New Organs

Bedient Pipe Organ Company, Roca, Nebraska, Opus 67

Holy Cross Evangelical Lutheran Church, Rocklin, California

A Boston model from Bedient’s Legacy Line is in
Rocklin, California, near Sacramento. The instrument features mechanical action
and comprises three sets of pipes, a keyboard of 56 notes and a pedalboard of
30 notes. The pedal is permanently coupled to the manual.

The organ has seventeen wood pipes made of poplar and 151
metal pipes made of an alloy of tin and lead for a total of 168 pipes.
Façade pipes have mouths gilded with 23-carat gold leaf. Casework is
made of white oak, and pipe shades are hand carved of white gum.

MANUAL

8’ Gedeckt

4’ Rohrflute

2’ Praestant

PEDAL

Manual
to Pedal coupler

Fabry Inc., Fox Lake, Illinois
First Congregational Church, Huntley, Illinois

Fabry Inc. recently completed a total rebuild of this
instrument. The organ was dismantled and returned to our shop facility for this
project. Originally we were contracted to rebuild the existing main chestwork;
however, upon inspection, we decided it was more economical to build totally
new main chests than rebuild the existing main chests.

The remainder of the rebuild included all new electric valve
manual main chests produced by Fabry Inc., electric expression motors, two
multiplex relays, electric tremolos, stainless steel slide tuners, releathered
main reservoirs, three new offset wind supply reservoirs, a new blower unit and
reservoir, and total solid state conversion of console. An 8’ Trumpet, a
four-rank mixture, and chimes were added in the Great, and a 22/3’
Sesquialtera II was added in the Swell.

Fabry Inc. would like to thank Richard Allen, chairman of
the music committee, who handled all negotiations and coordinated the entire
project. Vernon Studt is organist of the church.

David G. Fabry built all the new chestwork and console. Crew
leader Joseph Poland handled the reinstallation.

—David J. Fabry

GREAT

8’ Diapason

8’ Gross
Flute

8’ Gemshorn

8’ Dulciana

4’ Octave

4’ Flute
Harmonic

22/3’ Twelfth

2’ Fifteenth

IV Mixture

8’ Trumpet

Chimes

Tremolo

SWELL

16’ Bourdon

8’ Diapason

8’ Stopped
Diapason

8’ Salicional

8’ Voix
celeste

4’ Principal

4’ Flute
traverso

22/3’ Sesquialtera
II

8’ Cornopean

8’ Oboe

Tremolo

PEDAL

32’ Resultant

16’ Diapason

16’ Bourdon

8’ Diapason

8’ Flute

4’ Choral
Bass

4’ Flute

III Mixture
(prep)

Couplers

Gt
16-UO-4

Sw/Gt 16-8-4

MIDI/Gt,
Sw, Ped

Sw
16-UO-4

Gt/Ped
8-4

Sw/Ped
8-4

Glück New York,
New York, New York

New York Stake Center, The Church of Jesus Christ of
Latter-Day Saints, New York, New York

Located directly across Broadway from Lincoln Center for the
Performing Arts and The Juilliard School of Music, the building houses New
York’s new Mormon Temple, as well as this chapel, which serves several
wards. The small accompanimental organ arose from a collaboration between Dr.
Clay Christiansen, organist at the Mormon Tabernacle since 1982, and Sebastian
M. Glück, tonal and artistic director of the firm.

The instrument speaks from a lofty position behind the
rostrum of this large worship space within the New York Stake Center. The
spare, contemporary visual design was the preference of the client and their
architect, Frank Fernandez. Educated as an architect, Mr. Glück was
involved early in the planning stages of the chapel in order to achieve visual
balance, optimal placement, and a resonant acoustic.

The pipework is made of 50% tin, with the bass octaves of
the larger ranks constructed of zinc. Poplar is the timber of choice for the
Pedal flutes and the Swell Stopped Diapason. Haskell re-entrant tubes are used
for the lowest notes of the Pedal 16’ Contra Bass. The pipes speak from
electro-pneumatic slider-and-pallet soundboards, with traditional
electro-pneumatic pouch windchests for the duplexed and extended stops.

GREAT (I)

16’ Double
Gemshorn (Sw)

8’ Open
Diapason

8’ Chimney
Flute

8’ Gemshorn
(Sw)

8’ Gemshorn
Céleste (Sw)

4’ Principal

2’ Fifteenth

8’ Trumpet
(Sw)

SWELL (II)

8’ Gemshorn

8’ Gemshorn
Céleste

8’ Stopped
Diapason

4’ Gemshorn
(ext)

4’ Spindle
Flute

22/3’ Nazard
style='mso-tab-count:1'>

2’ Recorder

13/5’ Tierce

16’ Trumpet
Bass (ext)

8’ Trumpet

Tremulant

PEDAL

16’ Contra
Bass

16’ Sub
Bass

102/3’ Contra
Quint (Sub Bass)

8’ Principal
(Gt)

8’ Bass
Flute

8’ Gemshorn
(Sw)

4’ Fifteenth
(Gt)

4’ Flute

II Piffaro
(4’+2’) (Sw)

16’ Trumpet
Bass (Sw)

8’ Trumpet
(Sw)

4’ Clarion
(Sw)

New Organs

Cover Feature

A. David Moore, North Pomfret, Vermont, Opus 27

The home of George Becker and Christo Bresnahan,

San Francisco, California

From the builder

Opus 27 is a compact two-manual organ designed to give the player the
greatest number of stop combinations and colors from a small stoplist. The
lower keyboard controls the Great, the upper the Positive. The manual compass
is 56 notes, and the straight pedalboard has 30 notes. Couplers include
Positive to Great, Positive to Pedal, Great to Pedal. The tremulant affects the
entire organ.

