Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

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

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

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

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

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

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

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

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal  (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

                        Great
to Great 4

                        Swell
to Great 16-8-4

                        Choir
to Great 16-8-4

                        Zimbelstern

SWELL

16'  Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola  (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4       

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave  (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass  (32 pipes)

II Rauschquint (64 pipes)

II Mixture  (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

 

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

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

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

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

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

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

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

                        Positiv
to Hauptwerk

                        Hauptwerk
to Pedal          

                        Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

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

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

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

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

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

                        Gt
& Sw to Ped 8

                        Sw
to Gt 16-8-4

                        Gt
4

                        Sw
16-UO-4

                        Antiph
to Ped 8

                        Antiph
to Gt 8

                        Antiph
to Sw 8

Cover Feature

Kegg Pipe
Organ Builders, Hartville, Ohio

First United
Methodist Church, Winnsboro, North Carolina

In an organ builder's life there come projects that for one reason or
another always remain close to one's heart. First United Methodist Church of
Winnsboro, South Carolina, is one such project. From the first contact by
consultant Stephen Williams of Allentown, Pennsylvania, to the final day of
tonal finishing, this project was and continues to be a delight to the eye, the
ear, and the heart of this builder.

The organ committee, headed by Jim Gladden, had one goal in mind: to have a
fine instrument that would serve the congregation in all its needs through the
21st century. The room is not large, seating about 300. The acoustic is on the
dry side, but sound travels well in the room. They knew that they did not need
or have room for a large instrument, but they desired an instrument that gave
them maximum musical versatility. Our design has provided them an instrument of
16 ranks and 13 independent stops. These ranks are used carefully to provide an
instrument that seems larger than it is. The previous Estey organ provided
three wood stops that fit well into the new design, namely the Gedeckt,
Hohlflute and Pedal Bourdon. There are no electronic imitation voices in the
organ.

There are several features of particular note in the design. The organ is
installed in a very compact space. I wanted to provide a 16' open flue stop,
and the Viole extension done in Haskell pipes has proven very valuable while
taking up little space. It provides the soft 16' line when used alone and also
adds point to the 16' Bourdon when used in combination. Its use as a double on
the Great adds just the amount of weight needed in a modest room. In order to
provide a strong leading voice in the organ, we have provided a Sesquialtera on
the Great; this is a 37-note stop running from C13 to C49. The pipes of the
22/3' pitch are taken from the bottom 37 pipes of the first rank of the
Mixture. Thus the Sesquialtera only requires the extra space for the small
pipes of the 13/5' rank. This stop can easily lead hymn singing when built
using the principal chorus. When built using flutes, it is a charming solo
voice.

Another feature that furthers the reputation of organ builders as innovators
is the air conditioning ducts. The previous organ had large A/C grilles
directly on the front of the case, blowing out over the heads of the choir
members. These had to stay and were not negotiable in the deep South, and being
a chorister myself, I could completely understand the request. But what to do?
I couldn't have grilles on the new case, or so I thought. Another look at the
case and you will find that there are indeed A/C grilles on the front in the
form of quatrefoils just below the impost.

This organ is installed in the existing chamber that opens out through the
right of three arches. The space available was 6' deep, 13' wide at the front
and 16' wide at the back. The height of the chamber went above the opening creating
a tone pocket that would hinder sound egress. The solution was to build a swell
box in the chamber, eliminating the excess space above the tone opening and
with it the tone pocket. The entire organ is under one expression except the
Great Principal 8', the Pedal Bourdon 16' and the chimes. While the organ is
very dense in the space available, all parts and pipes are easily accessible
for tuning and maintenance. The largest pipes of the wood Pedal Bourdon are
laying on the floor under the main chest. The blower is in a dedicated space in
the basement under the organ.

The stepped terrace drawknob console is what we normally provide with our
two-manual organs. It is very compact and easy to see over, and is fitted with
bone and rosewood keys as is our custom. The combination system by Z-Tronics
provides piston range and copy functions along with archive of memory levels to
disk. There is also a performance sequencer.

The organ was dedicated in concert on November 10, 2002 by consultant
Stephen Williams. I would like to acknowledge the organ committee chaired by
Jim Gladden, organist Esther Baughman, and Al Williams, without whom this
project would not have been possible. The people of First United Methodist
Church embraced the new organ from beginning to end in a way that brought
uncommon joy to the Kegg company. We were indeed honored to have been chosen.
We would invite you to stop and see this instrument when you find yourself in
the Charlotte or Columbia area.

