New Organ

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

GRAND ORGUE

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

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

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

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

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

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

Plein
Jeu III-V

Cornet
IV (MC)

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

Tremblant

Pos/G.O.

Réc/G.O.

RÉCIT

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

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

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

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

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

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

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

Tremulant

POSITIF

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

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

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

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

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

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

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

1'
style='mso-tab-count:1'> Piccolo

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

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

Tremulant

Chimes

Zimbelstern

Réc/Pos

PÉDAL

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

16'
style='mso-tab-count:1'> Soubasse
(1-24 G.O.)

8'
style='mso-tab-count:1'> Flûte

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

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

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

G.O./Péd

Pos/Péd

Réc/Péd

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

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

GREAT

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

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

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

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

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

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

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

22/3
Octave
Quinte

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

Mixture
III-IV*

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

SWELL

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

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

8'
style='mso-tab-count:1'> Viol
d'Orchestre

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

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

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

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

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

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

Cornet
IV*

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

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

Tremolo

CHOIR

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

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

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

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

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

2'
style='mso-tab-count:1'> Harmonic
Piccolo

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

PEDAL

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

16'
style='mso-tab-count:1'> Open
Diapason (wood)

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

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

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

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

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

*additions by Bond

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

GREAT

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

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

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

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

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

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

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

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

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

Tremulant

Chimes

Zimbelstern
(prep)

SWELL

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

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

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

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

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

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

III
style='mso-tab-count:1'> Scharf-Zimbel
(prep)

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

Tremulant

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

PEDAL

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

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

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

II
style='mso-tab-count:1'> Rauschquinte
(prep)

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

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

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

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

Analysis

16'
style='mso-tab-count:1'> Subbass
(44 pipes)

16'
style='mso-tab-count:1'> Gedeckt
(97)

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

8'
style='mso-tab-count:1'> Geigen
(73)

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

8'
style='mso-tab-count:1'> Gemshorn
Celeste (77)

8'
style='mso-tab-count:1'> Bourdon
(73)

4'
style='mso-tab-count:1'> Octave
(73)

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

16'
style='mso-tab-count:1'> Trompette
(85)

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

Chimes
(25 tubes)

GREAT

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

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

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

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

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

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

Mixture
III

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

Chimes

Couplers

SWELL

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

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

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

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

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

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

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

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

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

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

Scharf
III

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

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

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

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

Tremulant

Couplers

CHOIR

Digital
preparation

10
knobs

Couplers

PEDAL

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

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

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

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

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

4'
style='mso-tab-count:1'> Rohrflöte

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

Mixture
III

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

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

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

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

New Organs

Cover

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

GRAND ORGUE

16' Bourdon

8' Montre

8' Flûte a cheminée

8' Flûte harmonique

4' Prestant

2' Doublette

Plein Jeu III-V

Cornet IV (MC)

8' Trompette

Tremblant

Pos/G.O.

Réc/G.O.

RÉCIT

8' Flûte traversière

8' Viole de Gambe

8' Voix céleste

4' Flûte Octaviante

2' Octavin

8' Basson-Hautbois

8' Voix Humaine

Tremulant

POSITIF

8' Bourdon

8' Salicional

8' Unda Maris

4' Flûte à fuseau

22/3' Nasard

2' Flageolet

13/5' Tierce

1' Piccolo

8' Clarinette

8' Trumpet Royal (horizontal)

Tremulant

Chimes

Zimbelstern

Réc/Pos

PÉDAL

32' Bourdon (electronic)

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

8' Flûte

8' Violoncelle

16' Basson

4' Chalumeau

G.O./Péd

Pos/Péd

Réc/Péd

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

GREAT

16' Double Open Diapason

8' Open Diapason

8' Open Diapason (2nd)

8' Viola da Gamba

8' Viola d'Amour

8' Doppel Flute

4' Octave

22/3 Octave Quinte

2' Super Octave

Mixture III-IV*

8' Trumpet

SWELL

16' Bourdon

8' Violin Diapason

8' Viol d'Orchestre

8' Aeoline

8' Voix Celeste

8' Stopped Diapason

4' Fugara

4' Harmonic Flute

2' Flautina

Cornet
IV*

8' Oboe

8' Vox Humana

Tremolo

CHOIR

8' Geigen Principal

8' Dulciana

8' Melodia

4' Violina

4' Flute d'Amour

2' Harmonic Piccolo

8' Clarinet

PEDAL

32' Resultant*

16' Open Diapason (wood)

16' Bourdon

16' Lieblich Gedeckt (Sw)

8' Violoncello

8' Flute Stop'd

16' Trombone*

*additions by Bond

GREAT

8' Principal

8' Rohrfloete

4' Octave

4' Spillfloete

22/3' Nasat

2' Hohlfloete

13/5' Terz

IV Mixtur

8' Trompete

Tremulant

Chimes

Zimbelstern
(prep)