The Great has an 8' Clarabella, a 4' Principal in the display, Twelfth,
Fifteenth and Seventeenth. The Clarabella is scaled after examples found on
early Hook organs. The bass octave is stopped. Pipes from tenor C are of open
wood and of English style construction with the windway carved into the cap.
They are similar to early New England-style Stopped Diapason pipes without the
stopper. The blocks have a little step down after the front edge next to the
windway, which helps a great deal with the speech of the pipes. Provision of an
8' open stop on the Great allows for a rich plenum with a strong fundamental.
The Clarabella, drawn alone, serves as a distinctive foil to the 8' Stopped
Diapason. The Clarabella must not be confused with the Melodia, also an open 8'
stop. (The Melodia typically has an inverted mouth, a cap that protrudes over
the front of the pipe, more nicks, and a block, the top of which is curved
forward in various degrees depending on the builder.) Twenty-one Principal
pipes are in the display above the keyboards. The treble pipes are in the case,
followed, front to back, by Fifteenth, Twelfth and Seventeenth. Initially
conceived as a double draw Sesquialtera, it was thought better to separate the
two ranks to allow greater freedom of registration.

The Positive has an 8' Stopped Diapason of wood, a 4' Flute and an 8'
Trumpet. The Stopped Diapason is quite literally an open wood diapason which is
stopped, in the manner of early Hook and English examples. The speech has a
hint of quint and a subtle chiff. The Flute is of open wood pipes. The bass of
the Trumpet has wooden resonators, wooden blocks and shallots.
style="mso-spacerun: yes"> The blocks and shallots are turned (on
a South Bend lathe) from a single piece of wood. The inside bore of the shallot
is tapered. The tongue is held in place with a hardwood cleat and two small
wood screws. The opening in the shallot is tapered and milled into the wooden
face. The dimensions of shallot opening, bore, taper and resonator inside
diameters are close to eighteenth-century North European practice. The use of
wood for the shallot avoids the need for lead-faced shallots or leathered
shallot faces. The wood face, in terms of hardness, is somewhere between lead
or brass and a leathered surface. The brass tongues are fairly wide, thick, and
tapered. The lowest octave has wooden resonators which impart a strong
fundamental and circumvent concerns about collapse. Metal resonators are used
from 4' C with wood shallot-blocks; at middle C the resonators are metal, the
blocks lead and the shallots brass, much like an old North European Trumpet.
The Trumpet has a brightness of speech as well as a distinct and prominent
fundamental throughout. The Trumpet can be played either from the upper manual
or from the pedal, or on both manuals and pedal simultaneously. It is useful
for a cantus firmus, or for an independent pedal line when used with the 8' and
4' Positive stops against the lower manual plenum, and is satisfying as a solo
register.

The Pedal contains the 16' Subbass of butternut wood; the lowest six pipes
flank the manuals. The butternut, like most of the wood in the organ, was
felled on the North Pomfret Moore property. The logs were sawed into boards of
various thicknesses on a WoodMizer thin-kerf band sawmill. Much of the wood is
quarter sawn.

Metal in the Principal is lead with 28% tin. Smaller amounts of antimony,
bismuth and copper are added to the metal alloy. The melting pot holds 700 lbs
of metal. To this is added 1.25 lbs of antimony, .25 lbs of bismuth and 2.5 lbs
of copper. Copper seems to give the alloy a nice ringing sound. Antimony is
added to prevent metal collapse. Pipe metal was poured, hammered and fashioned
into pipes all in the Moore workshop. (A Dom Bédos-type hammering
machine, made by Dave Moore, graces the workshop and is used "once in a
while.") A new hammering machine that can automatically hammer a full
sheet of metal as it is taken from the casting table is now used. This machine
has 17 metal hammers that are raised and dropped onto the metal all at once,
covering the whole width of the sheet. The sheet is then advanced a fraction of
an inch and the hammers move over slightly. Metal hammered with this machine
prevents the "bacon effect" (caused by sheets of metal being hammered
on the edges more than in the middle, thus the sheet starts to get wavy like a
piece of cooked bacon). Hammering pipe metal is an old practice that hardens
the metal, optimizes pipe resonance and imparts a richness of timbre not
otherwise obtainable.

The metal pipework is voiced with fairly wide windways and regulation at the
toe hole for most stops. The toe holes are closed down until the volume of the
pipe is just right. In essence, an Open Diapason register would have pretty
much open toes in the mid range and then the treble pipes would be regulated a
bit at the top register. Toe regulation is important in stops above 4' pitch.
Thus with a 2' stop the windways are kept just right in the top octaves and the
volume is controlled at the toe. This keeps the top ranges of the stop from
being too loud and overpowering. This style of voicing, with moderate nicking,
is just about what the early New England organ builders practiced. One can
often find this type of voicing in various European styles. The pipes are cone
tuned.

The action is suspended, and is provided with easily accessible adjustment
nuts. Trackers are of wood with rolled threaded brass ends and wood or leather
nuts for adjustments. Some tracker ends have wires into the wooden trackers
that go through unbushed metal rollerboard arms. The pedal action has some felt
bushings and washers but the manual keyboards do not.

Winding for the organ is controlled by a small curtain valve. A small
single-fold reservoir is located at the bottom inside the case and feeds air to
three windchests through solid wood trunks in the manner of old instruments.
Pressure is 211/16 inches. Winding is flexible in that a sustained note in one
part of the keyboard is influenced by a moving passage in another part of the
register. The blower is a quiet operating Laukhuff. The tremulant is of the
tremblant doux type described by Dom Bédos and found on early French and
New England organs. A leather-covered door is poised at an angle in a horizontal
section of the main wind trunk. When the tremulant is engaged, the door
oscillates back and forth, creating fluctuation in the wind pressure and a
tremulant effect that varies depending on what is being played.

--A. David Moore

From the owner

I first met Dave Moore in 1970 when he was renting an apartment in the
Pigeon Cove house of Charlie and Ann Fisk. David apprenticed in the then small
Fisk shop before establishing his own workshop in North Pomfret, Vermont, where
he has been designing and building historically informed mechanical action
organs for over three decades. This unique builder has traveled extensively and
studied some of the finest old (and some new) organs of Germany, France, the
Netherlands, Denmark, Italy and England. He has a working knowledge of the
treatises of Clicquot and Dom Bédos. Living and working in New England,
he has acquired a knowledge, both intimate and scholarly, of the 18th- and
19th-century New England builders. His association with the likes of John Fesperman,
Barbara Owen, Fenner Douglass, Mark Brombaugh and Kevin Birch (to name but a
few) has contributed to his understanding of the organ and its music. (Indeed,
David himself is a quite respectable organist.)