--Charles Kegg

GREAT

9
ranks, 6 stops, 549 pipes

16' Violone
style='mso-tab-count:1'> 73 pipes

8' Prestant*
style='mso-tab-count:2'> 61
pipes

8' Hohlflute
style='mso-tab-count:2'> 73
existing pipes

8' Viole
(ext 16' Violone)

8' Viole
Celeste TC (Sw)

4' Octave
61
pipes

4' Gedeckt
(Sw)

2' Flute
(ext Hohlflute)

II Sesquialtera
style='mso-tab-count:1'> 37
pipes & from Mixture

IV Mixture
style='mso-tab-count:1'> 244 pipes

8' Trumpet
(Sw)

Chimes
(existing)

Great
4

Swell
to Great 16

Swell
to Great 8

Swell
to Great 4

*Unenclosed

SWELL

6
ranks, 6 stops, 390 pipes

8' Gedeckt
style='mso-tab-count:2'> 73
existing pipes

8' Viole
(Gt Violone)

8' Viole
Celeste TC 49
pipes

4' Principal
style='mso-tab-count:2'> 73
pipes

4' Hohlflute
(Gt)

22/3' Nazard
TC (ext Quinte)

2' Octave
(ext 4')

11/3' Quinte
49
pipes

16' Contra
Trumpet 85
pipes

8' Trumpet
(ext)

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

4' Clarion
(ext)

Tremulant

Swell
to Swell 16

Swell
Unison Off

Swell
to Swell 4

PEDAL

1
rank, 1 stop, 44 pipes

32' Resultant
(from Bourdon)

16' Bourdon
style='mso-tab-count:2'> 44
existing pipes

16' Violone
(Gt)

8' Prestant
(Gt)

8' Bourdon
(ext)

8' Viole
(Gt)

8' Gedeckt
(Sw)

4' Octave
(Gt 8')

16' Trumpet
(Sw)

8' Trumpet
(Sw)

4' Oboe
(Sw)

Great
to Pedal 8

Great
to Pedal 4

Swell
to Pedal 8

Swell
to Pedal 4

Tonal Resources

13
stops

16
ranks

983
pipes

Accessories

Expression
Pedal with indicator

Dual
level Crescendo Pedal with numeric ndicator

Concave
and radiating pedal clavier

Adjustable
Bench

Full
Organ indicator light

Combination
lock with indicator

Transposer

Performance
Sequencer

Photo credit: Charles Kegg

Kegg Pipe Organ Builders

1184 Woodland St. SW

Hartville, OH 44632

330/966-2499

www.keggorgan.com

Muller Pipe Organ Company, Croton, Ohio

First English
Lutheran Church, Mansfield, Ohio

Muller Pipe Organ Company has completed installation of the III/50 organ at
the First English Lutheran Church of Mansfield, Ohio. M. P. Möller
installed the original organ in 1950 (Opus 7997), and made tonal additions in
1961. In the 1980s, minor stopgap repairs were completed, and the Great 8'
Principal and 4' Octave ranks were replaced. In recent years, the condition of
the windchests and console had deteriorated nearly to the point of failure.

In addition to the new pipework, select ranks of the existing pipework were
restored, then revoiced and rebalanced to serve in new capacities within the
ensemble of the new instrument. The Great Organ now features a robust principal
chorus of new pipework, a full complement of flutes and strings, and a fiery
Trompette. The Swell Organ boasts a secondary principal chorus and a battery of
chorus reeds. The Choir Organ is both the most intimate and most colorful
division of the instrument, containing a flute-based Cornet and the sonorous
Clarinet from the original organ. The Antiphonal Organ (the Great principal
chorus in the original instrument) helps support congregational singing for
those seated in the rear of the nave. Due to its relatively poor placement,
this pipework was substantially revoiced and regulated to speak on much higher
wind pressure to insure adequate volume. The Pedal Organ, with its independent
principal chorus and powerful Posaune, provides an exciting foundation for the
instrument. From the softest stops to full organ, the instrument is versatile
and exciting, a wonderful example of the American Classic tradition.

The church completed significant renovations to the chancel area while work
was in progress at our facility. The new area is much more flexible, providing
a suitable space for orchestras or large choirs. Acoustics were improved by
replacing the plush carpeting in the chancel with hardwood flooring. In
addition, substantially improved tonal projection was achieved by removing the
original plaster wall that served as the front of the organ chamber and
replacing it with grille cloth.