SWELL

8' Gedackt

8' Viola

8' Celeste

4' Spitzfloete

2' Principal

11/3' Quinte

III Scharf-Zimbel (prep)

8' Schalmei

Tremulant

8' Trompete

PEDAL

16' Subbass

8' Offenbass

4' Choralbass

II Rauschquinte (prep)

16' Still Posaune

8' Trompete

4' Trompete

Analysis

16' Subbass (44 pipes)

16' Gedeckt (97)

8' Principal (61)

8' Geigen (73)

8' Gemshorn (61)

8' Gemshorn Celeste (77)

8' Bourdon (73)

4' Octave (73)

22/3' Twelfth (61)

16' Trompette (85)

8' Oboe (61)

Chimes
(25 tubes)

GREAT

8' Principal

8' Bourdon

8' Gemshorn

4' Octave

22/3' Twelfth

2' Fifteenth

Mixture III

8' Trompette

Chimes

Couplers

SWELL

16' Gedeckt

8' Geigen Principal

8' Rohrgedeckt

8' Gemshorn

8' Gemshorn Celeste

4' Prestant

4' Bourdon

22/3' Quinte

2' Blockflöte

13/5' Tierce

Scharf III

16' Trompette

8' Trompette

8' Oboe

4' Clarion

Tremulant

Couplers

CHOIR

Digital preparation

10 knobs

Couplers

PEDAL

16' Subbass

16' Lieblich Gedeckt

8' Principal

8' Pedalflöte

4' Choralbass

4' Rohrflöte

2' Super Octave

Mixture III

16' Trompette

8' Trompette

8' Fagotto

4' Clarion

New Organs

John-Paul Buzard Pipe Organ Builders, Champaign, IL, has built a new organ for First Congregational Church, Crystal Lake, IL: opus 16, 18 stops, 24 ranks. Although the original church was built in 1867, this is the congregation's first pipe organ. The first instrument was a reed organ which served faithfully for nearly 100 years. The reed organ's handsome case was made into the church's pulpit, still in use today. A Hammond electronic instrument followed, which the new pipe organ replaces.

The church expanded its crowded chancel to accommodate the
large music program and the new organ, installed front and center as a backdrop
for the worship space. The project incorporated the organ's design into the
greatly expanded chancel, harmonizing with the stately American colonial
architecture of the building.

The tonal design is a contemporary adaptation of American
organbuilding styles prevalent when the church was originally built. One notes
a large percentage of wood pipes as in earlier times. There are more open and
harmonic stops than one might typically see in new "eclectic"
instruments. The disposition of the flute choruses, large-scaled Great Open
Diapason, and plaintive English Oboe are also reminiscent of many 19th-century
organs. The inclusion of mixtures on both manuals, a full battery of Swell
reeds, employment of contemporary voicing techniques and classic scaling
concepts provides a contemporary sound for leading hymn singing, accompanying
choral and instrumental ensembles, and rendering a wide variety of solo
literature.

The Great division is located in the left side of the organ
case, with the Swell enclosed on the right side. The Pedal is divided between
both the Great and Swell. Facade pipes are from the Pedal 8' Octave and Great
8' Open Diapason, made from lightly polished English tin. Members of the Buzard
staff include: Phillip Campbell, Brian K. Davis, Stephen Downes, Charles Eames,
Michael Fisher, Charles R. Leach, Stuart Martin, Jay Sallmon, and Ray Wiggs.
Eva Wedel is minister of music of the church; Barbara Thorsen is organist.

GREAT

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

8'
style='mso-tab-count:1'> Open
Diapason (tin - facade)

8'
style='mso-tab-count:1'> Melodia
(open wood)

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

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

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

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

8'
style='mso-tab-count:1'> Minor
Trumpet (Sw 16')

Cymbalstern

Gt
16-UO-4

Sw
16-8-4

SWELL

8'
style='mso-tab-count:1'> Stopped
Diapason (wood)

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

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

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

4'
style='mso-tab-count:1'> Harmonic
Flute (open metal)

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

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

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

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

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

4'
style='mso-tab-count:1'> Clarion
(ext 16')

Tremulant

Sw
16-UO-4

PEDAL

32'
style='mso-tab-count:1'> Subbass
(1-12 elect ext Bourdon)

32'
style='mso-tab-count:1'> Lieblich
Gedeckt (1-12 elect ext Gt)

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

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

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

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

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

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

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

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

4'
style='mso-tab-count:1'> Clarion
(Sw 16')

Gt
8-4

Sw
8-4

B. Rule & Co.,
New Market, TN, has recently completed a four-stop practice organ for a
residence in Knoxville, TN. A simple mechanical action of cherry backfalls and
correctly-sized pallet valves ensure a responsive touch, including a definite
sense of "pluck." The action compensates for seasonal humidity
changes. Several ranks of 19th-century pipework, small-scaled and gently
voiced, were incorporated into the organ.
The old Vox Humana was revoiced into a regal-type reed. The Principal
4', made by Paul Byron of York, ME, has eight polished tin pipes in the facade.
The customer, who has experience with building harpsichords from kits, was able
to do some of the work, including painting the case, recovering the recycled
keyboards (c. 1865) with boxwood, and cutting out the patterns in the
ornamental center door panels. Windpressure 23/4"; temperament 1/6 comma,
after van Biezen; compass 56/30; couplers I/Ped, II/Ped, II/I.