Opus 27 was built almost entirely from trees harvested by David Moore on his
Vermont farm, from lead and tin melted, poured and hammered, and from cow
bones, fashioned into keys and stop labels, all in his workshop. When I visited
the shop in 2000 to see the progress of the instrument, boards for the Subbass
still had bark on them! Wood in the organ includes butternut, black cherry,
maple, ash, walnut, pine and oak. Basswood is used for the tableboards of the
windchests. Sliders are made of poplar. Pipe shades were designed by Tom Bowen
and carved by Dave Laro.

Working out the stoplist was an exciting process involving frequent e-mails,
conversations and a number of changes. The goal was to create an instrument of
character (Moore character) with a light, responsive suspended action, stops of
distinctive color, resilient winding, and a case which bespeaks its New England
roots.

Dave Moore and Thad Stamps drove the organ from North Pomfret to San
Francisco in 72 hours! Christo and I helped them unload pipetrays, blower and
organ parts into the modestly sized music room of our San Francisco Victorian.
Over the next three weeks the organ was erected and Dave completed tonal
finishing. The organ has an unmistakable character reflecting David's vision,
his New England craftsmanship and his musical genius. Opus 27 was celebrated
with a dedication recital played in January 2003 by Charles Krigbaum. At that
time Dave Moore gave a brief demonstration of the organ to an appreciative
audience.

Dave Moore prefers to avoid the term eclectic for his organs:

. . . the organs I've made have
a certain sound to them. Pretty full, quite a lot of fundamental, good solid
bass to most things, upperwork designed along the lines of early American
organs . . . I prefer not to have them labeled in any one way. If you say,
"This is an organ constructed after French principles," some people
think that all you can play on it is French music. I prefer to keep the stop
nomenclature in English, so that if someone comes along and says, "Aha!
This is very much like the old Dutch organs, it's perfect for that," they
play that music on it and they're very happy . . . You're much better off if
you can accept an instrument for what it is and play what you can on it.1

Although I have found the organ especially appropriate for playing Bach,
Sweelinck and their contemporaries (having myself played many old organs of
Holland and North and Central Germany), opus 27 does admirably well with the
likes of Franck, Hindemith, Pinkham and Hampton. David Moore and his co-workers
Tom Bowen and Thaddeus Stamps have created a cohesive, harmonious and
imminently musical organ in a little shop in rural Vermont. The sheer joy of
playing this splendid and modestly elegant instrument is, for me, as good as it
gets.

--George Becker, M.D.

Notes

1. Quoted from the essay "A. David Moore, Organ Builder: An Account of
His Work (1971-1994)" by Kevin Birch, music director of St. John's R.C.
Church, Bangor, Maine.

A. David Moore Opus 27 can be heard at the following website
. Dr. Becker, an orthopaedic surgeon, is assistant organist
at the Old First Presbyterian Church in San Francisco. Contact: George
Becker, M.D., 1375 Sutter St., Suite 304, San Francisco, CA 94109;
415/563-7383 . Cover photo: Sean Vallely

GREAT

8' Clarabella

4' Principal

22/3' Twelfth

2' Fifteenth

13/5' Seventeenth

Tremulant
(affects entire organ)

POSITIVE

8' Stopped
Diapason

4' Flute

8' Trumpet

PEDAL

16' Subbass

8' Trumpet

Couplers

Gt/Ped

Pos/Ped

Pos/Gt

30-note, straight pedalboard

Kellner temperament

A = 440

Fabry, Inc., Fox Lake, Illinois, has
completed the renovation of the organ at Zion Lutheran Church, Marengo,
Illinois, originally built in 1960 by Haase Pipe Organs of Chicago as three
manuals and 40 ranks. In 1986 the congregation demolished their old church and
built a new one on the same site. The organ was dismantled, stored, and then
installed in the new building. Over time, the organ deteriorated to the point
where some major work was necessary.

In February 2002, Fabry was engaged to repair, refurbish, and enlarge the
organ. Phase one, completed in October 2002, included a new three-manual
console with movable platform built by Fabry. The new console was fitted with a
Peterson MSP-1000 combination action, multiplex coupler relay and chamber
relay, and is prepared for MIDI. Phase two, completed in February 2003,
included the addition of six ranks of pipework, several additional windchests,
four new wind supply reservoirs, four electric tremolos, a Zimbelstern, and
complete revoicing and re-regulation of the entire instrument. Some of the
existing pipework was repaired and re-racked, and one rank was relocated. David
G. Fabry built all the chestwork, three-manual console, and movable platform.
Joseph Poland handled the installation.

GREAT

16' Quintadena

8' Principal

8' Bourdon

4' Octave

4' Gemshorn

2' Fifteenth

V Mixture

8' English
Trumpet (new)

Chimes

Tremolo

Gt/Gt
16-UO-4, Sw/Gt 16-8-4, Pos/Gt 16-8-4, MIDI/Gt

POSITIV

8' Quintadena

8' Wood
Flute (new)

8' Wood
Flute Celeste (new)

4' Rohrflote

2' Principal

11/3' Larigot

1' Sifflote

III Scharf

8' Trumpet
(Gt)

8' Cromorne

Zimbelstern
(new)

Tremolo

Pos/Pos
16-UO-4, Sw/Pos 16-8-4, MIDI/Pos

SWELL

8' Rohrgedeckt

8' Gamba

8' Gamba
Celeste (TC)

4' Principal

4' Spitzflote

22/3' Nazard

2' Koppelflote

13/5' Tierce
(new)

IV Mixture

16' Chalumeau
(new)

8' Trompete

4' Schalmei

Tremolo

Sw/Sw
16-UO-4, Pos/Sw, Gt/Sw,

MIDI/Sw

PEDAL

32' Acoustic
Bass (resultant)

16' Principal
(new)

16' Subbass

16' Quintadena
(Gt)

8' Principal

8' Nachthorn

4' Choral
Bass

II Rausch
Pfeife

32' Bombarde
(resultant)

16' Chalumeau
(Sw)

16' Posaune

4' Schalmei
(Sw)

Gt/Ped
8-4, Sw/Ped 8-4,

Pos/Ped
8-4, MIDI/Ped

Bedient Pipe Organ Company

Roca, Nebraska

First Presbyterian Church

Chippewa Falls, Wisconsin

The challenge to Bedient was to maintain the integral parts of an 1889
Steere and Turner, update and expand the organ, while at the same time make the
organ user-friendly and accessible. Opus 72 at First Presbyterian Church,
Chippewa Falls, Wisconsin (II/30) accomplished just that. In 2003, much of the
organ was dismantled and moved to our Lincoln, Nebraska shop where it was
reassembled, and old and new were interlaced.

