New Organs

New Organs

Bedient Pipe Organ Company, Roca, Nebraska

St. Paul United Methodist Church, Lincoln, Nebraska

From the pastor

St. Paul United Methodist Church was the very first church in Lincoln,
established in 1857. Located at 12th and M streets in downtown Lincoln, the
present building was completed in 1901 and was used by many groups as the
city's largest auditorium. A major addition was built in 1999, and the
sanctuary was completely remodeled in 2001. It is an active and growing
downtown church with 1,800 members.

We were very excited when an unanticipated major gift allowed us to proceed
with a much-needed sanctuary renovation. One concern that we had to deal with
in planning this renovation was the old organ, a Reuter from 1953. The primary
concern was the appearance of the instrument in the new visual plan; and that
led to a secondary concern: the condition of the organ and its effectiveness in
leading worship at St. Paul.

We investigated renovating the existing organ versus replacement with a new
one. It became apparent that a six-figure renovation would solve the visual
problems but still leave us with an old organ that would eventually need a lot
of work. A decision was made by the organ committee to contract with the
Bedient Company to build a new organ in two phases. Phase one included the
console, a new façade and two major divisions of the new organ, and
allowed us to proceed with funding that was in place to solve the organ
problems. Subsequently, a second generous gift has allowed us to complete phase
two, the remaining two divisions of the organ.

We had serious concerns about replacing the Reuter organ with a new
instrument. Although the organ had many deficiencies, at the same time, there
were many sounds that were beloved by the congregation. Time proved that our
concerns were unfounded. The façade of the new Bedient organ is
magnificent and fits beautifully into the renovated sanctuary. More
importantly, from the first time we began to hear sounds from the new organ, it
was apparent that the tonal qualities of the new organ were equally
magnificent. The organ creates a beautiful, full sound without a hint of
harshness, and there are many lovely individual stops on the organ. It has been
a joy working with the Bedient Company. They have been responsive to all of our
concerns and have created a magnificent pipe organ for St. Paul United
Methodist Church that will enhance the worship experience for generations to
come.

--Dr. C. Rex Bevins

Senior Pastor, St. Paul UMC

From the director of music

When it became apparent that the old organ was going to be replaced, I had
serious concerns about the suitability of the new organ to lead the
congregation and to accompany the many choral and instrumental ensembles at St.
Paul. Gene and company assured us that we would be very pleased with the
result, and they were right! The range of dynamics for accompanying was
remarkable just with the Great and Swell divisions in place. When a string
ensemble from the Lincoln Orchestra Association was being accompanied by the
organ, many remarked that they were unable to tell which sounds came from the
string orchestra and which from the string pipes in the organ! The sounds of
the principal pipes and the principal choruses are excellent for leading the
congregation in hearty Methodist hymn singing. The Bedient Pipe Organ Company's
Opus 70 is well suited for all requirements.

--Dr. William Wyman

Director of Music, St. Paul UMC

Director of Choral Activities,

Nebraska Wesleyan University

From the organist

The St. Paul sanctuary, one hundred years old in 2001, was designed
according to the Akron plan. The organ chamber is located in the corner of a
diamond shape, fronted by the chancel and surrounded by amphitheater-style
seating. Three balconies skirt the outer walls with a total seating capacity of
1100.

The renovation of the sanctuary and the organ were addressed with a primary
concern for flexible use of space. All chancel furnishings were permanently
fixed in place making it difficult to find space for instrumental groups.
Acoustics were another concern. Carpet with a thick horsehair pad and soft
acoustic ceiling tile virtually defeated the courage of the congregation to
sing. The old organ, though rather large, didn't project well enough to support
and encourage singing. And as a concert instrument it was wholly inadequate.