MANUAL I

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

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

MANUAL II

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

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

PEDAL

I/Ped

II/Ped

The Schlicker Organ Company, Buffalo, NY, has built a new organ for Forest Park United Methodist
Church, Fort Wayne, IN: three manuals, 36 ranks. The new organ replaces an
instrument that was severely damaged by fire. Some of the pipework was
restored, rescaled, and revoiced in keeping with the concept of the new instrument.
The 3-manual English style console is moveable, and the choir has flexible
seating, allowing a variety of performance possibilities. Chest design is
electric slider with a solid state combination action.

GREAT

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

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

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

8'
style='mso-tab-count:1'> Gemshorn
(ext, prep)

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

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

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

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

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

Chimes

Zimbelstern

SWELL

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

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

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

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

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

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

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

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

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

16'
style='mso-tab-count:1'> Oboe/Bassoon

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

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

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

Tremolo

CHOIR

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

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

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

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

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

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

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

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

Tremolo

FANFARE (prep)

16'
style='mso-tab-count:1'> Trompeta
(tc, ext)

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

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

PEDAL

32'
style='mso-tab-count:1'> Resultant
(Gemshorn & Bourdon)

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

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

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

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

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

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

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

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

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

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

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

John-Paul Buzard Pipe Organ Builders,
style='font-weight:normal'> Champaign, IL, has built a new organ for First
United Methodist Church, Park Ridge, IL: Opus 15, 34 stops, 42 ranks. The
church is a brick structure designed in the 1920s by a member of the
congregation. Of Tudor influence, the exterior features patterned brickwork,
interesting chimney treatments, and lavish half-timber work. The sanctuary's
interior features heavy hand-adzed dark oak beams, almost square windows, and
low arches.

The organ's cases were inspired by the oldest extant pipe
organ, in Sion, Switzerland. The heavy embattlement crenelations and mouldings
atop the towers and flats match details in the room and in architecture of the
period. The arched facade openings match the stained glass window frames and other broad arches elsewhere in the building. The casework of white oak is stained to harmonize with other furnishings. A simple universal pattern woven into circles is used for the pipeshades.

Tonal design was inspired by English cathedral organbuilding
style. A straight 3-manual organ would not fit within the available space or
projected budget, but the organ had to have a wide variety of unison colors,
complete choruses, mutation stops, reed stops for the Full Swell, a profound
pedal, and a high volume solo stop. A two-manual, divided swell concept was
developed to offer accompanimental flexibility and eliminate duplicate stops
needed to fill out a complete third division. Although inspired by English
examples, it is not an English romantic organ. A light articulation in the
speech of appropriate stops, moderate wind pressures, and inclusion of mutation
and mixture stops serve to make this an American organ of the 1990s.

Because of limited space in the balcony, the Great division
is housed in a free-standing case in front of the balcony rail; the Swell and
Pedal are in the balcony behind matching casework. The Great case is supported
by columns extending to the nave floor. English tin of 75% was used for the
facade pipes, incorporating the Great 8' Open Diapason, 4' Principal, and Pedal
8' Octave. Great flutes are 50% tin with relatively small mouths. Reed pipes,
with the exception of the low octave of the Pedal Trombone, are made entirely
of 50% tin, and utilize English shallots with varying degrees of opening and
taper. The Tuba 8' is horizontally mounted atop the swell box, just behind the
flats. The pipes retained from former instruments were thoroughly rebuilt and
revoiced for the new tonal concept. The Buzard staff included: Brian Davis,
voicer, pipe repair, tonal finishing; Stephen Downes, windchests, winding
system, framing, installation; Charles Eames, engineering, windchests,
electrical system, management; Michael Fisher, pipe repair, tonal finishing;
Charles Robert Leach, case, framing, installation; Stuart Martin, case,
framing, installation; Jay K. Salmon, office and Zen management; Ray Wiggs,
windchests, console, installation.