The entire playing mechanism is new, with the exception of selected offset
windchests, replacing a problematic Möller mechanism. The beautiful
original console cabinet was refinished and fitted with wheels, and is playable
from three locations in the chancel. The ivory and ebony manual keyboards and
the pedal keyboard were restored. New solid-state operating systems were
installed, including MIDI with record/playback capability, as well as new
drawknob and tilting tablet assemblies. A custom music rack was built,
featuring walnut with bird's eye maple inlay, and a new adjustable bench with
backrest was provided.

For his invaluable contributions to the development of the specification, we
extend special thanks to Dr. Timothy E. Guenther, director of music and
organist of First English Lutheran Church (ELCA), and adjunct instructor in
organ and university organist, Ashland University of Ashland, Ohio.

--John Muller

Photo by Steven Elbert

GREAT

16' Violone

8' Principal

8' Bourdon

8' Viola

8' Erzähler

8' Erzähler
Celeste TC

4' Octave

4' Rohrflöte

2' Super
Octave

IV Mixture

8' Trompette

Chimes

Tremolo

SWELL (expressive)

16' Waldflöte

8' Geigen
Principal

8' Waldflöte

8' Salicional

8' Voix
Celeste TC

4' Geigen
Principal

4' Spillflöte

22/3' Nazard

2' Flageolet

III Plein
Jeu

16' Bassoon

8' Trumpet

8' Oboe

8' Vox
Humana

4' Clairon

Tremolo

CHOIR (expressive)

8' Rohrflöte

8' Dulciana

8' Unda
Maris TC

4' Principal

4' Koppelflöte

4' Dulciana

22/3' Nazard

2' Blockflöte

13/5' Tierce

11/3' Quint

8' Clarinet

Tremolo

ANTIPHONAL (expressive)

8' Principal

8' Spitzflöte

4' Octave

4' Spitzflöte

2' Fifteenth

III Mixture

PEDAL

16' Diapason

16' Bourdon

16' Waldflöte

16' Violone

102/3' Quint

8' Diapason

8' Bourdon

8' Waldflöte

8' Viola

4' Choral
Bass

4' Bourdon

II Mixture

16' Posaune

16' Bassoon

8' Posaune

8' Trumpet

4' Rohrschalmei

Chimes

Couplers

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

Ant/Gt
8-4

MIDI/Gt

[if !supportEmptyParas] [endif]

Sw/Sw
16-UO-4

Ant/Sw
8

MIDI/Sw

Ch/Ch
16-UO-4

Sw/Ch
16-8-4

Ant/Ch
8

MIDI/Ch

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

Ant/Ped
8

MIDI/Ped

Carillon
I

Carillon
II

John-Paul Buzard Pipe Organ Builders
of Champaign, Illinois, has built a new organ for St. Bartholomew Episcopal
Church, Estes Park, Colorado. Our opus 30 was installed during March, 2004,
ready for Palm Sunday, about a month ahead of the contracted schedule.

The church is a simple log cabin structure about 7,500 feet up in the Rocky
Mountains. The view of snow-capped Long's Peak through the plate glass window
behind the altar (along with the thin air) literally takes one's breath away.
Folks who have made their lives in this rugged terrain are used to doing things
pretty much for themselves, and in their own time. Witness their former pipe
organ, fondly nicknamed "Little Toot." This homemade three-rank
instrument (Diapason, Dulciana, Flute) served the congregation for many, many
years, until its deteriorating mechanical condition begged for replacement. The
old organ had been located in a cramped balcony projecting over the last four
rows of pews. It was too small for a choir, or for a pipe organ of adequate
size. The ceiling under the balcony was covered with acoustic tile, which at
best discouraged anyone seated there from singing. We began our conversations
with the church four years ago.

Folks who have made this church their parish home were also used to things
just the way they were, and so it was remarkable that they ultimately agreed to
remove the balcony, locate the organ in the elevated area over the narthex, and
provide space for a choir on the main floor of the nave. The instrument and the
reconfiguration of the space looks natural and relaxed, as though it had always
been that way.