New additions to the organ are 11 ranks of pipes (including a new speaking
façade drawn from the Principal 8' and Pedal Principal 8'), a new,
enlarged Swell windchest, electro-pneumatic stop action, solid-state
combination action, electro-pneumatic Pedal key action, wind system components,
both keyboards, the pedalboard and an adjustable height organ bench. Retained
and modified were the Great windchest and Pedal Bourdon wind-chest, some of the
façade casework (necessitating the stripping of old paint and careful
matching of cherry wood finish on both old and new parts), and structural parts
of the organ. The entire organ was revoiced to accommodate the newly renovated
sanctuary and blend the old and new pipes to be as one. The new stops are
indicated in italics.

--Gene Bedient

GREAT

16' Bourdon

8' Principal

8' Dulciana

8' Melodia

4' Octave

4' Flute
d'Amore

2' Fifteenth

Mixture
III-V

8' Clarinet

8' Trompete

SWELL

8' Open
Diapason

8' Salicional

8' Voix
céleste (tc)

8' Stopped
Diapason (new pipes 13-58)

4' Spitzflute

22/3' Nazard

2' Doublette

13/5' Tierce

Mixture
II (1980s addition)

8' Oboe

8' Trumpet
(1980s addition)

PEDAL

16' Bourdon

8' Principal

8' Bourdon
(ext)

4' Octave
(ext)

16' Fagott

Couplers

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

New Organs

Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

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

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

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

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

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

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

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

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

Great
to Great 4

Swell
to Great 16-8-4

Choir
to Great 16-8-4

Zimbelstern

SWELL

16' Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass (32 pipes)

II Rauschquint (64 pipes)

II Mixture (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

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

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

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

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

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

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

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

Positiv
to Hauptwerk

Hauptwerk
to Pedal

Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

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

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

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

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

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

Gt
& Sw to Ped 8

Sw
to Gt 16-8-4

Gt
4

Sw
16-UO-4

Antiph
to Ped 8

Antiph
to Gt 8

Antiph
to Sw 8

New Organs

Cover

Rieger-Kloss
Company, Krnov, Czech Republic

Government
Street Presbyterian Church, Mobile, Alabama

Members of the Government Street Presbyterian Church worked for several
years developing a plan for the renovation of their beautiful and historical
church in downtown Mobile. Among the many items that needed serious attention
was the pipe organ--the former organ was an Estey installed in 1905. It had
been renovated a number of times and had so many alterations that it could
hardly be credited back to its original builder. The one thing that had
remained constant was the organ pipe facade. After an in-depth study by a very
thorough organ committee, it was decided that the old organ had so many
problems that it would be better stewardship for the church to purchase a new
instrument. It was initially assumed that the new organ would occupy the same
space as the old organ. William Gray of the Rieger-Kloss Company entered onto
the scene rather late in the process and challenged the committee to look at
the total music ministry to develop a plan of how the organ, choir and
congregation could all relate musically together more effectively. The Estey
had occupied the entire center gallery, and the choir had to sit off to the far
side of the organ; there was no proper choir loft. Mr. Gray impressed on the
committee that if they were ever going to correct this problem, this was the
time to do so. In order to make room for a rear choir gallery, the organ was
located in three organ cases. The organ cases were located left and right of
the center gallery plus a very shallow division in the center, across the back
wall. This was not only a time to purchase a new organ but to develop workable
space for the music ministry of the church.

A tracker action organ was very seriously considered for Government Street
Presbyterian Church. However, if a good space were created for the choir there
would be very long tracker runs to the organ cases which would greatly decrease
the effectiveness of the tracker action. It was also decided that it would be a
great advantage to have a movable console. After all the facts were weighed, it
was decided that slider chests with electric pull downs, along with a few unit
chests, would be most appropriate for this instrument.

The Rieger-Kloss Pipe Organ Company of Krnov, Czech Republic was selected to
build the new organ for Government Street Presbyterian Church in January of
2000. Rieger-Kloss is one of Europe's oldest builders of pipe organs,
incorporated in 1873; however, the Rieger brothers were building organs as
early as the 1840s. They are unique in the industry in that they have a College
of Organ Building, a four-year accredited degreed course. The school enrolls 12
students each year and if they all stay for the full four years, they have a maximum
of 48 students enrolled. The company works to keep the best and brightest of
these students and then they furnish many of the other major builders in Europe
with their young craftsmen.

Although Rieger-Kloss is one of the largest builders of pipe organs in the
world, it operates as a small company. Each organ is built by a team of Master
Organ Builders; in the case of Mobile, an 8-member team built this instrument.
They see the organ from its conception to its completion. They assemble the
organ in the Rieger-Kloss shop erecting room to check out all systems. Although
pipes are placed on the wind chest and played, they are only tuned; they are
not finally regulated and tonal finished until they arrive in their permanent
home.

Government Street Presbyterian Church, being a historical building, required
a lot of attention to architectural details of the room. Marcel Kolarz, the
Rieger-Kloss case designer, was brought over from Europe to study the room and
to design the organ cases developed around the master plan that
style="mso-spacerun: yes"> Mr. Gray had set forth for this room.
The cases reflect numerous architectural details from the building. For
instance, the columns in the organ case and the dental design that forms the
top moldings are all details of the existing room. The capitals at the top of
the columns and the lacy pipe shades were all hand carved by Petr Brodak and
come from details of the building. The organ cases and pipe shades are white
with gilded gold trim as is found in the existing room. All of the pipes seen in
the fa?ßade of the organ cases are speaking pipes, made of 70% tin and 30% lead,
highly polished natural metal; the mouths of the pipes are gilded gold.