--John-Paul Buzard

GREAT

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

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

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

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

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

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

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

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

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

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

8'
style='mso-tab-count:1'> Minor
Trumpet (Sw 16')

Tremulant

Cymbalstern

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

8'
style='mso-tab-count:1'> Tuba
Solo (C25-C61)

SWELL "A"

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

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

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

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

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

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

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

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

4'
style='mso-tab-count:1'> Clarion
(from 16')

Tremulant

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

8'
style='mso-tab-count:1'> Tuba
Solo (C25-C61, Gt)

SWELL "B"

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

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

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

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

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

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

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

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

Tremulant

PEDAL

32'
style='mso-tab-count:1'> Subbass
(1-12 electonic)

32'
style='mso-tab-count:1'> Lieblich
Gedeckt (1-12 electr)

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

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

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

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

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

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

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

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

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

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

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

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

4'
style='mso-tab-count:1'> Clarion
(Sw 16')

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

* denotes old pipework

Austin Organs, Inc.,
Hartford, CT, has recently completed its Opus 2759 for Christ Church UCC
Congregational, Brockton, MA. The new building is octagonal in shape with the
organ situated 90° from the chancel. This position places the choir in
front of the organ with the solid-state drawknob console centered. The room
enjoys a favorable acoustic. The entire Choir division is prepared for. The
facade is composed of pipes from the Great 8' Principal, Great 8' Harmonic
Flute, Pedal 16' Principal, and Pedal 8' Octave. Director of music and organist
is J. Kimball Darling.

GREAT

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

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

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

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

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

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

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

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

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

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

Tremulant

Chimes

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

CHOIR (prep)

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

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

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

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

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

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

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

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

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

Tremulant

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

PEDAL

32'
style='mso-tab-count:1'> Resultant

16'
style='mso-tab-count:1'> Principal
(ext Gt 8')

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

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

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

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

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

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

8'
style='mso-tab-count:1'> Gedeckt
(Ch, prep)

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

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

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

16'
style='mso-tab-count:1'> Trombone
(ext Gt 8')

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

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

4'
style='mso-tab-count:1'> Cromorne
(Ch, prep)

T. R. Rench and Co., Racine, WI, has completed a new organ for Coon Valley Lutheran Church, Coon Valley, WI. This is the third pipe organ in this Norwegian Lutheran church, and replaces a theatre organ installed in the 1950s. (The style 135 Wurlitzer is being re-installed in its original theatre in nearby Viroqua, WI.) Containing 17 sets of pipes (19 ranks), the new organ is of electro-pneumatic construction, and all windchests are of the unit type. Windpressures are 5" for the 16' Trumpet and 33/4" for the organ in general. The stoplist reflects 19th-century American and German Romantic tonal styles. However, a Cornet group is provided and the Swell division contains the basic elements of a Positive division. The layout of the instrument has the Swell in the organ chamber and the Great in front, contained by casework of walnut and mahogany. The front display pipes are from the church's first organ, restored to the original stencil designs and colors. Consultant to the church council was John Henley of Sauk City, WI.

GREAT

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

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

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

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

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

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

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

IIIMixture

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

13/5' Tierce

11/3'
style='mso-tab-count:1'> Larigot (ext)

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

Tremulant

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

PEDAL

16'
style='mso-tab-count:1'> Sub
Bass

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

8'
style='mso-tab-count:1'> Open
Bass

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

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

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

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

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

The Schlicker Organ Company, Buffalo, NY, has built a new organ for First United Methodist Church,
Green Bay, WI. The 29-rank organ is located in divided cases in the rear
gallery, allowing it to speak clearly into the nave. The tonal concept provides
a complete 2-manual organ with 8' Principal choruses in each division. In order
to increase tonal flexibility for solo literature as well as accompanying the
choir, three Swell stops were given a separate manual and couplers as a Solo
division. This allows them to be used as part of the Swell chorus or in
contrast to it. The three-manual, terraced drawknob console is prepared for a
future antiphonal division, playable from the Solo manual. Schlicker's artistic
director, J. Stanton Peters, designed the specification and scaling to include
broad scaled principals with high cut-ups and a wide spectrum of colors, producing
a vocal quality and versatility in its liturgical function.

GREAT

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

Tremolo

SOLO (enclosed with Swell)

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

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

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

Tremolo

ANTIPHONAL (prep)

PEDAL

32'
style='mso-tab-count:1'> Resultant

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

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

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

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

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

IV
style='mso-tab-count:1'> Mixture
(prep)