The organ is small, but beautiful things come in small packages! The
instrument has a complete Principal chorus on the Great, flute choruses, a
string and celeste, as well as independent manual and pedal reeds. It is
intended to lead hymn-singing, accompany singers and other musicians, and play
voluntaries before and after services. The altitude was taken into account in
the organ's scaling, voicing, and engineering. The result is that, even though
small in the number of stops, it fills the building with a rich, full sound,
even when playing softly. The visual design plays upon the earth-tone colors in
the room, and the roof line. The organ speaks unimpeded down the axis of the
building.

Thanks to The Rev. M. Paul Garrett, rector; Martha Sandford, organ consultant;
and to The Rev. Al Persons, who, with his late wife Marcia, guaranteed the
purchase of the organ. Thanks also to the dedicated members of my staff who
make every project a special and life's work undertaking: Charles Eames,
executive vice-president; Brian Davis, associate tonal director; Keith
Williams, director of service; Shayne Tippett, production manager; Jay Salmon,
office manager; Stuart Martin, cabinetmaker; C. Robert Leach, cabinetmaker;
Kenneth McCabe, cabinetmaker; Stephen Downes, tonal assistant; Evan Rench,
pipemaker, tonal assistant, tonal department scheduling; Ray Wiggs, consoles,
windchests, wiring; Bob Ference, service technician; Jonathan Borchardt,
service technician; Stuart Weber, service technician; JoAnne Hutchcraft Rench,
receptionist, administrative assistant.

--John-Paul Buzard

[if !supportEmptyParas] [endif]

Buzard Opus 30: 14 stops, 17 ranks, across two manuals and
pedal; voiced on 4 inches wind pressure

GREAT

8' Open
Diapason (polished tin in façade)

8' Flûte
à Bibéron (metal chimney flute)

4' Principal

2' Recorder

11/3' Mixture
IV

Tremulant

Gt
16-UO-4

Sw/Gt
16-8-4

SWELL (expressive)

8' Stopped
Diapason

8' Salicional

8' Voix
Celeste

4' Spire
Flute

2' Principal

8' Minor
Trumpet

Tremulant

Sw
16-UO-4

PEDAL

16' Bourdon
(stoppered, wood)

8' Principal
(polished tin in façade)

8' Bass
Flute (ext)

4' Choral
Bass (ext)

16' Bassoon

Gt/Ped
8-4

Sw/Ped
8-4

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.

Cover

Buzard Pipe
Organ Builders, Champaign, Illinois

Opus 29,
completed November, 2003

All Saints
Episcopal Church, Atlanta, Georgia

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

--John-Paul Buzard

GREAT (4-inch wind pressure)

Manual II - unenclosed pipework

16' Double Open Diapason

8' First Open Diapason

8' Second Open Diapason (ext 16')

8' Viola da Gamba

8' Harmonic Flute

8' Bourdon

4' Principal

4' Spire Flute

22/3' Twelfth

2' Fifteenth

2' Fourniture V

13/5' Harmonic Mixture IV

16' Double Trumpet

8' Trombas (ext Ped)

4' Clarion (ext Ped)

Tremulant

Chimes

8' Major Tuba (20" wind)

8' Tuba Solo (melody coupler)

8' Fanfare Trumpets (Solo)

SWELL (4-inch wind pressure)

Manual III - enclosed and expressive

8' Open Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste

4' Principal

4' Harmonic Flute

22/3' Nazard

2' Flageolet

13/5' Tierce

22/3' Full Mixture V

16' Bassoon

8' Trompette

8' Oboe

8' Vox Humana

4' Clarion (ext 16')

Tremulant

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHOIR (4-inch wind pressure)

Manual I - enclosed and expressive

16' Lieblich Gedeckt (wood)

8' English Open Diapason

8' Flûte à Bibéron

8' Gedeckt Flute (ext 16')

8' Dulciana

8' Unda Maris

4' Principal

4' Koppel Flute

2' Recorder

2' Mixture III–IV (Dulcianas)

11/3' Fourniture IV

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

16' English Horn

8' Cornopean

8' Clarinet

Tremulant

Cymbalstern (14 bells)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

Harp (digital)

Celesta (digital)

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

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

8' Open Diapason

8' Viola da Gamba

8' Gamba Celeste (CC)

8' Melodia

8' Flute Cœlestis II (Ludwigtone)

4' Principal

4' Flûte d'Amour

2' Doublette

11/3' Mixture IV

8' Flügel Horn

8' Corno di Bassetto

Tremulant

Cymbalstern (8 bells)

Chimes (Gt)

8' Fanfare Trumpets

8' Major Tuba (Gt)

Harp (digital)

