New Organs

Karl Wilhelm Inc., Mont St. Hilaire, Québec, Canada, Opus 155

St. Thomas Episcopal Church, Berea, Ohio

The new organ at St. Thomas Episcopal Church is built according to classical principles. Key and stop action are mechanical. The organ consists of three divisions: the Great, above the impost, the Swell, enclosed in its own case behind the main organ, and the Pedal, with the Great except for the Subbass 16' and Posaune 16', which are of poplar wood and are on both sides behind. There are 21 stops and a total of 1156 pipes. Natural keys are plated with cow bone; sharps are ebony.

The organ is located in front of the stained glass window, where the sound projects along the central axis of the church. The casework is made of solid white oak, compatible to this modern church. The pipe shades above the pipes are motifs taken from the stained glass window, thus providing an acoustical function as well as enhancing the visual appearance of the organ.

In order to achieve a satisfying tonal ensemble, various stops have been chosen from different schools of organ building. The St. Thomas Episcopal Church organ mainly represents the classic German and French orientation with its principal choruses, flutes, strings, and reed stops. The brilliant sound of the instrument can be attributed in part to the temperament after Vallotti, which yields six pure fifths. The metal façade pipes are 75% pure polished tin. Other metal pipes in the organ are an alloy of 40% tin and 60% lead. This instrument has one wedge-shaped bellows and a winding configuration that creates a flexible wind effect.

— Karl Wilhelm Inc.

Facteurs d’Orgues-Organbuilders

Karl Wilhelm Opus 155

St. Thomas Episcopal Church

Berea, Ohio

GREAT (C–g¢¢¢ 56 notes)

16' Bourdon

8' Principal

8' Rohrflöte

4' Octave

22⁄3' Quinte

2' Superoktave

13/5' Terz

11/3' Mixtur IV

8' Trompete

SWELL (C–g''' 56 notes)

8' Salicional

8' Celeste TC

8' Hohlflöte

4' Spitzflöte

2' Doublette

11/3' Larigot

8' Oboe

Tremolo

PEDAL (C–f' 30 notes)

16' Subbass

8' Offenflöte

4' Choralbass

16' Posaune

8' Trompete (Great)



One manual coupler and two pedal couplers

Zimbelstern with 8 bronze bells

Levsen Organ Company,

Buffalo, Iowa

St. Peter Lutheran Church, Denver, Iowa

In 1902, Carl Schmidt donated a piece of land in the center of Denver, Iowa, to what is now St. Peter Lutheran Church. Denver is a little town of about 1700 residents north of Waterloo, Iowa, where the church now stands. By 1912, the predominantly Swedish congregation recognized the need for a pipe organ to enhance their musical worship. They purchased a 5-rank Hinners tracker organ from Pekin, Illinois. This information was disclosed by the Hinners Opus List created by E. A. Broadway in 1962. The organ was rebuilt with new electric action in 1954 by the Wicks Company of Highland, Illinois, and three ranks were added at that time. By the late 1980s, the organ developed serious problems with the relay; therefore, an organ committee was formed to explore their options.

Church member Marvin Schumacher, although not on the committee, made an important suggestion when the decision to go ahead and rebuild the organ had been made. As the owner of the Schumacher Elevator Company and builder of passenger, freight, and other elevators, he understood the need for safety and reliability. He proposed that a digital relay would be most appropriate. As his company’s website says, “Schumacher components are built to last,” and with that idea, the Levsen Organ Company of Buffalo, Iowa, which had serviced the instrument since around 1970, was awarded the contract to rebuild and enlarge the organ using a digital relay system.

Levsen Organ Company expanded the romantic instrument to include a 2' Fifteenth, III Mixture, 8' Trompette, 4' Gemshorn in the Swell and a 22⁄3' Nazard in order to provide more colorful ensembles. The church opted to keep all the organ pipes in the chamber rather than expose them. The entire 15 ranks are now under expression and are successful in leading the congregation in hymn singing and worship.