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

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

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

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

Visscher Associates,
Santa Cruz, CA, has built a new organ for Trinity United Methodist Church,
Chico, CA. Casework is of California walnut and Eastern black walnut. Facade
pipes in the towers are of polished copper, with the center pipe in each
"point" having a "flamed" upper lip of polished tin. Facade
pipes in the flats are of 75% tin. Key and stop action are mechanical. Swell
shades immediately behind the facade pipes provide expression for the manual
stops except the 8' Prestant. The depth from the wall to the front of the case
is 60 inches, which allows choir members to stand in front of the organ when
singing. To make the organ this shallow, bottom octave pipes of the Pedal 16'
Subbass and 16' Bassoon were located in recesses on the back wall to either
side of the main case. Having only space and funds for a smaller organ of 14
stops, the decision was made to opt for what is basically a single manual division with "either-or" registration, allowing any of the manual stops to be played on either keyboard. The option not taken, of dividing the stoplist between two independent divisions, would significantly decrease registration possibilities. Manual stop levers move up to the "on" position for the upper keyboard, to a detent in the middle for off, and down to the "on" position for the lower keyboard. The bottom 12 pipes of the 16' Contra-Bassoon are unique in that they employ "Haskell" miters for
the bottom octave. The two-piece resonator has a half-length "cap" of
parallel proportions fitting over a half-length, tapered bass, creating a
continuous taper, full-length, 16' resonator in nine feet. Dr. David Rothe was
consultant and played the dedication recital. Molly Wadsworth was chair of the
organ committee, and Ellen Rowan is Pastor of the church. Visscher Associates'
staff involved in building this organ included Lorraine Emery, Bret Smith,
Timothy O'Brien, Ernesto Sustaita, Gwen Shupe, and William Visscher.

MANUAL I or II

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

8'
style='mso-tab-count:1'> Viol
(1-4 from Gedeckt)

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

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

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

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

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

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

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

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

Chimes

PEDAL

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

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

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

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

Accessories

Tremulant

16' Contra-Bassoon reversible

I/Ped reversible

II/Ped reversible

II/I reversible

J.F. Nordlie Company,
Sioux Falls, SD, has built a new organ for Edina Community Lutheran Church,
Edina, MN: an electro-mechanical action instrument of six ranks. The free
standing case and open keydesk are constructed of rift sawn red oak. The low 20
pipes of the Principal 8' are made of polished aluminum and make up the facade.
The console is connected to the organ by a single fiber optic cable allowing
flexibility in placement. The integrated combination/relay action as built by
Matters, Inc., allows complete programmable control over the switching system
and a sophisticated combination action complete with transposer and player
mechanism. Carsten Slostad is Music Director for the church and served as
consultant on the organ project. The organ was built in the Nordlie shop by
craftsmen John F. Nordlie, Paul E. Nordlie, Trintje Nordlie, David L. Beyer,
Martin D. Larsen, Eric Grane, James Greenwald, and Beth MacDonald.

Analysis

A Bourdon 16' 85 pipes, 13-85 enclosed, 1-24 wood, variable
scale, 1-40 Gedackt, 41-54 Rohrflöte, 55-85 Blockflöte

B Principal 8' CC-g'' 44 open metal pipes unenclosed, 1-20
aluminum facade

C Octave 4' c°-g'''' 56 open metal pipes unenclosed

D Gemshorn 8' 85 pipes, enclosed, variable scale

E Quinte 11/3' CC-d''' 51 pipes, enclosed, variable scale

F Terz 13/5' c°-d''' 39 pipes, enclosed

G Trumpet 16' prepared

GREAT

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

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

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

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

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

4'
style='mso-tab-count:1'> Rohrflöte
A

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

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

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

1'
style='mso-tab-count:1'> Mixture
II-III D&E

16'
style='mso-tab-count:1'> Trumpet
G (prep)

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

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

SWELL

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

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

4'
style='mso-tab-count:1'> Rohrflöte
A

4'
style='mso-tab-count:1'> Gemshorn
D

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

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

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

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

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

16'
style='mso-tab-count:1'> Trumpet
G (prep)

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

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

PEDAL

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

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

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

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

51/3'
style='mso-tab-count:1'> Quint A

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

4'
style='mso-tab-count:1'> Gedackt
A

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

11/3'
style='mso-tab-count:1'> Mixture III
C&E

16'
style='mso-tab-count:1'> Harmonics
D

16'
style='mso-tab-count:1'> Trumpet
G (prep)

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

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

MIDI

Eight programmable stops x nine levels memory for a total of
72 MIDI stops. All stops with choice of coupling or non-coupling and accessible
in any division. Connections for MIDI in, MIDI out, and MIDI thru.

New Organs

Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California

Opus 46

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

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

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

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

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

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

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

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

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

--Quimby Pipe Organs, Inc.

GREAT (unenclosed)

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

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Quint

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

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

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

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

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

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

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

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

Tremolo

Chimes
(Solo)

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

Tower
Chimes (prepared for)

MIDI
on Great

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

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

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

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

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

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

Tremolo

Chimes
(Solo)

MIDI
on Swell

CHOIR (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

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

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

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

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

Tremolo

Chimes
(Solo)

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

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

MIDI
on Choir

SOLO (enclosed)

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

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

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

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

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

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

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

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

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

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

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

Tremolo

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

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

Tower
Chimes (prepared for)

Chimes
(20 tubes)

MIDI
on Solo

PEDAL (unenclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Chimes
(Solo)

MIDI
on Pedal

Lively-Fulcher Organbuilders, Alexandria, Virginia

St. Olaf Catholic Church,
Minneapolis, Minnesota

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

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

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

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

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

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

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

--Lynn Trapp

GRAND ORGUE

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Quinte

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

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

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

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

Tremulant

Octaves
graves

Récit
sur G.O.