Celesta (digital)

PEDAL (various wind pressures)

32' Double Open Diapason (digital)

32' Subbass (digital)

32' Lieblich Gedeckt (Ch, digital)

16' First Open Diapason

16' Second Open Diapason (Gt)

16' Bourdon

16' Lieblich Gedeckt (Ch)

8' Principal

8' Bass Flute (ext 16' Bourdon)

8' Gedeckt Flute (ext 16' Lieblich)

4' Choral Bass

4' Open Flute (ext 16' Bourdon)

22/3' Mixture IV

32' Contra Trombone (wood)

16' Trombone (wood, ext 32')

16' Double Trumpet (Gt)

16' Bassoon (Sw)

8' Trumpet (ext 16')

4' Clarion (Sw)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHAPEL (4-inch wind, floating)

8' Open Diapason

8' Aeoline

8' Vox Angelica (tc)

4' Principal

Chapel on Great

Chapel on Swell

Chapel on Choir

Chapel on Solo

Chapel on Pedal

Intraddivisional couplers

Gt/Gt 16-UO-4

Sw/Sw 16-UO-4

Ch/Ch 16-UO-4

Solo/Solo 16-UO-4

Interdivisional couplers

Gt/Ped 8, 4

Sw/Ped 8, 4

Ch/Ped 8, 4

Solo/Ped 8, 4

Sw/Gt 16, 8, 4

Ch/Gt 16, 8, 4

Solo/Gt 16, 8, 4

Sw/Ch 16, 8, 4

Solo/Ch 16, 8, 4

Pedal Stops to Divisional Pistons

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

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

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

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

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

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

--Brent Johnson

Great (exposed)

16’ Violone*

8’ First Open Diapason

8’ Second Open Diapason

8’ Violoncello

8’ Harmonic Flute (Ch)

4’ Principal

4’ Flute Octaviante

2’ Fifteenth

IV Full Mixture

8’ Chorus Tuba (Ch)

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Chimes* (Ant)

Swell (expressive)

16’ Minor Bourdon*

8’ Open Diapason

8’ Stopped Diapason*

8’ Viola*

8’ Viola Celeste*

8’ Flauto Dolce*

8’ Flute Celeste*

4’ Octave Diapason

4’ Triangular Flute*

22/3’ Nazard*

2’ Recorder*

13/5’ Tierce*

IV Plein Jeu

16’ Waldhorn*

8’ Cornopean

8’ Oboe*

4’ Clarion

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Tremolo

Choir (expressive)

8’ Geigen (1-12*)

8’ Concert Flute

8’ Dolcan*

8’ Dolcan Celeste*

4’ Octave Geigen

4’ Transverse Flute

2’ Harmonic Piccolo

16’ Bass Clarinet

8’ Clarinet

8’ English Horn

8’ French Horn*

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

8’ Chorus Tuba

Tremolo

Harp*

Antiphonal (unenclosed - floating) (prepared)

8’ Festival Trumpet*

8’ Tuba Mirabilis*

Chimes*

Antiphonal Pedal (prepared)

Pedal

32’ Contre Bourdon*

16’ Open Wood

16’ Major Bourdon

16’ Violone* (Gt)

16’ Minor Bourdon* (Sw)

8’ Principal

8’ Flute

8’ Stopped Flute

4’ Octave

4’ Harmonic Flute (Gt)

32’ Ophicleide*

16’ Trombone (1–12*)

16’ Waldhorn (Sw)

8’ Tromba

8’ Trumpet (Sw)

4’ Oboe (Sw)

7-bell zimbelstern

*= Digital Voices

First Baptist Church, Ocala, Florida

 

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

 

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

David Kocsis, Wicks Area Sales Director writes:

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

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

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

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

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

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

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

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

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

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GREAT

1. 16' Montre

2. 16'    Bourdon

3. 8' Principal

4. 8' Montre (from #1)

5. 8' Flute Couverte

6. 8' Flute Harmonique

7. 4' Octave

8. 8' Gemshorn

9. 4' Nachthorn

10. 22/3' Twelfth

11. 2' Fifteenth

12. 2' Hohlflute (from #6)

13. 13/5' Seventeenth

14. IV-V Fourniture

15. IV Cymbale

16. 16' Kontra Trompete (from #17)

17. 8' Trompete

18. 8' Trompete en Chamade (10≤ w.p.)