Organist August Knoll of Wheatland, Iowa had served as a consultant with proposals for enlarging and making these changes, and performed the dedication service.

—Tamara Fudge, D.Mus.

Moline, Illinois


GREAT

8' Open Diapason

8' Melodia

8' Dulciana

4' Octave

4' Concert Flute (12 pipes)

2' Fifteenth

III Mixture

8' Trompette (Sw)


SWELL

8' Stopped Diapason

8' Salicional

8' Vox Angelica (TC)

4' Gemshorn

22⁄3' Nazard

2' Gemshorn (12 pipes)
16' Fagott (TC, ext)

8' Trompette

4' Oboe

Tremolo


PEDAL

32' Resultant (32 notes)

16' Bourdon

16' Lieblich Gedeckt (12 pipes)

8' Open Diapason (Gt)

8' Bassflöte (12 pipes)

4' Choralbass (Gt)

16' Trompette (12 pipes)

8' Trompette (Sw)

4' Oboe (Sw)

Karl Wilhelm, Inc., of Mont-Saint-Hilaire, Quebec, Canada, has built a new organ for Paris-Yates Chapel at the University of Mississippi. The firm’s opus 152 is built on classical principles and is flexible enough to play a large and varied repertoire of solos and accompaniment. The builder was chosen early enough to collaborate with the architect on the tonal conception of the chapel. The new chapel features hard, reflective interior surfaces, yet with sufficient moldings and openings to avoid undue concentration of sound at focal points, and is in a classical basilica plan consisting of a high, narrow nave with side aisles.

The organ is located at the east end, and comprises 26 stops on two manuals and pedal: 32 ranks, 1,642 pipes. Manual/pedal key compass is 56/30; suspended mechanical key action, electric stop action; single-fold bellows with flexible winding. Principal pipes are 75% tin, flute pipes 28% tin. Open pipes are cone-tuned, stopped pipes with soldered caps. Natural keys are plated with bone, sharps of ebony. Casework is of solid white oak with moldings and gilded pipe shades. Temperament is after Vallotti.

—Karl Wilhelm

GREAT

16' Bourdon

8' Prinzipal

8' Rohrflöte

4' Oktave

4' Spitzflöte

22?3' Quinte

2' Superoktave

13?5' Terz

11?3' Mixtur IV

8' Trompete

Sw/Gt

SWELL

8' Salicional (FF)

8' Hohlflöte

8' Celeste (TC)

4' Prinzipal

4' Rohrflöte

2' Waldflöte

22?3' Sesquialtera II (TC)

11?3' Larigot

1' Scharf IV

16' Dulzian

8' Oboe

PEDAL

16' Subbass

8' Offenflöte

4' Choralbass

16' Posaune

8' Trompete (Gt)

Sw/Ped

Gt/Ped

Glück New York,

New York, New York

The Church of Our Lady of Loretto, Cold Spring, New York

This historic church, known for its remarkable collection of stained glass windows, was recently restored, with a new instrument and a marble chancel floor included in the renewal plans. Under the direction of Fr. Brian McSweeney, Pastor; Frances Pergamo, Director of Music; and Fr. Richard D. Baker of the New York Archdiocese, three organbuilders were each invited to present their vision of an appropriate musical instrument. The smallest and most stylistically focused proposal submitted, the new Glück organ occupies a traditional position in the rear gallery to great acoustical advantage. While the organ looks toward the French orgue d’accompagnement of the 1860s for both its concept and tonal palette, it is certainly not intended to be a stylistic copy.

The manual soundboards are placed side-by-side at impost level, with the Swell to the right, its vertical shutters operated by direct mechanical linkage. The two large wooden pedal stops stand on their own windchests behind the organ. The Great organ incorporates some pipework from a mid-1870s Levi Underwood Stuart organ of undetermined provenance. Interior metal pipes are of 70% lead alloy, except for the Swell strings, which are of 50% tin. Wooden pipework is of pine and fir. The façade pipes are built with English bay leaf mouths arrayed in a swag pattern after Gottfried Silbermann’s façades of the 1740s.