The console is four manuals with pedals. The outside cabinet of the console
is white and the interior is walnut. The natural keys are highly polished bone
and the sharp keys are walnut. The pedalboard natural keys are made of white
rock maple and the sharps of walnut. The console is a state-of-the-art design
with a very elaborate computer system, having 200+ levels of memory. A
sequencer allows the organist to program the pistons in the order that he/she
plans to use them and the organ will automatically progress through the pistons
in the order programmed. This organ also has a playback system, with which the
organist can record on a computer disc and have the organ play back exactly the
performance. Three of the manuals plus the pedal division are traditional
divisions--the Great Organ, the Positiv Organ, the Swell Organ and the Pedal
Organ. In addition to this, the fourth manual (top keyboard) represents the
Grand Choir Resonance, an idea that comes from the French school of organ
building. The Grand Choir Resonance division manual plays the entire Pedal
division on the fourth manual, with each of the Pedal stops extended to play
the full 61 notes of the manual. This opens up many unique registration colors
and is most valuable in service playing, especially for accompanying hymns. It
is also gives a fabulous richness to the organ in playing French toccatas and
other literature where the pitch line is high on the keyboard. The horizontal
Trompette-en-Chamade can solo above the entire organ and also play fanfares.

The tonal finishing of the organ required a little more than six weeks.
Daniel Angerstein came to Mobile and
set all of the
"C"s for the different ranks of pipes, and Frantisek Kutalek and
Tomas Fafilek matched the notes in between to the "C"s. The room is
especially treble heavy but has a very weak response to the bass harmonics. As
a result, it posed a special challenge for the tonal finishers.

Other members of the Rieger-Kloss team who built the Government Street
Presbyterian Church organ were Zdenik Mican, David Vystrcil, Rostislav
Kohoutek, Tomas Kusak and Miraslav Mitura.

In addition to providing inspiring music for worship, the church is planning
a concert series; so far, they have sponsored Merrill Davis, John Weaver and
Fred Swann in concert. The resident organist, Terry Maddox, has played a
recital, and they have sponsored noonday recitals with local organists
style="mso-spacerun: yes"> during Lent. An International Organist
Festival is being projected for the near future.

The Rieger-Kloss organ at Government Street Presbyterian Church is designed
especially for their building and for the musical needs of this congregation.
It was designed architecturally to
look as if it were always a part of this lovely, historical building and it is
equally suited to the musical demands of the church. It is a high quality
instrument which, if well maintained, will be there as long as the building
stands and will meet the demands of musical growth of the congregation. May it
always bring great and inspirational music to those who hear its majestic
sounds.

--William Gray

GREAT (partially expressive) Manual II

16' Violoneprestant

8' Principal

8' Flute
Harmonique

8' Bourdon

8' Violincelle
(ext)

8' Erzahler
Celeste (II)

4' Octave

4' Spillflote

22/3' Quint

2' Super
Octave

2' Flute

22/3' Grand
Chorus (VI)

8' Trumpet

Tremulant

POSITIV (unenclosed) Manual I

8' Principal

8' Holzgedeckt

4' Octave

4' Flute

2' Principal

11/3' Larigot

1' Cymbel
(IV)

8' Klein
Trompete

8' Cromorne

Tremulant

Zimbelstern

16' Trompette-en-Chamade
(TC, Grand Choir Resonance)

8' Trompette-en-Chamade
(Grand Choir Resonance)

SWELL (expressive) Manual III

16' Bourdon
Bass (ext)

8' Viola
Pomposa

8' Viola
Celeste

8' Chimney
Flute

8' Flute
Celeste (II)

4' Prestant

4' Spire
Flute

22/3' Nazard

2' Principal

2' Blockflote

13/5' Tierce

11/3' Mixture
Minor (V)

16' Basson

8' Trompette

8' Hautbois

8' Vox
Humana

4' Clarion

Tremulant

16' Trompette-en-Chamade
(TC, Grand Choir)

8' Trompette-en-Chamade
(Grand Choir)

GRAND CHOIR (unenclosed) Manual IV

16' Violoneprestant
(Great)

16' Bourdon

8' Principal

8' Bourdon

8' Violincelle
(Great)

4' Octave

4' Flute

2' Super
Octave

Mixture
(IV-VIII)

16' Trompetenbass

8' Trompete

4' Klarine
(ext)

Chimes

16' Trompette-en-Chamade
(TC)

8' Trompette-en-Chamade

PEDAL

32' Double
Open Wood (digital)

32' Contra
Bourdon

16' Open
Wood (digital)

16' Violoneprestant
(Great)

16' Subbass

16' Bourdon
Bass (Swell)

102/3' Rohrquinte
(Swell)

8' Octavebass

8' Gedacktflote

8' Violincelle
(Great)

4' Choral
Bass (ext Octavebass)

Mixture
(IV)

32' Contra
Fagott (ext)

16' Trompetenbass

16' Basson
(Swell)

8' Trompete

4' Klarine

8' Trompette-en-Chamade

4' Clairon-en-Chamade

Chimes
(Grand Choir)

Couplers

Gt/Ped
8

Sw/Pedal
8, 4

Pos/Ped
8, 4

Great
Unison Off

Sw/Gt
16, 8, 4

Pos/Gt
8

Grand
Ch/Gt 8

Gt/Grand
Ch 8

Pos/Grand
Ch 8

Sw/Grand
Ch 8

Sw
16-UO-4

Grand
Ch/Sw

Positiv
Unison Off

Gt/Pos
8

Sw/Pos
16, 8, 4

Grand
Ch/Pos 8

Cover photo by Matt Bechteler

Assistance with cover graphics: Matthias Minnig

Fabry Inc., Fox Lake, Illinois, has
installed a 1957 Schantz organ (two manuals, 13 ranks) at Prince of Peace
Catholic Church, Lake Villa, Illinois. The instrument was originally built for
Grace Christian Church in Kendallville, Indiana. The church decided to sell the
instrument rather than take it to their new sanctuary currently being built.
Fabry Inc. brought the two churches together to make their own purchase
agreement, and then dismantled, transported, and reinstalled the organ with
several improvements for Prince of Peace Catholic Church. Improvements include
a new blower, new solid state relay, new electric tremolos, new swell box
enclosure using original shade frames, new electric shade actions, refinished
bench and top of console, and new oak finish casework. Installation was
completed in May of 2002 and the dedidation was played on September 15 by Mr.
Ernie Hiltebrand and Mrs. Gina Buckley. Fabry Inc. would like to thank Mr.
Hiltebrand, director of music ministry, who handled the purchase and
coordinated the installation for the Rev. Richard Yanos, the pastor of Prince
of Peace Church. David G. Fabry and Joseph Poland reengineered, built all the new
casework, and tonally finished the instrument.

