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New Organs

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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

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New Organs

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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)

New Organs

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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

New Organs

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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

New Organs

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Karl Wilhelm, Inc., Mont St-Hilaire, Quebec, has built a new
organ for St. Athanasius Church, Evanston, Illinois. The firm’s Opus 147
was built according to classical principles. Key action is mechanical, stop
action is electric with 32 levels of solid-state memory. Great and Swell
divisions are housed in the right case, Pedal division in the left case. The
two cases are made of solid white oak and designed to complement the front
altar. Pipe shades are carved from butternut wood. The tonal design mainly represents
the classic German and French traditions. Temperament is after Vallotti, which
yields five pure fifths. Façade pipes are of 75% polished tin. Other
metal pipes are of 32% tin and 68% hammered lead. The organ has two
wedge-shaped bellows, creating a flexible wind. Manual/pedal compass is 56/32;
25 stops, 1,600 pipes.

HAUPTWERK

16’           Bourdon

8’               Prinzipal

8’               Rohrflöte

4’               Oktave

4’               Spitzflöte

22/3’     Quinte

2’               Superoktave

13/5’     Terz

11/3’     Mixtur
IV

8’               Trompete

SCHWELLWERK

8’               Salicional

8’               Hohlflöte

8’               Celeste
TC

4’               Principal

4’               Rohrflöte

2’               Waldflöte

1’               Scharf
III

8’               Oboe

                        Tremolo

PEDAL

16’           Subbass

8’               Prinzipal

8’               Bourdon

4’               Choralbass

2’               Rauschpfeiffe
III

16’           Posaune

8’               Trompete

New Organs

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

GREAT

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

CONTINUO

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

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

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

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

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

                                                Zimbelstern
(prep)

PEDAL

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

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

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

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

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

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

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

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

GREAT

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

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

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

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

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

                                                Mixture
II-III

CHOIR

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

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

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

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

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

PEDAL

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

                                                Gt/Ped

                                                Ch/Ped

                                                Ch/Gt

                                                Tremulant

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

POSITIV (prep)

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

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

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

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

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

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

                                                MIDI

                                                Zimbelstern

HAUPTWERK

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

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

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

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

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

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

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

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

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

SCHWELLWERK

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

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

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

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

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

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

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

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

                                                Tremulant

PEDAL

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

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

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

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

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

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

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

                                                MIDI
(prep)

The Pilgrims’ Chorus in the Lower Rhine

Aldo J. Baggia

Aldo J. Baggia is the retired chairman of the department of modern languages and instructor in French, Spanish, German and Italian at Phillips Exeter Academy in New Hampshire. He has studied and traveled extensively in Europe and has written numerous opera reviews for various publications as well as articles for The Diapason.

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Niederrhein (Lower Rhine) is a small part of Westphalia that borders the Dutch cities of Arnhem and Nimegen, which had great importance in the Second World War because of their strategic locations as entrances to Germany. They are dealt with at great length in the well-known film, A Bridge Too Far. They are also culturally important because of their relationship with the towns of Niederrhein. Linguistically, one sees the relationship in the fact that the Dutch language is readily understood in the towns on the immediate border. It is very common for Dutch people to shop in a town such as Kleve, which is on the border, rather than in Holland, because the prices are better. It is normal to see the parking lot at the City Hall in Kleve with half of the cars having Dutch plates. When crossing into Holland, such as we did when going to ’s-Hertogenbosch to see the famous organ at Sint Jan’s Kathedraal, we saw very few cars besides our own with German plates.
The cathedral at Den Bosch is a magnificent gothic structure that dates from 1220, and the grand organ, III/48, with its Coptic oak case, dates from 1617, although it was not ready for use until 1622. Franz Symons, a carpenter from Den Bosch, and Georg Schysler, a sculptor from the Tirol, were responsible for the beautiful case. After work by various builders, the organ, which has 3,000 pipes, was completely restored in 1984 by Flentrop. The choir organ, II/29, by Verschueren, was installed in 1985. A recording by Jacques van den Dool shows the grand organ to very good effect in pieces by Bach, Reger, Messiaen, de Grigny, Guilain and van den Dool.1
Before going to Niederrhein, I tried to buy a guide book of the area in a large bookstore in the city of Bamberg. In the travel section, there were hosts of books dealing with what seemed to be every conceivable area of Germany, but, to my surprise, there were no guides of Niederrhein. I inquired at the desk and was told that there were no guides of Niederrhein because it was not a tourist area. I found this hard to believe, but had to accept the reality of the situation. Later, I did find a few guide books when I arrived in the city of Kleve, which, as mentioned previously, is right on the border with Holland. The whole area has towns that are quite similar, with an emphasis on pilgrimage churches (Wallfahrtkirchen) that serve as a common touch. The churches tend to be very large with good-sized organs and are the focal points of the towns.