The walnut keydesk en fenêtre sports beveled figured maple jambs and pao ferro drawknobs. Both pedal and manual accidentals are Brazilian rosewood. Compasses are 56/30; there is no combination action, but the three unison couplers are reversible by toe paddles. The case is painted in various shades of olive, with details in sapphire, ruby, and faux marbre. Architectural design was by Sebastian M. Glück, who executed the Neapolitan-style angel, tower finials, and buttress niches, which are suitably polychromed and gilded. Color photographs may be viewed at the firm’s web site at <www.glucknewyork.com&gt;.

The structural design and layout are the work of Albert Jensen-Moulton, general manager of the firm, who was assisted in the construction of the organ by Dominic Inferrera, foreman. Voicing and tonal finishing were accomplished on site by Sebastian M. Glück, tonal director. The organ was formally dedicated in a series of three recitals by Lana Kollath, Dr. Jennifer Pascual, and the builder.

--Benito Orso

GREAT

8’               Open Diapason

8’               Open Wood Flute

4’               Principal

2’               Doublet

8’               Hautboy (from Swell)

                       Swell to Great

                       Swell to Great Octaves

SWELL

8’               Salicional

8’               Voix Céleste

8’               Stopped Diapason

4’               Harmonic Flute

8’               Hautboy

                       Tremulant

                       Swell to Swell Octaves

PEDAL

16’           Open Wood Bass

16’           Stopped Bass

8’               Octave  from Great

8’               Hautboy from Swell

                       Great to Pedal

                       Swell to Pedal

                       Swell to Pedal Octaves

Karl Wilhelm, Inc., of Mont St-Hilaire, Québec, Canada, has built opus 150 for the Benedictine Monastery Saint-Benoît-du-Lac, Québec, Canada. This project was made possible by multiple benefactors and contributors, and also in large part due to the support of Père Abbé Dom Jacques Garneau, Dom André Laberge, and Dom Richard Gagné. Dom André Laberge performed the dedication recital.

Karl Wilhelm conceived the design, participated in its construction, and supervised the project. The craftsmen that participated in this project are Claude Godbout, Claude Chauvin, Sylvain Parent, Jacques L’Italien, and François Desautels. This instrument is primarily designed for the liturgy of the monastery and contains the necessary stops to play the classic Germanic composers and the French Classic literature, as well as the romantic and modern repertoire. The 3-manual organ comprises 42 stops and 2,692 pipes, and is placed on the side of the church between the sanctuary and the nave. The case is built of oil-finished solid white oak with proportions in the classical tradition. The motifs of the ornamentation reflect certain elements of the modern architecture of this church. Suspended mechanical key action and electric stop action are featured with SSL combination action (64 levels) and sequencer. The organ is triple decked, with the keydesk positioned in the base of the organ in order to maximize the sensitivity of the suspended mechanical linkage between keys and pallets. The natural keys are covered with bone and sharps are of solid ebony. The instrument has two wedge-shaped bellows and a winding configuration that creates the flexible-wind effect (wind pressure of 60 mm and 70 mm).

Tuning is according to a temperament by Bach-Kellner, which yields seven pure fifths. The principal rank of each division (except the Positiv) is placed in the façade of the organ (75% tin).