GREAT

8' Open
Diapason -- Rank 1

8' Bourdon--
Rank 2

8' Dulciana
-- Rank 3

8' Unda
Maris (TC) -- Rank 4

4' Octave
-- Rank 5

4' Hohlfloete
-- Rank 6

2' Fifteenth
(ext)

Chimes
style='mso-tab-count:1'> -- 25 bars

Tremolo

SWELL

16' Rohrgedeckt
-- Rank 7

8' Geigen
Diapason -- Rank 8

8' Rohrfloete
(ext)

8' Salicional
-- Rank 9

8' Voix
Celeste (TC) -- Rank 10

4' Geigen
Octave (ext)

4' Flute
Harmonic -- Rank 11

2 2/3' Nazard
(borrow)

2' Piccolo
(ext)

8' Oboe
-- Rank 12

4' Oboe
Clarion (ext)

Tremolo

PEDAL

16' Subbass
-- Rank 13

16' Rohrgedeckt
(Sw)

8' Bass
Flute (ext)

8' Rohrflute
(Sw)

4' Bass
Flute (ext)

4' Rohrflute
(Sw)

Couplers

Gt/Gt
16-UO-4

Sw/Sw
16-UO-4

Sw/Gt
16-8-4

Gt/Ped
8-4

Sw/Ped
8-4

Schneider Pipe Organs, Inc., of
Kenney, Illinois, has completed the first phase of a multi-stage renovation of
the 1922 Hinners organ in Zion Lutheran Church, Peoria, Illinois. The initial
phase consisted of rebuilding the console and rewiring the organ utilizing a
Matters microprocessor-based relay system with a fiber-optic link between the
console and the organ chamber. All wiring on the existing windchests was
replaced with new modern wiring. A new pedalboard to replace the existing one,
which was disintegrating due to years of heavy use, was also installed. At the
same time, new 120 volt AC wiring and magnetic starter for the existing organ
blower and a new DC rectifier were installed, as well as new fluorescent
lighting within the organ chamber and blower room. Service receptacles for
maintenance work were also added to the installation. Limited pneumatic repairs
were made to the existing electro-pneumatic windchests as a temporary measure,
as well as replacement of a number of badly damaged and crudely repaired treble
pipes of the Stopped Diapason rank.

Completion of this phase of the work was March, 2002. It was rededicated on
Reformation Sunday, October 27, 2002, in conjunction with and celebrating 10
years of the ordination of the incumbent pastor, The Rev. Steven Paul Tibbetts,
S.T.S. at Zion. The day-long celebration included a Festival Eucharist
(Reformation), potluck meal, organ rededication concert, and Vespers. In
between were displays of the 75th anniversary of the completion of the main
church building.

Anticipated future phases are to include complete removal of the existing
windchests and pipework of the instrument from the chamber space while it is
being replastered and repainted, and construction of all-new wind-chests with
electro-mechanical action and expansion chambers. Participants in the project
included W.C. Burkett, Nick Fry, Dan Schneider, Matt Schneider, Joan Schneider,
Richard Schneider.

GREAT

8' Principal

8' Rohr
Floete

4' Principal

4' Rohr
Floete (ext)

2' Spitz
Floete (ext)

11/3' Mixture
II (new)

8' Oboe
(Sw)

Gt
UO-4

Sw/Gt
16-8-4

SWELL

16' Z?§rtbass
(ext)

8' Geigen
Principal

8' Holzgedackt

8' Salicional

8' Vox
Celeste (49 pipes)

4' Geigen
Octave (ext)

4' Traverse
Floete (ext)

4' Violina
(ext)

22/3' Nazard
(ext)

2' Principal
(ext)

13/5' Terz
(ext)

16' Basson
(ext, new L/2 basses)

8' Oboe

4' Schalmey
(ext)

Tremolo

Sw
16-UO-4

PEDAL

32' Acoustic
Bass (resultant, Zartbass)

16' Grand
Bourdon

16' Zartbass
(Sw)

8' Principalbass
(Gt)

8' Bourdon
(ext)

8' Gedackt
(Sw)

4' Choralbass
(ext Gt)

4' Gedackt
(Sw)

16' Basson
(Sw)

8' Oboe
(Sw)

4' Schalmey
(Sw)

Gt/Ped

Sw/Ped

New Organs

Fabry Inc., Fox Lake, Illinois

The Community Church, Ludington, Michigan

Fabry Inc. has been maintaining the church’s 3-manual,
27-rank Wicks pipe organ for the past ten years. After many years of service,
the mechanical relays and console contacts were failing. The constant
combination action troubles and dead notes due to contacts breaking in the
chamber relays made the instrument difficult to play. It was obvious that
contact replacement or a solid-state conversion was needed. The church elected
to convert the entire system to solid-state.

Fabry Inc. completed a total solid-state conversion of this
instrument with the addition of electric shade actions, electric tremolo units,
movable platform console, and new electric chime system. The entire wood
interior of the console has been replaced and fitted with an MSP-1000
microprocessor from Peterson. The console project also included full MIDI
resource system, sound module, speakers, and adjustable bench.

Fabry Inc. would like to thank Mr. Lee Shipman who
coordinated the entire project. David G. Fabry completed all the console
woodwork and installed the console microprocessor. Crew leader Joseph Poland
and David J. Fabry handled the installation of the remaining equipment.

