebony, includes features such as multiple-level memory, transposer, Great/Choir manual transfer, piston sequencer, programmable crescendo and sforzando, record/playback capability, and MIDI.

Installation and voicing
The removal, building, and installation of these instruments were herculean tasks. It is an understatement to say that the staff of the Schlueter firm took up residence in New Orleans. I simply cannot give enough credit to the leadership of our senior organ builders Marc Conley, John Tanner, Rob Black, and Bud Taylor for the untold hours of travel and work that they put into these projects. Organ building cannot be achieved as the result of any one individual, but requires a skilled team. These individuals continue to exceed expectations in the creation of art.
From the outset, we decided that these two instruments would be voiced in the rooms, with the pipes arriving to the installation only prevoiced to allow full latitude with cut-ups and any required nicking. All of the samples were set in the chambers on their windchests and then the pipes were removed from the chambers. We brought a portable voicing machine and layout tables into spaces adjacent to the organ chambers to voice the pipes prior to their reinstallation in the chambers for final voicing and tonal finishing. Because of the size of these two projects, it was necessary to work as a team in tonal finishing, led by Daniel Angerstein, with the able assistance of John Tanner, Marc Conley, Bud Taylor, Kevin Cartwright, Lee Hendricks, and Gerald Schultz. As with so much of our previous work, I want to single out Dan and his contributions. In the many weeks of tonal finishing, he patiently brought forth the organs as they had been envisioned by the client and the builder.

Final thoughts
As we designed the two organs, it became clear that the organs that were desired could not be afforded by the school with the balance of their settlements. Over the years, we have been privileged to gift resources to churches. As owners, my father and I looked inward and decided that the importance of a continuing role of the organ in worship was a worthy cause. This required us to consider a donation, and without revealing the dollar value of our gifts, suffice it to say that there is a four-manual, 83-rank instrument where there had been a 38-rank instrument, and a 34-rank instrument where there had been a 27-rank instrument.
We would like to thank Dr. Charles Kelly, Dr. Becky Lombard, and Dr. Kenneth Gabrielse for their contributions and support during this project. Thanks also to our dedicated staff, listed on our website (www.pipe-organ.com).
Our tonal philosophy is to “build instruments that have warmth not at the expense of clarity, and clarity not at the expense of warmth, and to serve God in our efforts.” We pray that in future years our gifts endorse the importance of the organ in worship, and we hope that our instruments will plant the seeds of worship through music, for future students who pass through this institution.
—Arthur Schlueter III

New Orleans Baptist Theological Seminary, Leavell Chapel, four manuals, 83 ranks
GREAT – Manual II (unenclosed)
16′ Violone (73 pipes) (1–24 façade)
8′ First Open Diapason (Pedal)
8′ Second Open Diapason
8′ Principal (1–12 façade)
8′ Stille Principal (from Cornet)
8′ Violone (ext, 12 pipes)
8′ Harmonic Flute (49 pipes)
(1–12 common bass)
8′ Bourdon
4′ Octave
4′ Diapason (Pedal ext, 12 pipes)
4′ Nachthorn
22⁄3′ Twelfth
2′ Super Octave
V Cornet TC
2′ Mixture VI
1′ Scharf IV
16′ Contre Trumpet (ext, 12 pipes)
8′ Trumpet
8′ Tromba Heroique (Choir)
8′ English Tuba (Solo)
Tremolo
Gt/Gt 16′–Unison Off–4′
SWELL – Manual III (enclosed)
16′ Lieblich Gedeckt (ext, 12 pipes)
8′ Geigen Principal
8′ Rohr Gedeckt
8′ Viola de Gamba
8′ Voix Celeste
8′ Dolce
8′ Dolce Celeste (54 pipes)
4′ Principal
4′ Harmonic Flute
22⁄3′ Nazard
2′ Flageolet
13⁄5′ Tierce
22⁄3′ Plein Jeu V
1′ Klein Fourniture IV
16′ Contra Bassoon (ext, 12 pipes)
8′ Trumpet
8′ Oboe
8′ Vox Humana
4′ Clairon
Tremolo
Sw/Sw 16′–Unison Off–4′
CHOIR – Manual I (enclosed)
16′ Gemshorn (ext, 12 notes)
8′ Principal
8′ Hohl Flute
8′ Gemshorn
8′ Gemshorn Celeste (49 pipes)
4′ Principal
4′ Koppel Flute
22⁄3′ Nasat
2′ Principal
13⁄5′ Terz
11⁄3′ Larigot
11⁄3′ Choral Mixture IV
8′ Clarinet
8′ Tromba Heroique (high pressure)
8′ English Tuba (Solo)
8′ Trompette En Chamade (Trompeteria)
Tremolo
Chimes (digital)
Harp (digital)
Zimbelstern (9 bells)
Ch/Ch 16′–Unison Off–4′
SOLO – Manual IV (enclosed)
8′ Philomela
8′ Gamba
8′ Gamba Celeste
4′ Flauto Major
8′ French Horn
8′ Tromba Heroique (Choir)
8′ English Tuba (high pressure)
Tremulant
Solo/Solo 16′–Unison Off–4′
TROMPETERIA – Manual IV
16′ Tromba Heroique (Choir)
8′ Tromba Heroique (Choir)
4′ Tromba Heroique (Choir)
16′ English Tuba (Solo)
8′ English Tuba (Solo)
4′ English Tuba (Solo)
8′ Trompette En Chamade (high pressure)
Trompeteria Unison Off
Trompeteria on Great
Trompeteria on Swell
Trompeteria on Choir
PEDAL
32′ Violone (digital)
32′ Bourdon (digital)
16′ Open Wood
16′ Principal (ext, 12 pipes)
16′ Violone (Great)
16′ Gemshorn (Choir)
16′ Subbass
16′ Lieblich Gedeckt (Swell)
8′ Octave Bass
8′ Violone (Great)
8′ Bass Flute (ext, 12 pipes)
8′ Spitz Flute
4′ Choral Bass
4′ Nachthorn
22⁄3′ Mixture V
32′ Harmonics (wired cornet series)
32′ Contra Trombone (digital)
16′ Trombone (ext, 12 pipes, enclosed in Ch)
16′ Contre Trumpet (Great)
16′ Contra Bassoon (Swell)
8′ Tuba (Solo)
8′ Tromba (Choir)
8′ Trumpet (Great)
4′ Tromba Clarion (Choir)