--Karl Wilhelm

HAUPTWERK

16’           Bourdon

8’               Prinzipal

8’               Rohrflöte

8’               Viola da gamba

4’               Oktave

4’               Spitzflöte

22?3’      Quinte

2’               Superoktave

8’               Cornet V

11?3’      Mixtur IV

8’               Trompette

SCHWELLWERK (expressive)

8’               Prinzipal

8’               Gambe

8’               Hohlflöte

8’               Celeste

4’               Prinzipal

4’               Flûte harmonique

22?3’      Nasard

2’               Waldflöte

13?5’      Terz

2’               Mixtur IV

16’           Dulzian

8’               Oboe

                       Tremblant

POSITIV (expressive)

8’               Gedackt

8’               Salicional

4’               Prinzipal

4’               Rohrflöte

22?3’      Nasard

2’               Oktave

13?5’      Terz

11?3’      Larigot

1’               Scharf III

8’               Cromorne

                       Tremblant

PEDAL

16’           Prinzipal

16’           Subbass

8’               Prinzipal

8’               Bourdon

4’               Oktave

22?3’      Rauschpfeife IV

16’           Posaune

8’               Trompete

4’               Clairon

 

Zimbelstern (8 clochettes)

Positiv/Hauptwerk

Schwellwerk/Hauptwerk

Hauptwerk/Pedal

Positiv/Pedal

Schwellwerk/Pedal

Karl Wilhelm Inc., Mont St. Hilaire, Québec, Canada, Opus 157

St. John’s Catholic Church, Fenton, Michigan

This new 44-stop organ, Opus 157 by Karl Wilhelm Inc., was made possible by the generosity of longtime parishioner Mrs. Alvesta Veness and the William Bowman and Ann McGuire estates, as well as other benefactors and contributors from the congregation and the community. The organ project was led by Rev. David W. Harvey with the assistance of several other parishioners. Dr. David Wagner performed the dedication recital.

The organ consists of four divisions: the Great is in the center above the impost, the Swell is right behind the Great and is enclosed in its own case, the Rückpositiv is in the gallery rail, and the Pedal is on either side of the main case. There are 3,017 pipes in this instrument. The metal façade pipes are 70% tin and 30% lead, metal flute pipes are 40% tin and 60% lead. Open pipes are cone tuned; stopped pipes have fixed caps. The temperament is Bach-Kellner A440. The playing action of the organ is direct mechanical (suspended tracker). There are two manual couplers and three pedal couplers. Manual/pedal compass is 56/30. The stop action is electric and offers a complete set of registration aids featuring 32 levels of solid-state memory. Two cuneiform bellows and one electric blower provide the winding.

— Karl Wilhelm Inc.

Facteurs d’Orgues-Organbuilders

Karl Wilhelm Opus 157

St. John’s Catholic Church

Fenton, Michigan

GREAT C–g’’’

16’ Bourdon

8’ Prinzipal

8’ Rohrflöte

8’ Flute Harmonique

4’ Oktave

4’ Spitzflöte

22⁄3’ Quinte

2’ Superoktave

8’ Cornet V (c’–d’’’)

11⁄3’ Mixtur IV

1’ Zimbel III

8’ Trompette

4’ Clairon


SWELL C–g’’’ (enclosed)

8’ Principal

8’ Gambe

8’ Celeste TC

8’ Hohlflöte

4’ Principal

4’ Flute Harmonique

2’ Waldflöte

22⁄3’ Cornet III (TF)

2’ Mixtur IV

16’ Basson

8’ Trompette

8’ Hautbois

Tremolo


RÜCKPOSITIV C–g’’’

8’ Prinzipal

8’ Gedackt

4’ Prinzipal

4’ Rohrflöte

22⁄3’ Nasard

2’ Doublette

13⁄5’ Terz

11⁄3’ Larigot

1’ Scharf IV

8’ Cromorne

Tremolo


PEDAL C–f’

16’ Prinzipal

16’ Subbass

8’ Prinzipal

8’ Bourdon

4’ Choralbass

22⁄3’ Rauschpfeife IV

16’ Posaune

8’ Trompete

4’ Clairon



Note:

Prinzipal 16’ in the Pedal: C–E, open 8’ wooden pipes and common with Subbass 16’; F–f’, 70% tin and located in the façade.

Prinzipal 8’ shares the first octave with the Prinzipal 16’ in the Pedal.