--David J. Fabry

GREAT

8’ Open
Diapason

8’ Second
Diapason

8’ Doppel
Flute

8’ Viola
d’Gamba

8’ Gemshorn

4’ Octave

4’ Flute

4’ Gemshorn

22⁄3’ Twelfth

2’ Fifteenth

III Mixture

8’ Trompete

Tremolo

Chimes

SWELL

16’ Lieblich
Gedeckt

8’ Open
Diapason

8’ Stopped
Flute

8’ Flauto
Traverso

8’ Salicional

8’ Aeoline

8’ Voix
Celeste

4’ Principal

4’ Flauto
Traverso

4’ Violina

4’ Flute
d’Amour

4’ Aeoline

22⁄3’ Nazard

2’ Piccolo

11⁄3’ Larigot

III Harmonic
Aetheria

8’ Trumpet

8’ Oboe
Horn

8’ Vox
Humana

4’ Clarion

Tremolo

CHOIR

16’ Dulciana

8’ Geigen
Diapason

8’ Melodia

8’ Concert
Flute

8’ Gemshorn

8’ Dulciana

8’ Unda
Maris

4’ Prestant

4’ Open
Flute

4’ Dulciana

22⁄3’ Dulciana
Twelfth

2’ Dulciana
Fifteenth

13⁄5’ Dulciana

III Dulciana

8’ French
Horn

8’ Clarinet

Tremolo

Chimes

Zimbelstern

PEDAL

32’ Untersatz

32’ Violone

16’ Violone

16’ Open
Diapason

16’ Bourdon

16’ Lieblich
Gedeckt

16’ Dulciana

8’ Octave

8’ Bass
Flute

8’ Flauto
Dolce

8’ Cello

8’ Dulciana

4’ Choral
Bass

III Mixture

32’ Bombarde

16’ Trombone

8’ Trumpet

8’ Oboe

Chimes

Couplers

Great
16-UO-4

Swell
16-UO-4

Choir
16-UO-4

Sw
to Gt 16-8-4

Ch
to Gt 16-8-4

Sw
to Ch 16-8-4

Gt
to Ch 8

Ch
to Sw 8

Gt
to Sw 8

Gt
to Ped 8-4

Ch
to Ped 8-4

Sw
to Ped 8-4

MIDI
to Gt, Sw, Ch, & Ped

Nave
shades on/off

Bedient Pipe Organ Company, Roca, Nebraska

Opus 65, United Methodist Church, Storm Lake, Iowa

In 1995, the United Methodist Church in Storm Lake, Iowa,
was given a generous gift. Because the donors stipulated that the money must be
spent on a new pipe organ, the organ committee put aside their original plan to
rebuild their old instrument and began researching pipe organ builders and
additional donors. Bedient was awarded the building contract, resulting in the
creation of a two-manual, mechanical-action organ with 19 ranks of pipes.

With its tonal qualities based on 18th-century German and
19th-century French and American traditions, the organ generates a wide dynamic
range for various accompanimental and performance tasks. All three traditions
provide a broad palette of musical possibilities, which are enhanced by the
lively acoustical environment provided through recent renovations.

The white oak organ case was designed to integrate with the
front of the sanctuary, which features a gilded trefoil pattern in the
woodwork. The pipe shades are of basswood in a flowing organic configuration.
The keyboard naturals are covered with blackwood and the accidentals are of
maple. The pedal keys are made of oak and the accidentals are capped with
moradillo. The stop knobs are made of cocobola.

Dr. Davis Folkerts, Professor Emeritus, Central College,
Pella, Iowa, and consultant on the organ project, played the dedication concert
on April 28, 2002. It featured diverse pieces from many countries and eras, and
included an historical narrative by Eunice Folkerts.

--Gene Bedient

GREAT

8’ Principal

8’ Rohrflote

8’ Dulciana

4’ Octave

2’ Octave
style="mso-spacerun: yes">

III–IV Mixture

SWELL

8’ Viole
de Gambe

8’ Voix
celeste

8’ Bourdon

4’ Spitzflute

2’ Doublette

II Sesquialtera

16’ Fagott

8’ Trompete

PEDAL

16’ Subbass

8’ Flute

16’ Fagott
(Sw)

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

New Organs

Cover

Our Savior's Lutheran Church,
Rockford, Illinois

Buzard Pipe Organ Builders,
Champaign, Illinois

Opus 23

Builder's statement

It has been a high honor to build the new organ for Our Savior's
Lutheran Church. The congregation is actively engaged in musical expression at
every service and their participation is extraordinarily high. The new organ is
a part of the congregation's ongoing growth and recent construction of a new
church building.

The Evangelical Lutheran Church of America is an inclusive,
living tradition which embraces diversity and newness, while fostering
liturgical expression through the Lutheran Book of Worship and its incredibly
rich musical tradition. It is truly a catholic, inclusive tradition, as are its
musics and requirements for an organ. Therefore, a balanced eclecticism must be
embraced when designing the organ. However, it is only through a single
artistic vision that such eclecticism can have integrity as the organbuilder's
individual style.

Our instruments are first and foremost accompanying organs.
Their primary roles are accompanying choirs, leading hymn-singing and lending
grandeur to ceremonial occasions. They are liturgy-spirited, but
literature-minded as well. A wide variety of solo literature played for
voluntaries and recitals is an essential requirement of an organ and is given
careful consideration when designing all our instruments. The true test of such
an instrument is its ability to sensitively accompany choral repertoire,
colorfully illuminate textual subtleties in the hymns and canticles, and
musically render the Bach "Magnificat" fugue at the close of service.

The abundance of 8-foot stops creates a blended full sound,
made more intense by each successively added stop as a crescendo is built. The
rich, warm "Buzard Trademark" strings are sufficient for leading a
congregation of 300 people, and the full Swell behind the box majestically
supports a choir without overpowering. The Festival Trumpet (a Tuba) can
regally herald the arrival of the Bishop or a bride, and it is orchestrally
appropriate to the full organ's accompaniment. The organ can text-paint the
hymns and accompaniments through registrations and subtle changes as the
meaning of the texts shifts. Within its modest stoplist are the resources to
effectively capture the sprightliness of Purcell, the spirituality of Howells,
and the intricacies of Bach's counterpoint.

The case of this organ is made of solid white oak with
walnut accents, and was designed in conjunction with the building's architects.
The facade pipes utilize flamed copper and polished tin, with the low 9 pipes
of the Pedal 16' Open Diapason made of poplar and cherry, lacquered in a color
which harmonizes with the other colors in the room. The Tuba is horizontally
mounted over the Great Organ and is made of flamed copper. The interior pipes
are made of 50% tin and lead, with 15% tin for some of the metal flutes. The
Great, Swell, and a portion of the Pedal divisions play upon 4 inches of wind
pressure. The low 10 pipes of the Pedal 16' Open Diapason and the 16' Bourdon
play on 41/4 inches, the Festival
Trumpet plays on 10 inches of pressure. The organ comprises 24 stops, 30 ranks,
across two manuals and pedal.