19. Tremulant (Flutes)

20. Chimes [D]

21. Zimbelstern

22. Pedal Bass Coupler to Great

23. Swell Melody Coupler to Great

24. Solo Melody Coupler to Great

25. MIDI on Great

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SWELL (Enclosed)

26. 16' Bourdon Doux

27. 8' Geigen Principal

28. 8' Rohrflute (from #26)

29. 8' Viola Pomposa

30. 8' Viola Celeste

31. 8' Flauto Dolce

32. 8' Dolce Celeste TC

33. 4' Prestant

34. 4' Flauto Traverso

35. 22/3' Nazard

36. 2' Quarte de Nazard

37. 13/5' Tierce

38. IV-V Plein Jeu

39. III-IV Cymbale

40. 16' Contre Trompette

41. 8' Trompette

42. 8' Oboe

43. 8' Vox Humana

44. 4' Clairon (from #40)

45. 8' English Tuba (Ch)

46. 8' Trompette en Chamade (Gt)

47. Tremulant

48. MIDI On Swell

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CHOIR (Enclosed)

49. 16' Gemshorn [D]

50. 8' English Diapason

51. 8' Flute Ouverte

52. 8' Gemshorn

53. 8' Gemshorn Celeste TC

54. 4' Principal

55. 4' Koppelflute

56. 2' Principal

57. 11/3' Larigot

58. 1' Principal (from #56)

59. II Sesquialtera

60. IV-V Scharf

61. 16' Dulzian (from #62)

62. 8' Cromorne

63. 4' Rohr Schalmei

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

65. 8' English Tuba (12≤ w.p.)

66. 8' Trompette en Chamade (Gt)

67. 8' Harp [D]

68. 4' Harp Celesta [D]

69. Tremulant

70. MIDI On Choir

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SOLO (Enclosed)

15 Prepared Stops

71. 16' Trompette en Chamade TC (Gt)

72. 8' Trompette en Chamade (Gt)

73. 4' Trompette en Chamade (Gt)

74. 16' English Tuba TC (Ch)

75. 8' English Tuba (Ch)

76. 4' English Tuba (Ch)

77. MIDI On Solo

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ANTIPHONAL (Floating)

12 Prepared Stops

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ANTIPHONAL PEDAL

1 Prepared Stop

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PEDAL

78. 32' Contra Principal [D]

79. 32' Contra Bourdon [D]

80. 16' Open Wood

81. 16' Bourdon

82. 16' Principal

83. 16' Montre (Gt)

84. 16' Bourdon Doux (Sw)

85. 16' Gemshorn (Ch)

86. 8' Octave

87. 8' Major Bass (from #80)

88. 8' Bourdon (from #81)

89. 8' Viola (Sw)

90. 8' Open Flute (Ch)

91. 62/5' Gross Terz (Gt)

92. 51/3' Gross Quinte (Gt)

93. 4' Choral Bass

94. 4' Cantus Flute

95. 2' Flute (from #94)

96. IV Grave Mixture

97. IV Acuta

98. 32' Contra Bombarde [D]

99. 32' Contra Fagotto [D]

100. 32' Cornet des Bombardes IV

101. 16' Bombarde

102. 16' Contre Trompette (Sw)

103. 16' Kontra Trompete (Gt)

104. 16' Dulzian (Ch)

105. 8' Trompette

106. 8' Trompete (Gt)

107. 8' Oboe (Sw)

108. 4' Bombarde Clarion (from #101)

109. 4' Oboe (Sw)

110. 4' Schalmei (Ch)

111. 8' Trompette en Chamade (Gt)

112. 8' English Tuba (Ch)

113. Chimes (Gt)

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[D] = Digital Ranks

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Couplers

Sw/Gt 16 8 4

Ch/Gt 16 8 4

So/Gt 16 8 4

Ant on Gt

So/Sw 16 8 4

Ant on Sw

Sw/Ch 16 8 4

So/Ch 16 8 4

Ant on Ch

Ant on So

Gt 16 UO

Sw 16 UO 4

Ch 16 UO 4

So 16 UO 4

Ant UO 4

Gt/Ped 8 4

Sw/Ped 8 4

Ch/Ped 8 4

So/Ped 8 4

Ant/Ped 8

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

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GREAT

                  8'             Principal

                  8'             Rohrflöte

                  4'             Octave

                  2'             Octave

                                    Mixture

                                    Sesquialtera II (from middle c)