Prinzipal 8’ of the Positiv has common pipes from C–G# with Gedackt 8’.

Dobson Pipe Organ Builders, Lake City, Iowa

Calvary Lutheran Church, Brookfield, Wisconsin

Dobson Pipe Organ Builders, Lake City, Iowa, has completed its Op. 72 for Calvary Lutheran Church, Brookfield, Wisconsin. Despite the low ceiling height at the rear of the church, a balcony was a part of the original design of the building. As part of a renovation project, the congregation removed the balcony and resolved to place a mechanical action organ in a free-standing position on the main floor. The choir and handbells would then be arranged about the organ.

Even without the hindrance of the balcony, fitting an organ into the broadly V-shaped space proved a challenge. Many different plans were made, finally resulting in a design in which the Swell is located behind and above the choir seating, the Great is placed forward in a separate case and the Pedal is situated behind the Great. The console, placed in the Great case, is so located that the organist can direct the choir. In spite of its seemingly scattered arrangement, the mechanical design of the organ is quite straightforward and all parts are readily accessible for tuning and maintenance. The design of the curving white oak casework echoes the arcing lines of the ceiling, which rises toward the front of the sanctuary.

The tonal design of the organ is intended to inspire enthusiastic congregational singing and to accompany a wide variety of choral literature. The instrument is voiced on a wind pressure of 76 millimeters, which is supplied from a large, parallel-rise reservoir. Tuning is in equal temperament. Metal pipes are made of the usual alloys of tin and lead; all wood pipes are made of poplar and cherry. The key action is mechanical; an electric stop action and multi-level combination action are provided. Several Pedal stops are made available at two pitches through a system of mechanical duplexing.
Calvary was assisted in this project by John Behnke, organ consultant, and Scott Riedel, acoustical consultant. Suzanne and Steve Hibbard were director of music and organist, respectively, at the time of the organ’s construction. Bill Bravener is the current director of music.

—John Panning



Photo credit: Lynn Dobson


GREAT (58 notes)

16’ Bourdon

8’ Prestant

8’ Chimney Flute

4’ Octave

4’ Nachthorn

2’ Fifteenth

11⁄3’ Mixture IV

8’ Trumpet

Swell to Great


SWELL (58 notes, expressive)

8’ Gedackt

8’ Salicional

8’ Celeste FF

4’ Principal

4’ Traverse Flute

22⁄3’ Nazard

2’ Piccolo

13⁄5’ Tierce

11⁄3’ Quinte

8’ Oboe


PEDAL (32 notes)

16’ Subbass

16’ Bourdon (Gt)

8’ Principal

8’ Gedackt (ext)

4’ Choralbass (ext)

16’ Posaune

8’ Trumpet (ext)

Great to Pedal

Swell to Pedal



Tremulant

Zimbelstern

Karl Wilhelm, Inc.,
Mont St-Hilaire, Quebec, has built a new organ for Concord United Methodist
Church, Knoxville, Tennessee. The mechanical-action organ contains 32 ranks
playable over two manuals and pedal. Key action is suspended with one manual
coupler and two pedal couplers; stop action is also mechanical. One bellows is
provided for flexible winding, with a wind stabilizer for more stable winding.
Manual/pedal compass is 56/30. John Brock served as consultant and played the
dedication recital. Terrye Danner is organist of the church; Alan Eleazer is
director of music.

GREAT

16’         Bourdon

8’            Principal

8’            Rohrflöte

4’            Octave

4’            Spitzflöte

2’            Superoktave

22/3’    Cornet
III (c’–d’’’)

11/3’    Mixture
IV

8’            Trompette

SWELL

8’            Salicional
(F–g’’’)

8’            Celeste
(TC)

8’            Bourdon

4’            Principal

4’            Rohrflöte

22/3’    Nasat

2’            Quarte

13/5’    Tierce

1’            Scharf
III

16’         Basson

8’            Oboe

                   Tremolo

PEDAL

16’         Subbass

8’            Offenflöte

4’            Choralbass

16’         Posaune

8’            Trompete

Berghaus Organ Company, Inc., Bellwood, Illinois

St. Mary’s Roman Catholic Church, Port Washington,
Wisconsin

Set upon a hill, significantly above the shores of Lake
Michigan, is St. Mary’s Church of Port Washington, Wisconsin. Its
American gothic structure, built in 1884, can be seen for many miles from any
direction and in the 1800s served as a navigation aid for ships coming into
port.