Positif
sur G.O.

Bombarde
sur G.O.

POSITIF EXPRESSIF

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

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

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

Tremulant

Octaves
graves

Récit
sur Positif

Bombarde
sur Positif

Positif
unison off

RÉCIT EXPRESSIF

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Octaves
graves

BOMBARDE (floating)

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

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

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

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

PÉDALE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tirasse
Bombarde

Tirasse
G.O.

Tirasse
Positif

Tirasse
Récit

G.O./Positif manual transfer

Chimes sur G.O.

Tower Bells sur Récit

Cymbelstern

Pedal & Manual pistons coupled

Sequencer

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

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

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

--Weston Harris

GREAT (enclosed)

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

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

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

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

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

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

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

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

Mixture
IV

Cymbale
III

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

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

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

Tremulant

Gt/Gt
16-4

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Sw/Sw
16-UO-4

POSITIV (unenclosed)

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

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

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

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

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

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

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

Pos/Pos

Pos/Gt

Tower
Bells (8 Whitehall bells)

STATE TRUMPET (unenclosed)

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

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

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

Trumpet
to Gt

Trumpet
to Sw

Trumpet
to Pos

PEDAL (enclosed in Great)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Full interdivisional couplers

*indicates unification

New Organs

Files

webDiapSept08p32.pdf (214.98 KB)

Glück New York,
New York, New York
Leon Lowenstein Memorial Auditorium, Congregation Emanu-El, New York, New York
The Fox Memorial Pipe Organ began its career as M. P. Möller’s Opus 9718 of 1962, designed by Dr. Robert S. Baker in collaboration with John H. Hose, tonal director of the Möller firm. The instrument was installed behind draperies in the amphitheatre choir loft of the 1,100-seat auditorium, which is designed to transform from a concert and lecture venue into a fully equipped summer sanctuary. Only the 16' Contrebasse and 16' Hélicon are partially visible from the auditorium. The placement of the instrument near the choir’s microphones (also used for radio broadcasts) forced an unhappy situation of under-scaled and feebly winded pipes, with closed toe holes and mouth heights as low as 1/6 cut-ups.
After 45 years, the temple contracted with Glück New York to tonally redesign the instrument and replace its mechanical systems. The solid-state drawknob console retains the original ivory keyboards and tiger maple pedalboard. The organ’s remote pneumatic relays and combination stacks were replaced with solid-state equipment.
The new tonal design moved from a typical American church organ of the period toward a warmer, fuller, rounder sound. Some of the mid-century tonal concepts that were of no use in the synagogue service (such as the two pseudo-baroque 4' reeds) were replaced by voices more essential to the liturgy. Many of the flue pipes had been left with untreated languids and were cut up only high enough to get them to speak. Furthermore, they had not had their toe holes opened, and could be considered essentially new and unvoiced, an added bonus in the context of the project. The unusual Shofar stop was designed by W. Adolph Zajic (1909–1987) and built with only six pipes; the organ’s new relay is prepared to fill out the stop in the future.
The new specifications were drawn up by Sebastian M. Glück, artistic and tonal director of the firm, who also carried out the voicing and tonal finishing. Albert Jensen-Moulton, general manager, was responsible for all technical aspects of the project. The three other pipe organs in the temple complex include a IV/135 in the sanctuary and a III/35 in Beth-El Chapel, both by the Glück firm. A fourth pipe organ, a II/7 Wilfred Lavalée in Greenwald Hall, was removed in the 1990s.
—Sebastian M. Glück

Fox Memorial Pipe Organ
Leon Lowenstein Memorial Auditorium, Congregation Emanu-El, New York, New York

GRAND-ORGUE
Manual II, unenclosed, 31'4' wind
16' Bourdon
8' Montre
8' Bois ouverte
8' Violon sourdine
4' Prestant
2' Doublette
Plein jeu IV
8' Shofar
Tremblant
Jeux empruntés:
8' Bourdon (Pos)
8' Voix angélique (Pos)
8' Voix mystique (Pos)
4' Flûte (Pos)
8' Hautbois (Réc)

RÉCIT-EXPRESSIF
Manual III, enclosed, 4' wind
8' Viole de gambe
8' Voix céleste
8' Flûte à cheminée
4' Prestant
4' Flûte harmonique
2' Flûte à bec
Fourniture III
16' Basson
8' Trompette
8' Hautbois
Tremblant
8' Trompette de fête (Pos)