Kevelaer
Kevelaer is the most famous pilgrimage place in Niederrhein, and its Marienbasilika has the largest organ in the area (IV/128). The town was bombed during the war, but not everything in the town center was destroyed, and the main street leading to the tower of the basilica looks as though it had not been touched for hundreds of years. The Marienbasilika organ originally had 124 stops, and additions were made in 1926, bringing the total to 131. At that time it received electric action, and a four-manual movable console was built. In the last days of World War II, the echo organ was destroyed, leaving the instrument with 110 stops. A restoration by Seifert in 1977 brought the organ of 10,000 pipes to its current total of 128 stops.2 The sound is quite dramatic because of the excellent acoustics that really enhance the power and majesty of the instrument. The recording mentioned in the endnotes features works by Reger, Liszt, Reubke (The 94th Psalm), and Karg-Elert. The airy quality of the sound is clear and leaves nothing to be desired.

Seifert & Sohn IV/128
Marienbasilika, Kevelaer
Unterwerk (I)

16' Pommer
8' Principal
8' Grobgedacht
4' Octave
4' Koppelflöte
2' Octävlein
2' Querpfeife
1-1/3' Spitzquinte
Sesquialter II
Scharff IV
Cymbel III
16' Cor anglais
8' Hautbois
Tremulant

Hauptwerk (II)
16' Principal
16' Bordun
8' Principal major
8' Principal
8' Fugara
8' Flaut major
8' Gamba
8' Gemshorn
8' Gedacht
8' Quinteviole
8' Doppelflöte
51'3? Quinte
4' Octave
4' Hohlflöte
4' Fugara
4' Flauto
4' Seraphon-Octave
3-1/5' Terz
2-2/3' Quinte
2' Octave
2' Flöte
1' Octavin
Cornett IV
Mixtur V
Scharff V
Rauschquinte II
16' Tuba
8' Trompete
4' Feldtrompete

Oberwerk (III)
16' Gedacht
8' Principal
8' Doppelgedacht
8' Rohrflöte
8' Flaut harmonique
8' Quintatön
8' Seraphon-Gamba
8' Cello
8' Dolce
8' Vox angelica
4' Octave
4' Rohrflöte
4' Violine
4' Flaut dolce
2-2/3' Nasard
2' Octave
2' Piccolo
1-3/5' Terz
Progressio III
Mixtur IV
Octavcymbel III
Scharff V
Rauschpfeife II
16' Fagott
8' Trompete
8' Clarinette
4' Schalmei

Schwellwerk (IV)
16' Lieblich gedacht
8' Principal
8' Geigenprincipal
8' Konzertflöte
8' Gedacht
8' Aeoline
8' Vox coelestis
8' Quintadena
4' Gemshorn
4' Traversflöte
4' Octave
4' Nachthorn
2-2/3' Quintflöte
2' Flautino
2' Superoctave
1-3/5' Terzflöte
1-1/3' Quinte
1' Sifflöte
Mixtur V
Carillon III
Terzcymbel III
Paletta III–VII
16' Tuba
8' Trompete
8' Krummhorn
8' Vox humana
4' Clairon
4' Celesta
Tremulant

Pedal
32' Contrabaß
32' Untersatz
16' Principalbaß
16' Octavbaß
16' Salicetbaß
16' Violon
16' Subbaß
16' Gedachtbaß
10-2/3' Quintbaß
8' Principal
8' Baßflöte
8' Dulciana
5-1/3' Quinte
4' Fugara
4' Octave
4' Flöte
2' Clarine
Mixtur VI

Hintersatz V
32' Bombarde
16' Posaune
16' Trompete
8' Trompete
8' Fagott
4' Clairon

Normal couplers
Crescendo
2 free combinations
Pedal combination
3 Tutti
Electropneumatic action
Source: Psallite CD 60131. Romantische Orgelmusik (an der großen Orgel der Marienbasilika zu Kevelaer – Orgelbau Romanus Seifert & Sohn)