In July of 2002, a contract was negotiated for a new
two-manual and pedal organ. The key action was to be tracker and the stop
action to be electric, in order that a combination system could be available
for the convenience of the organists. The organ case is made of red oak, with
plywood, oak-veneered panels set into massive solid oak frames. The keydesk is
built into the lower portion of the case with drawknobs set into terraced,
horizontal side jambs also made of solid oak.

The main case of the organ embraces the Great and Swell
organs. The upper façade displays the pipes of the Great 8’
Principal. The lower façade displays the pipes of the Swell 8’
Principal. The entire Swell 8’ Principal is outside of the swell box.
Between the upper and lower façades are the pipes of the Great 4’
Octave. Behind the main case is the Pedal organ. Casework covers the lower
portion of this division; from windchest level on up, all the pipework is
un-encased. Because of the good acoustic of the church, the Pedal has no
difficulty in speaking into the nave. The Pedal Kontrabass 16’ plays from
its own ventil action, pallet chest on a wind pressure of 125 mm. These pipes
are original to the first instrument. It was decided not to rebuild these
pipes, just to accommodate a lower wind pressure. The remaining stops in the
Pedal are voiced on a wind pressure of 75 mm. Wind pressures of the Great and
Swell organs are 70 mm.  Much of
this organ remains as “preparations” since funds were not available
to build this organ as a totally completed instrument.

The organ’s case design is by Allyn Hoverland and
Abraham Batten. Tonal specifications were by Leonard Berghaus in collaboration
with the parish organist, Drew Rutz. Brian Berghaus oversaw the case
construction and installation. Tonal finishing in the church was performed by
John Streufert, head voicer, and by Leonard Berghaus. Organbuilders and installers
included the following: Todd Berghaus, Jeff Hubbard, Jordan Smoots, Paul Sturm,
Paul Serresseque, Mitch Blum, Gordon Bruns, Randy Watkins, Mike Pelton, and
Kurt Linstead.

The blessing and dedication of the organ took place on
August 10, 2003. The organist for this service was Alan Hommerding. The pastor
of St. Mary’s Parish is Fr. Allan Sommer.  Parish and school music director is Drew Rutz.

--Leonard Berghaus

GREAT (Unenclosed)

16’        Bourdon*

8’           Prestant
(façade)

8’           Gamba*

8’           Rohrflöte

4’           Octave

4’           Spitzflöte
(prep)

22/3’   Quinte
(prep)

2’           Octave

13/5’   Terz
(prep)

                  Mixture
V (draws 2’)

8’           Trompete
(prep)

                  Tremulant

SWELL (Enclosed)

8’           Principal
(façade)

8’           Spitzviol

8’           Spitzviol
Celeste (tenor c)

8’           Holzgedackt*

4’           Geigend
Octave

4’           Koppelflöte

2’           Hohlflöte

11/3’   Klein
Nasat (prep)

                  Scharf-Mixtur
IV (prep)

16’        Groß
Dulzian (prep)

8’           Schalmei
(prep)

                  Tremulant

PEDAL

16’        Kontrabass*

16’        Subbass*

8’           Principal

8’           Gemshorn
(prep)

4’           Choralbass
(prep)

                  Mixtur
III (prep)

16’        Holzposaune
(prep)

4’           Kornett
(prep)

                  Zimbelstern

Mechanical key action with electric stop action; 32-level
memory system combination action

*Revoiced from the 1924 Schaeffer organ