POSITIF-EXPRESSIF
Manual I, enclosed, 4' & 6' wind
8' Violon sourdine (G-O)
8' Voix angélique
8' Voix mystique
8' Bourdon
4' Prestant (prep)
4' Flûte
22'3' Nazard
2' Quart de nazard
13'5' Tierce
8' Clarinette
Tremblant
8' Trompette de fête

PÉDALE
Unenclosed, 4' wind
16' Contrebasse
16' Sous basse
16' Violoncelle sourdine (ext G-O)
16' Bourdon (G-O)
8' Octavebasse
8' Flûte
8' Bourdon (Pos)
8' Violon sourdine (G-O)
4' Quinzième
4' Cor de nuit
Mixture II
32' Aliquots graves
16' Hélicon
16' Basson (Réc)
8' Trombone
8' Basson (Réc)

Fabry, Inc., Antioch, Illinois
Immanuel Presbyterian Church, Milwaukee, Wisconsin
Located in one of the oldest neighborhoods in Milwaukee, Immanuel Presbyterian Church has held a place of honor on Yankee Hill, overlooking Lake Michigan. In 1881 the church purchased what is now the core of the present instrument. Nearly all of the unison voices and lower are from the original instrument, including the 16' Double Open Diapason and 16' Principal, both of which are wood. During the next 120 years, additions and rebuilds occurred, bringing the instrument to its current state, still preserving over 75% of the original instrument. In 1965, the organ was fitted with a used Austin three-manual console. While the console worked well for a time, it was clear a new console was needed. When Fabry, Inc. was contacted to do the work, the previous curator had left many parts, tools and pipes in the organ area. Among these items was an 8' French Horn, purchased by the church and awaiting installation.
Fabry, Inc. undertook the following to improve the usability and tonal palette of the organ. An all-new three-manual drawknob console was custom crafted by David G. Fabry to control the 67-rank, 71-stop instrument. Utilizing the ICS-4000 combination action and relay system, this console and interface brings the 1881 Hook & Hastings into the 21st century. The aforementioned French Horn received a new chest built by David G. Fabry, and was installed in the String division with its own dedicated electric tremolo. A new electric extension of the 16' Bassoon in the Swell was installed, fully utilizing this rescaled 8' stop to a greater degree. Other smaller jobs, such as bracing and reworking the ventilation system were also completed at this time. While one half of the organ had been re-wired with PVC-coated wiring, the other half was brought up to standard.
Fabry, Inc. would like to thank the Rev. Deborah A. Block, pastor; Steven J. Jensen, organist; and John S. Komasa, director of music.
—Phil Spressart

GREAT
16' Open Diapason
16' Bourdon
8' Open Diapason
8' Chimney Flute
8' Doppel Flute
8' Aeoline (TC)
8' Gamba
8' Gemshorn
4' Octave
4' Harmonic Flute
22'3' Twelfth
2' Fifteenth
2' Waldflöte
2' Mixture IV
16' Double Trumpet
8' Trumpet
8' Tuba Mirabilis (Ped)
4' Clarion
Cathedral Chimes
Great 4
Great Unison Off
Great 16

SWELL
16' Lieblich Gedeckt
8' Open Diapason
8' Stopped Diapason
8' Viole d’Gambe
8' Viole Celeste
4' Octave
4' Flute Traverso
22'3' Nazard
2' Flautino
13'5' Tierce
11'3' Plein Jeu III
16' Bassoon (1–12 elec.)
8' Hautbois
8' Trumpet
8' Vox Humana
4' Clarion
Tremolo
Swell 4
Swell Unison Off
Swell 16

CHOIR
8' Geigen Principal
8' Melodia
8' Viol d’Amour
8' Viol Celeste
4' Octave
4' Stopped Flute
2' Piccolo
11'3' Larigot
22'3' Mixture II
8' Clarinet
8' Tuba Mirabilis (Ped)
8' Harp Celeste
Mockingbird
Cymbelstern
Tremolo
Choir 4
Choir Unison Off
Choir 16

STRING
8' Dulciana
8' Violon Cello
8' Cello Celeste
8' Violin Sordo
8' Violin Celeste
8' French Horn
Tremolo

PEDAL
32' Violone (1–12 elec.)
32' Contra Bourdon (1–12 elec.)
16' Double Open Diapason
16' Principal
16' Bourdon
16' Lieblich Gedeckt (Sw)
16' Violone (Gt)
8' Octave
8' Bass Flute
8' Holzgedeckt
8' Violin Cello
4' Fifteenth
2' Mixture III
32' Bombarde (1–12 elec.)
32' Contra Trombone
16' Bassoon (Sw)
16' Double Trumpet (Gt)
16' Trombone
8' Tromba
4' Tromba