SWELL

                  8'             Rohrflöte

                  8'             Gamba (tenor C)

                  4'             Flute

                  2'             Octave

                  8'             Dulcian

PEDAL

                  16'          Bourdon

                  8'             Bourdon

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

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

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

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GREAT

                  8'             Open Diapason

                  8'             Melodia

                  4'             Octave

                  2'             Fifteenth

SWELL

                  8'             Stopped Diapason

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

                  4'             Harmonic Flute

                  8'             Oboe

PEDAL

                  16'          Bourdon

Accessories

                                    Sw/Gt

                                    Gt/Ped

                                    Sw/Ped

                                    Sw/Gt Octaves

                                    Tremolo

                                    Blower Signal

 

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois, Opus 38
St. Mark the Evangelist Catholic Church, San Antonio, Texas

St. Mark the Evangelist Catholic Church, San Antonio, is a vibrant Christian community of 5,000 families, located about twenty minutes north of the San Antonio International Airport in a new residential neighborhood on Thousand Oaks Drive. They have a well-deserved reputation for superior community outreach, building several Habitat for Humanity houses per year and operating a traveling meal program for the needy. Former organist and director of music and liturgy Lena Gokelman contacted me nearly twelve years ago to share ideas for a new pipe organ for the large church building then being planned. She and their consultant, Fr. James Brobst, traveled to Illinois to hear and play our instrument at Holy Family Catholic Church in Rockford, and were immediately convinced of the need to have the Buzard Sound at St. Mark’s.

St. Mark’s had no pipe organ in its original temporary sanctuary, and the majority of parishioners had never heard one. It was a daunting endeavor to educate the parish about the difference that a pipe organ could make in their liturgical and musical lives, and then convince them that they needed one! A long-standing parishioner was convinced, and through his anonymous generosity, made it happen.
This new organ is our 38th, and was designed to visually complement the sculpture of the Christus Rex, incised into and built out from the brick wall at the front of the assembly. The building seats about 1,000 people and is surprisingly lively in its acoustical environment. The organ itself is raised 18 feet above the floor and sounds nicely down the building’s axis. Sonically it fills the entire room whether playing soft or loud. The woodwork in the façade is solid white oak, stained and finished to relate to the church’s other woodworking. Pipes in the façade are made of polished tin and flamed copper.

Two sets of horizontal trumpets emphasize the aural excitement that a pipe organ can bring to a liturgical occasion. A high-pressure Tuba made of polished tin is in the organ’s façade; a polished copper set of Pontifical Trumpets on lower pressure is mounted over the entry doors. Lest one think that resources were squandered on an unnecessary luxury of two chamades, they were included only after the organ’s chamber space had been completely filled with the stops necessary for a full and proper classically conceived and romantically executed specification.

The choral singers are located in a “bump-out” area to the right of the building’s axis. Because the choir is effectively in another room, and cannot hear the organ clearly, we built a four-stop Choral Organ to accompany their singing, housed in a small free-standing case that stands behind them. These four stops are of sufficient tonal variety and volume gradations to support the choral singing in perfect balance. Stops from the main portion of the organ may also be used to supplement the Choral Organ’s sound.

The instrument contains 35 independent stops and 43 ranks of pipes across three manuals and the pedal keyboard. As in all Buzard organs, there is a wealth of tonal variety, even if the instrument is modest in size. At the hand of our tonal director Brian Davis, no two diapasons sound exactly alike; the flutes are liquid in tone and often take their cues from their orchestral counterparts; strings impart a warmth and keenness to the palette. The chorus reeds are spectacular, each stop having its own depth and degree of éclat; the plaintive German Romantic Oboe is a tremendously effective solo player, but also colors the Swell flues subtly. All metal pipes are made of rich, high tin-content metal of generous thickness. On-site tonal finishing took a month to accomplish.

The organ’s engineering was accomplished by our executive vice-president and chief engineer, Charles Eames. This instrument has the distinction of affording him one of his greatest challenges: designing a pipe organ with a 14-inch steel beam running through its center! Although chamber space was provided for a “future organ” when the church was built, neither architects nor contractors thought anything wrong about running a steel beam through its middle! Although the organ occupies a “chamber,” the instrument is still housed in a free-standing case. This allows the sound to effortlessly project into the church, and for us to minimize any variables while installing on-site. This also afforded us the opportunity to build a ventilation system that brings conditioned air from the church up to the top of the organ, spilling down naturally, thereby keeping the instrument in tune.