Next to the basilica there is the Kerzenkapelle (the candle chapel), which has an outside collection of hundreds of candles that have been left by pilgrims. It includes an organ, II/28, which was originally installed in 1843, and rebuilt and cleaned by the firm Seifert & Sohn, which had moved to Kevelaer during the construction of the new organ for the Marienbasilika in 1906.3
The pilgrimages in honor of the Blessed Mother date from the middle of the seventeenth century, and the Kerzenkapelle was built during the years 1643–45. By the second half of the century there were from 18,000 to 20,000 pilgrims on feast days, and today Kevelaer is known as the largest pilgrimage center in northwestern Europe with over one million visitors per year.4
The organ of the parish church of Kevelaer, Sankt Antonius (III/42), was also built by the firm of Seifert & Sohn and dates from 1987. It has 2,915 pipes and benefits from the excellent acoustics of the church. This church was badly hit during World War II, but has been completely rebuilt in a manner that shows off its pre-war splendor.5

Xanten
One might wonder why a large cathedral was built in Xanten, a small town with the unusual name beginning in “X,” but its history is quite telling. In 15 B.C., the Romans built a large military camp called Castra Vetera I. This lasted until 69–71 A.D., when it was destroyed and replaced by Castra Vetera II. North of the military complex, a civilian settlement was planned and created in 105 A.D., with the name Colonia Ulpia Traiana, through the good graces of the emperor Marcus Ulpius Traianus. At the time, this was a fairly large area only 23 hectares smaller than the Colonia that was the provincial capital, known today as the city of Köln (Cologne).6
In October 1933, professor Walter Bader discovered two graves located in the present-day crypt that date from the years 348–350 A.D. They were identified as Christian soldiers in their thirties, who subsequently became the symbol of the strong faith of the people in this area.7 Martin Ahls indicated that the name “Xanten” is, in effect, a derivative from “Ad Sanctos,” which means “next to the saints.” He went further to answer his own question as to why a cathedral was built in this rather remote town on the Lower Rhine:

This question is answered when we go into the crypt. Although it is the most recent part of the cathedral, built after the excavations made in our century, it contains the very core of its history: the tomb of two Christians who were slain in the fourth century. This tomb of the Holy Martyrs is the center and the starting point of religion on the Lower Rhine and at the same time it is the key that helps us understand the construction of the cathedral and of the town: Here people wanted to pray and to live—next to the Saints. History gave the Martyrs a name: Viktor—the victor even beyond death.8
After the war, it was decided to add urns filled with ashes from the concentration camps of Auschwitz, Bergen-Belsen, and Dachau as memorials to all who suffered from the atrocities of the Nazi regime.9
The cathedral can be seen from afar, inasmuch as it is such a large edifice. The organ, III/45 with 3,293 pipes, is the largest that the cathedral has ever had and was built by Seifert & Sohn of Kevelaer in 1973–1975.10 The instrument has a free-standing case on the floor in the back of the church and can effectively play the repertoire from Bach through Messiaen. The symbolic nature of the cathedral is of paramount importance to the citizens of the town, and the restoration that was done after the severe damage of World War II fits in well with the original construction work. A curious aside is that Xanten is featured in the Nibelungenlied and was supposedly the birthplace of Siegfried.11

Seifert & Sohn, III/45
Dom St. Viktor, Xanten
Hauptwerk

16' Praestant
8' Prinzipal
8' Rohrpfeife
4' Oktave
4' Koppelflöte
2' Superoctave
Kornett V
2' Mixtur V
Cymbel III
16' Trompete franz.
8' Trompete franz.
4' Clairon

Schwellwerk
8' Holzflöte
8' Viola da gamba
8' Schwebung
4' Venezianerflöte
2-2/3' Nasat
2' Querflöte
1-3/5' Terz
1' Schwiegel
4/7' Septime
1-1/3' Mixtur IV
16' Basson
8' Hautbois
Tremulant

Rückpositiv
8' Metallgedacht
4' Prinzipal
4' Rohrflöte
2' Gemshorn
1-1/3' Quinte
Sesquialter II
Scharff V
8' Cromorne
Tremulant

Pedal
16' Prinzipal
16' Untersatz
102/3' Quintbaß
8' Oktavbaß
8' Rohrpommer
4' Choralbaß
4' Spitzgedacht
2' Nachthorn
5-1/3' Rauschwerk IV
2-2/3' Hintersatz V
16' Posaune
8' Trompete
4' Schalmei

Constructed 1973–1975
45 stops (3,293 pipes)
Mechanical key and stop action
Normal couplers, 3 free combinations, Pleno, Tutti
From the liner notes of Psallite CD 60161