New Organs

Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

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

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

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

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

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

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

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

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

Great
to Great 4

Swell
to Great 16-8-4

Choir
to Great 16-8-4

Zimbelstern

SWELL

16' Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass (32 pipes)

II Rauschquint (64 pipes)

II Mixture (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

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

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

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

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

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

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

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

Positiv
to Hauptwerk

Hauptwerk
to Pedal

Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

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

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

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

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

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

Gt
& Sw to Ped 8

Sw
to Gt 16-8-4

Gt
4

Sw
16-UO-4

Antiph
to Ped 8

Antiph
to Gt 8

Antiph
to Sw 8

New Organs

J. F. Nordlie Co. Pipe Organ Builders
style='font-weight:normal'>, Sioux Falls, SD, has built a new organ, opus 27,
for Faith Lutheran Church, Prairie Village, KS. The contemporary architecture
of the church prompted a dramatic case design. Asymmetrical shapes in the room
suggested a balanced, angular silhouette. Disjunct ceiling planes necessitated
a single tower for the Pedal and a front/back arrangement for the Great/Swell.
The large painted case is softened by richly-hued light from the ceiling clerestory. Natural pipe lengths further enliven the facade, as do the contrasting metals of the front pipes. Placement high in the rear gallery is ideal for leading congregational song and supporting voices and instruments. The organ project spanned eight years of planning and fund-raising for the congregation. Mechanical key and coupler actions, solenoid motors control sliders and drawknobs; flexible winding via a Meidinger blower and multiple reservoirs; wind presssure 74mm manuals, 85mm pedal; casework of painted poplar and maple; keydesk, pipe shades, and other decorative elements made of oiled walnut; manual keys plated with ebony on cherry naturals, and polished bone on cocobolo sharps; pedal keys of oak, maple and walnut; drawknobs turned from cocobolo with engraved bone nameplates; metal pipes by A. Grunemann (Germany) and J. Stinkens (Netherlands); reeds by R. Killinger (Germany); wood pipes by Nordlie workshop; tuning (scroll & cone) after Vallotti's 18th-century well-tempered plan. Organist: Dr. O. Wayne Smith; consultant: Dr. Ted Stewart; dedication: September 24, 1995; 30 stops, 27 voices, 33 ranks, 1718 pipes. Couplers: Gt/P, Sw/P, Cont/P, Sw/Gt; tremulant to manual divisions; balanced Swell pedal and Register Crescendo; multi-level combination action; compass 56/30.

GREAT

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

8'
style='mso-tab-count:1'> Prestant
(polished tin facade)

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

CONTINUO

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

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

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

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

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

Zimbelstern
(prep)

PEDAL

16'
style='mso-tab-count:1'> Prestant
(flamed copper facade)

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

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

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

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

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

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

The Bedient Pipe Organ Co., Lincoln, NE, has built a new organ, opus 44, for St. Luke's Chapel at
the Medical University, Charleston, SC. The case is of white oak, pipe shades
of red gum; 12 stops, 15 ranks, 791 pipes; compass 58/30; mechanical key and
stop action. St. Luke's Chapel is a historic structure that was severely
damaged during hurricane Hugo. The several-times-rebuilt Hutchings and Votey
organ was destroyed during the storm. Consultant and dedication organist was
Dr. William Gudger.

GREAT

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

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

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

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

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

Mixture
II-III

CHOIR

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

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

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

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

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

PEDAL

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

Gt/Ped

Ch/Ped

Ch/Gt

Tremulant

Visser Rowland Associates, Inc., Houston, TX, has built a new organ, opus 109, of 30
stops, for the Church of the Holy Spirit, San Antonio, TX. Pieter Visser
designed the organ and supervised its construction. Pascal Boissonet voiced the
organ. The case is built into a shallow chamber near the choir to the left of
the sanctuary. Facade pipes to the left are of the Pedal Prinzipal, and to the
right are of the Hauptwerk; the Schwellwerk is in the middle of the case, with
pipes shades designed and executed by Ron Williams. The anticipated Positiv
division will be above the Hauptwerk. Manual chests follow the company's
standard tierce layout; Pedal chest is in octave groups chromatically. The wind
system has one single rise weighted bellows with wooden wind trunks throughout.
The console is detached and reversed. The consultant was Fr. Vaughan Fayle,
O.M.I.

POSITIV (prep)

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

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

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

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

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

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

MIDI

Zimbelstern

HAUPTWERK

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

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

8'
style='mso-tab-count:1'> Rohrflöte

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

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

2'
style='mso-tab-count:1'> Waldflöte

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

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

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

SCHWELLWERK

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

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

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

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

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

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

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

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

Tremulant

PEDAL

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

102/3'
style='mso-tab-count:1'> Quinte

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

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

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

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

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

MIDI
(prep)

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