Standard couplers and MIDI

New Orleans Baptist Theological Seminary, Sellers Recital Hall, three manuals, 34 ranks

GREAT
16′ Pommer (Choir)
8′ Gedeckt Pommer (Choir)
8′ Principal
8′ Bourdon
4′ Octave
4′ Nachthorn
4′ Gedeckt (Choir)
2′ Super Octave
11⁄3′ Fourniture IV
16′ Contre Trompette (Swell)
8′ Trompette (Swell)
8′ Clarinet (Choir)
8′ Festival Trumpet (Pedal)
Tremolo
Chimes
Great 4′

SWELL (expressive)
16′ Contra Viola (ext, 12 pipes)
8′ Gedeckt
8′ Viola de Gambe
8′ Viola Celeste (49 pipes)
4′ Principal
4′ Spitzflute
22⁄3′ Nazard
2′ Blockflute
13⁄5′ Tierce
2′ Plein Jeu III–IV
16′ Basson-Hautbois (ext, 12 pipes)
8′ Trompette
8′ Festival Trumpet (Pedal)
8′ Hautbois
4′ Hautbois (ext, 12 pipes)
Tremolo
Swell 16′–Unison Off–4′

CHOIR (expressive)
16′ Pommer
8′ Koppel Flute
8′ Viola
8′ Viole Dolce
8′ Viole Dolce Celeste TC
4′ Principal
4′ Gedeckt (ext, 24 pipes, from 16′)
2′ Gemshorn
11⁄3′ Larigot
8′ Clarinet
8′ Festival Trumpet (Pedal)
Celesta (digital)
Harp (digital)
Tremolo
Choir 16′–Unison Off–4′

PEDAL
32′ Bourdon (digital)
16′ Principal (digital)
16′ Contra Viola (Swell)
16′ Sub Bass
16′ Pommer (Choir)
8′ Principal
8′ Viola (Swell)
8′ Bourdon (ext, 12 pipes)
8′ Gedeckt (Choir)
4′ Choral Bass (ext, 12 pipes)
4′ Bourdon (ext, 12 pipes)
4′ Viola (ext, 12 pipes)
32′ Posaune (digital)
16′ Contre Trompette (ext, 12 pipes)
16′ Hautbois (ext, 12 pipes)
8′ Trompette (Swell)
8′ Hautbois (Swell)
4′ Hautbois (Swell)
4′ Clarinet (Choir)

Standard couplers and MIDI

On a personal note
“New Orleans Spared”—Such was the erroneous headline of the newspaper in Savannah, Georgia, on the morning after Hurricane Katrina. At the time, the Schlueter firm was completing the organ at First Presbyterian Church in Savannah (featured in The Diapason, April 2006). My father, members of the installation crew, and I had stared anxiously at the news the previous evening and wondered about our friends in New Orleans and outlying areas. Our firm has worked in the aftermath of a number of major hurricanes and storms in recovery and restoration efforts. Unlike these other disasters, every day the situation in New Orleans grew steadily worse.
Almost exactly one year prior to Katrina, we had completed the rebuilding, relocation, and enlargement of the IV/74 instrument for the First Baptist Church in New Orleans. We made many acquaintances during this period, and through the Internet we were able to find many of our friends who had fled to other cities and states. We prepared for what would face us when the water receded and we could make our way into the city.
It was surreal as the shop vehicles were packed with our own stores of food, water, fuel and medicine for the trip. As we neared the Gulf Coast, the sheer enormity of the disaster began to unfold. We crossed Lake Pontchartrain’s 24-mile causeway on a road that had been reduced to a single lane, following the collapse of entire spans of the eastbound lanes. As we arrived in the evening, the scene before us was a macabre black hole that enveloped the city. From the elevated roadway, the marginally lit downtown of New Orleans was surrounded by a dark, lightless void for miles and miles, indicating the extent of the flooding. We arrived in the city under martial law, and had to learn the intricacies of identification and going through armed checkpoints.
With the daylight, the enormity of the flood was overwhelming. Driving into the 9th Ward, you could see watermarks that were many feet over one’s head. Homes, businesses, and structures sported the hieroglyphics of spray paint, with X’s, O’s and slashes to indicate that the structures had been searched and what had been found. Traveling around places once familiar, we found abandoned cars, collapsed buildings, and most distressingly, an absence of life. When we talked with people we knew and asked what we could do, the answer was always the same, “Pray for us.”
In the ensuing months that stretched out over two years for the three instruments we worked on, we became emotionally involved with the city and its people. We came to New Orleans to work on behalf of the First Baptist Church of New Orleans and the New Orleans Baptist Theological Seminary, and to restore part of their community. When we visit today, there are still signs of Katrina that only the passage of time will erase, but undeniable is the resilience of the people as they seek to rebuild their community. It is our hope that our response to Katrina on behalf of this community exemplifies “laborare est orare.”
—Arthur Schlueter III