Kleve
If one looks at a map, one can see how the towns of Niederrhein are interrelated; the concept of so many pilgrimage churches makes sense. Kleve, right on the Dutch border, suffered as much as the Dutch cities of Arnhem and Nimegen, the largest cities on the Dutch side. This area represented one of the Allied entry points into Germany, and it is quite clear that the towns on the German side suffered tremendously because of this.
A small book that was published in Kleve in 1964 alludes to one of the biggest problems the people in this area had.12 According to the author, “the British and Canadian troops advanced without having the slightest understanding of the many-sided problems a people living under a dictatorship had, and therefore on German soil they saw every German as a Nazi.”
The organ of the Stiftskirche or St. Mariä Himmelfahrt, III/45, was built by the Austrian firm Rieger in 1991 and is primarily used to accompany congregational singing during Mass. However, a recording by Martha Schuster playing romantic and post-romantic works shows what heights the organ can achieve.13 The case, as one can see, is quite modern. Kleve is known in legends as having a relationship with Lohengrin, who is certainly well known because of Wagner’s opera. A modern fountain in the pedestrian zone of the city shows a swan pulling at Lohengrin. The symbol of the city is the Schwanenburg (the Swan’s castle), which dominates the city along with the towers of the Stiftskirche nearby.

Rieger III/45
Stiftskirche St. Mariä Himmelfahrt, Kleve
Grand Orgue (I)

16' Montre
8' Montre
8' Flûte harmonique
8' Salicional
8' Bourdon
4' Prestant
2' Doublette
2' Fourniture IV
1' Cymbale III
8' Cornet V
16' Bombarde
8' Trompette
4' Clairon

Positif (expressive) (II)
8' Principal
8' Bourdon
4' Octave
4' Flûte douce
2-2/3' Nasard
2' Doublette
1-3/5' Tierce
1-1/3' Larigot
1' Plein jeu IV
8' Trompette
8' Clarinette
Tremblant

Récit Expressif (III)
16' Quintaton
8' Flûte traversière
8' Viole de Gambe
8' Voix céleste
4' Flûte octaviante
2' Octavin
III Carillon (2-2/3' + 1-3/5' + 1')
16' Tuba magna
8' Trompette harmonique
8' Basson-Hautbois
8' Voix humaine
4' Clairon harmonique
Tremblant

Pédale
32' Soubasse
16' Contrebasse
16' Soubasse
8' Basse
8' Bourdon
4' Flûte
32' Contrebombarde (ext)
16' Bombarde
8' Trompette

Mechanical key action
Electric stop action

Kalkar
Very near Kleve lies the small town of Kalkar, which profits from a quaint setting. The Nicolai Kirche’s intricately cut wood carvings make up much of the decoration that surrounds the different altars, as well as the elaborate casework of the organ (Seifert & Sohn, III/34). The first organ of the church dated from 1457, and from 1684 there was a baroque instrument. That was replaced in 1867–72 by a two-manual and pedal organ of 30 stops by the Rheinberg builder Bernhard Tibus (1815–1896). The Cologne architect Heinrich Wiethase designed a late-gothic case that is still in use today. Holger Brülls writes about this organ and the subsequent ones in an article cited below. One notes the influence of Aristide Cavaillé-Coll, and the Dombauinspektor (cathedral building inspector) Friedrich Schmidt praised the organ for its workmanship. The placement of the organ varied from the west tower to the south portal, where it is currently situated. The instrument was replaced in 1904 by Franz Tibus, but retained the Wiethase case. The two-manual and pedal organ on pneumatic cone chests was in line with German organ building of the late romantic years. In the late 1960s, Seifert & Sohn (Kevelaer) built an electric-action slider chest three-manual and pedal organ of a neo-baroque character and retained the Wiethase case. The organ has 2,450 pipes. It received some additions in the year 2000 during the course of interior renovation work in the church; two octave couplers and a new stop (Trompette-harmonique 8') were added. Jan Szopinski is the Cantor of St. Nicolai Kirche. Typical of the towns in the area, near the main square there is a picturesque windmill that was converted into a restaurant.14