Thanks to the Buzard staff who have made this organ a
reality, and who turn hunks of wood and metal into living, breathing, and
singing creations worthy to praise and extol our Creator. John-Paul Buzard,
design, artistic direction, tonal finishing; Brian Davis, head voicer, manager,
tonal department, installation; Stephen P. Downes, tonal assistant,
installation; Charles Eames, general manager, engineering, installation; R.
Charles Leach, cabinetmaker, installation; Stuart Martin, cabinetmaker,
installation; Kenneth McCabe, cabinetmaker, wind system, installation; Jay K.
Salmon, office manager; Ray Wiggs, console & chest builder, installation;
Keith Williams, service department manager.

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'> Flûte
à Bibéron (metal)

8'
style='mso-tab-count:1'> Gedeckt
Flute (ext 16')

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

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

Chimes

8'
style='mso-tab-count:1'> Festival
Trumpet (10≤ wind)

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

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

MIDI
on Great

SWELL

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

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

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

2'
style='mso-tab-count:1'> Full
Mixture IV

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

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'> Festival
Trumpet (Gt)

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

Sw/Sw
16-UO-4

MIDI
on Swell

PEDAL

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

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

                  16'
style='mso-tab-count:1'>          Open
Diapason (wood, flamed cop-                                        per,
polished tin)

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

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

8'
style='mso-tab-count:1'> Principal
(from 16') (tin-facade)

8'
style='mso-tab-count:1'> Gedeckt
Flute (from 16')

4'
style='mso-tab-count:1'> Choral
Bass (from 8') (tin-facade)

16'
style='mso-tab-count:1'> Trombone
(ext Sw Trpt)

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

8'
style='mso-tab-count:1'> Trumpet
from 16')

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

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

Gt/Ped
8 4

Sw/Ped
8 4

MIDI
on Pedal

Festival Trumpet

Swell reed battery

Lauck Pipe Organ Company, Otsego, Michigan, has completed an
organ renovation project for Pillar Christian Reformed Church, Holland,
Michigan. The church's organ was originally built in 1900 by Barkhoff. In 1928,
Hinners installed an electro-pneumatic organ. Stolz Piano and Organ of Holland,
MI, was contracted in 1965 to provide a new console, recondition pipes and
replace the blower. In 1996 Lauck Pipe Organ Company installed a new 2-manual
console and completed an electric action rebuild as their Opus 42, which added
11 new ranks, repositioned the windchests, and returned the facade to the 1900
configuration. The present project added nine new ranks, including a third
manual division, revoicing and rescaling of old ranks, and a new three-manual
console. The firm's Opus 52 comprises 31 ranks, electric action. A service of
rededication took place on September 10 with guest organist Linda Hakken
performing. Jonathan Tuuk played the rededication concert on September 11.

GREAT

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

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

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

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

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

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

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

Mixture
III

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

Chimes

Harp

Gt/Gt
4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

CHOIR

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

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

8'
style='mso-tab-count:1'> Voix
Celeste (49 pipes)

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

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

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

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

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

Tremulant

Ch/Ch
16-4

Sw/Ch
16-8-4

SWELL

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

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

8'
style='mso-tab-count:1'> Viola
Celeste (49 pipes)

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

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

2'
style='mso-tab-count:1'> Octave
(12 pipes)

Plein
Jeu III

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

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

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

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

Tremulant

Sw/Sw
16-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

Orgues Létourneau Limitée, Saint-Hyacinthe,
Québec, has completed a new organ for the historic Chapel Royal of St.
Peter ad Vincula at H.M. Tower of London. The firm's opus 70, the instrument
features mechanical key action and both mechanical and electronic stop action.
The organ was designed to accompany the chapel's professional choir, as well as
provide leadership for worship services. It is built within the 1699 case by
Father Smith, which was restored in the Létourneau workshops to its
original dimensions. The facade pipes, composed of the 8' Open Diapason, are
made of 70% tin (as is the entire principal chorus) and are gilded with 24
carat gold by artisan Isabelle Hordequin. Manual naturals are covered with
bone, accidentals are ebony; pedal naturals of maple, accidentals of ebony;
manual/ pedal compass 56/32. The photo is reproduced by permission of Historic
Royal Palaces under license from the Controller of Her Majesty's Stationery
Office.

Crown copyright: Historic Royal Palaces

GREAT

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

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

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

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

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

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

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

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

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

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

Tremulant

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

PEDAL

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

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

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

8'
style='mso-tab-count:1'> Bourdon
(1-12 stopped wood)

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

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

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

R.T. Swanson, Inc., of Grand Ledge, Michigan, has built a
new organ for the chapel of Michigan Lutheran Seminary, Saginaw, Michigan. The
school is affiliated with the Wisconsin Evangelical Lutheran Synod. Its main
purpose is to train students in grades 9 through 12 who are anticipating
careers in the teaching and pastoral ministries. The organ will be used for
daily chapel services and as a teaching and practice instrument.

The two-manual organ comprises 20 ranks, 1186 pipes located
in a shallow chamber created from what was previously second level storage
space. Action is electro-mechanical. All pipes are new with the exception of
the Subbass, Holtzgedeckt/Gedecktbass, and Hohl-flöte, which are recycled
pipes which were revoiced to blend with the new. Facade pipes are polished zinc
and are from the bass 17 of the Great 8' Principal and the bass 18 of the Pedal
8' Octave. The console is located on a rolling platform on the chapel's main
floor and features a 32 memory combination action and out only MIDI. Compass is
61/32. The organ dedication was on August 26 and featured a performance by
Leonard Proeber.

GREAT

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

8'
style='mso-tab-count:1'> Rohrflöte

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

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

4'
style='mso-tab-count:1'> Hohlflöte

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

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

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

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

Gt
16-UO-4

Sw/Gt
16-8-4

MIDI
on Gt

SWELL

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

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

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

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

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

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

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

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

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

Sw
16-UO-4

MIDI
on Sw

PEDAL

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

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

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

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

8'
style='mso-tab-count:1'> Bassflöte

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

4'
style='mso-tab-count:1'> Flöte

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

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

Gt/Ped
8, 4

Sw/Ped
8, 4

MIDI
on Ped

New Organs

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

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