The parish is “between organists.” So, in order for the parishioners to hear what an organ could do for worship, I played for the three Sundays that I was in San Antonio voicing the organ. The first Sunday, people heard only those few stops that were finished. But by the second and third Sundays, I played the hymns, prelude, and postlude using the versatility of the entire instrument. The organ has been extremely well received by the parishioners, clergy, and the wider community. Organist David Heller will be dedicating it in a Solemn Pontifical Mass followed by a concert on Saturday, November 21.

My deepest thanks go to St. Mark’s for commissioning us to build this organ, especially to Pastor Kevin Ryan, administrator “Dot” Hamlin, our contact person Lena Gokelman, music director Dolores Martinez and her assistant Courtney Guernsey, facility manager George Wetherill, and Irene Marin, who makes the best tortillas I’ve ever tasted!

A pipe organ is far more than the sum of its parts, or the sum of the labor-hours of the tremendously dedicated individuals with whom I am blessed to work. They all deserve special recognition:

David Brown, foreman, service department and installation
Brian K. Davis, tonal director
Stephen Downes, metalworking, tonal assistant, installation
Charles Eames, executive vice-president and chief engineer
John Jordan, service technician
C. Robert Leach, cabinetmaker façade, general woodworking, installation
Stuart Martin, cabinetmaker façade and console cabinetry
Shane Rhoades, cabinetmaker, winding system, installation
Jay Salmon, office manager
Lyoshia Svinarski, cabinetmaker and wood finishing
Stuart Weber, service technician
John Wiegand, service technician and installation
Ray Wiggs, console, electrical and windchest specialist, installation
Keith Williams, director, service department
—John-Paul Buzard

St. Mark the Evangelist Catholic Church, San Antonio, Texas
Buzard Opus 38, completed August 1, 2009: 35 stops, 43 ranks

GREAT – Manual II
Unenclosed, 4″ wind pressure
16′ Lieblich Gedeckt
8′ Open Diapason (polished tin
in façade)
8′ Viola da Gamba
8′ Harmonic Flute
8′ Bourdon
4′ Principal
4′ Spire Flute
22⁄3′ Twelfth
2′ Fifteenth
2′ Mixture V (breaks at octaves)
Tremulant
8′ Tromba (ext Ped 16′ Tbn)
4′ Clarion (ext 8′)
8′ Major Tuba (polished tin, horizontal)
8′ Pontifical Trumpets (polished copper,
horizontal)
Great to Great 16′, UO, 4′
Swell to Great 16′, 8′, 4′
Choral to Great 16′, 8′, 4′

SWELL – Manual III
Enclosed, 4″ wind pressure
8′ English Open Diapason
8′ Stopped Diapason
8′ Salicional
8′ Voix Celeste (tc)
4′ Principal
4′ Harmonic Flute
22⁄3′ Nazard
2′ Recorder
13⁄5′ Tierce
22⁄3′ Full Mixture V
16′ Bassoon (full length)
8′ Trompette
8′ Oboe
Tremulant
Cymbalstern
8′ Major Tuba (Gt)
8′ Pontifical Trumpets (Gt)
Swell to Swell 16′, UO, 4′

CHORAL – Manual I
Encased, 3½″ wind pressure
8′ Principal (polished tin in façade)
8′ Gemshorn
4′ Octave
4′ Flute
Tremulant
8′ Major Tuba (Gt)
8′ Pontifical Trumpets (Gt)
Choral to Choral 16′, UO, 4′
Swell to Choral 16′, 8′, 4′

PEDAL – Unenclosed
32′ Subbass (1–12 digital, ext)
32′ Lieblich Gedeckt (1–12 digital, ext)
16′ Open Diapason (flamed copper and
polished tin in façade)
16′ Bourdon
16′ Lieblich Gedeckt (Gt)
16′ Metal Gedeckt (flamed copper in
façade of Choral Organ case)
8′ Principal (polished tin in façade)
8′ Spire Flute
8′ Bourdon (ext 16′)
8′ Gedeckt Flute (Gt)
4′ Choral Bass (ext 8′)
4’ Open Flute (ext 16′)
16′ Trombone (wood)
16′ Bassoon (Sw)
8′ Trumpet (ext 16′)
4′ Clarion (ext 16′)
8′ Major Tuba (Gt)
8′ Pontifical Trumpets (Gt)
Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Choral to Pedal 8′, 4′