Wesel
Driving directly west from Kleve, one encounters the city of Wesel, which has a very large Protestant cathedral (Dom) in the city center. The destruction during the war was substantial, and it is sad to see the pictures on display in the interior. It is a church of enormous scope, and the rebuilding was done over the span of many years, i.e., from 1947 to 1994, with the support of the Willibrordi-Dombauverein (Dom building association). The intent was to bring back the medieval nature of the Dom.15
The steeple stands high over the center of the town, and the only drawback is the fact that most of the windows are of plain glass. I don’t know what the situation was before the bombing, but there is no question that stained glass would have been extraordinary. It would have created a remarkable image in the interior because of the height of the windows. The organ, built by Marcussen & Søn of Denmark in 2000–2001 (III/54), is a very impressive instrument in a freestanding position in the west part of the church, and the case is striking. The acoustics are very good, and two recordings feature the instrument in repertoire from Buxtehude, Pachelbel, Bach, and Mozart through Franck, Mendelssohn, Reger, Brahms, and Messiaen. I found particularly impressive the Reger Introduction and Passacaglia in D minor, Boëllmann’s “Carillon” from Douze Pièces, and Dieu parmi nous by Messiaen.16

Marcussen & Søn III/54
Wesel Dom
Hauptwerk (II)

16' Prinzipal
8' Oktave I–III*
8' Hohlflöte
8' Rohrgedacht*
8' Gambe
4' Oktave I–III*
4' Spitzflöte
2-2/3' Quinte
2' Oktave I–III*
2' Waldflöte
Hintersatz VI–IX*
Scharf VI–VII
16' Trompete
8' Trompete
8' Spanische Trompete

Schwellwerk (III)
16' Rohrpommer*
8' Salizional
8' Voix céleste
8' Rohrflöte
8' Quintatön
4' Prestant*
4' Flüte octaviante
2-2/3' Nazard
2' Octavin
1-3/5' Tierce
Plein jeu V–VII
16' Basson*
8' Trompette
8' Vox humana
8' Oboe
4' Clairon

Rückpositiv (I)
16' Bordun*
8' Prinzipal
8' Gedacht
8' Spitzgambe*
4' Oktave*
4' Rohrflöte
2-2/3' Nasat
2' Gemshorn
Cornet II
Sesquialtera II*
1-1/3' Quinte
Mixtur V–VI
16' Dulzian*
8' Cromorne

Pedal
32' Untersatz*
32' Prinzipal*
16' Subbaß
8' Oktave
8' Spitzflöte
4' Oktave*
2' Nachthorn
Mixtur V*
16' Posaune
16' Fagott
8' Trompete

* all or partially made from pipes of the previous organ by Walcker

Bocholt
A very short distance from Wesel lies the city of Bocholt, which is in Westphalia but just outside the geographical limits of Niederrhein. The Liebfrauenkirche has a magnificent Klais organ, III/38, from 1979. I had been in touch with the Kantorin, Irmhild Abshoff, before going to Germany, and I knew something of its features from a recording that was issued in 1996 to commemorate 95 years of the parish’s work. When I arrived in Bocholt, the Kantorin was good enough to demonstrate the organ. There is no question that this is an extraordinary instrument capable of playing the entire repertoire for the organ. The recording opens with Bach’s Prelude and Fugue in G major, BWV 541, and the organ has a true baroque sound. The Kantorin also plays Karg-Elert’s Choralimprovisation für Orgel “Nun danket alle Gott,” which really shows the power and majesty of the instrument. It would be difficult to look for more. Bernhard Ratermann plays Franck’s Choral No. 2 in B minor, and here fonds d’orgue passages effectively contrast with a powerful reed-dominated tutti.17

Klais III/38
Liebfrauenkirche, Bocholt
Oberwerk (I)

8' Holzgedacht
8' Gamba
8' Unda maris
4' Principal
4' Traversflöte
2' Waldflöte
1-1/3' Larigot
2-2/3' Sesquialter II
2/3' Scharff IV
16' Basson Hautbois
8' Cromorne Trompete
Hauptwerk (II)
16' Quintade
8' Principal
8' Holzflöte
8' Gemshorn
4' Octave
4' Koppelflöte
2-2/3' Quinte
2' Superoctave
8' Cornet V
1-1/3' Mixtur IV
8' Trompete
4' Trompete

Brustwerk (III)
8' Rohrflöte
4' Blockflöte
2-2/3' Nasard
2' Principal
1-3/5' Terz
1' Sifflet
8' Vox humana

Pedal
16' Principal
8' Subbaß
8' Octave
8' Spielflöte
4' Tenoroctave
2-2/3' Rauschpfeife IV
16' Posaune
8' Holztrompete

6 couplers, 2 tremulants, 6 adjustable combinations
Mechanical key action, electric stop action

One could continue to visit other instruments in the area, but it is clear that this area is fairly typical of what one finds in Germany. The organ history in Germany is a long one and emphasizes the importance of music in the country.

 

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