Flexibility was achieved by making all chancel furniture, including the
choir modesty rail, movable. Choir chairs replaced pews. The organ would have a
movable console. The Bedient Organ Company agreed to a major departure from its
practice of building tracker organs to design for us an instrument with an
electric console and with electro-pneumatic slider chests. The low-profile,
French terrace console was placed on a movable platform. Conducting from the
console is now possible for the first time in the history of this church.
Ensemble playing has become a pleasurable experience. Eye (and ear) contact
with the conductor and other performers can always be achieved. An adjustable
pedalboard, both horizontal and vertical, provides relief from back and
shoulder discomfort as well as seating flexibility for younger student players.

To restore acoustical life to the sanctuary, ceiling tiles were replaced
with drywall, glued and screwed down every twelve inches. The new chancel floor
was extended and covered with solid oak. The heavily padded carpet in the nave
was replaced with a thin, tightly woven variety.

But of course, everyone wants to know, is the organ successful? The short
answer is an unequivocal yes! It can do everything required of a church organ
in worship. Tonally, the organ is well matched to the human voice, supporting
congregational singing and accompanying choirs and soloists beautifully. The
strings and reeds blend well with their orchestral counterparts. Brass players
particularly have commented on how much easier it is to tune and play with this
organ. These characteristics also provide the foundation necessary for playing
orchestral transcriptions. In general, three tonal characteristics leap to
mind: gentle, beautiful and robust. But the truly unique contribution of this
instrument is its place on the cutting edge of stylistic development.

Given the tonal qualities of the Aeolian-Skinner organ, it is understandable
why there is a virtual cult following for that style of instrument. But as the
proponents of organ reform realized, its capacity to play the vast repertoire
with any hint of appropriate historic sound and color was nonexistent. The
American Classic organ simply produced a generic sound able to play all
repertoire but with little distinction. Music composed for it, of course, was
the exception.

Now after an in-depth foray into historic building practices over the past
thirty or so years a new "American Classic" organ has emerged. The
sound is clearly influenced by historic models but in the case of some builders
it is still a generic sound, i.e., one basic sound for all styles of music. In
the hands of the Bedient Organ Company, however, a higher ideal is being
achieved.

The higher ideal, to the mind of this author, is an instrument whose
ensemble is not only cohesive but by judicious registration may produce
ensembles clearly reminiscent of French Classic and Romantic, North German and
even English Cathedral sounds. The effect may not be literal but still is able
to act as a tonal chameleon. We find Bedient's Opus 70 to successfully define
this direction in the stylistic evolution of the American Classic organ.

In our recently released recording we have chosen a solo repertoire to demonstrate
the range of the instrument. Whether the organ's use is to support and lead
worship or as a concert instrument there are three requirements for a
successful instrument: dynamic flexibility, varied tonal color (timbre), and
stylistic eclecticism.

Dynamic flexibility, that ability to affect a seamless crescendo and
diminuendo from the softest stops to full organ and back, is demonstrated
beautifully and elegantly by the Adagio in E Major of Frank Bridge. This is
accomplished by the use of two enclosed divisions, the Swell and Choir coupled
to the unenclosed Great division. This ability is essential, as well, for
effective choral accompanying.

The range of timbre is like an artist's palette. Each stop on an organ has a
specific tonal color: strings, flutes, principals and reeds. Additionally, each
manual division has mutation stops which, when used in various combinations,
create new colors. A few possibilities, using flutes, mutations, oboe and
cromorne, are revealed in the charming little dance suite, La Bourrée by
Michael Praetorius.

In most modern church settings an instrument should be stylistically
eclectic, able to play a wide range of literature both for worship and concert.
The music of J. S. Bach shows the instrument's ability to sound German and to
play complex contrapuntal textures with clarity. The music of Gigout,
Saint-Saëns, Mulet, Dupont, and Dupré shows the French personality
of the organ with its true French reeds and the full foundation of 8' flue
stops on the Great organ. And, referring once again to the Adagio in E Major by
Frank Bridge, the English love of building waves of crescendo and diminuendo in
the 19th century is clearly possible on this instrument. Finally, the inclusion
of three American hymn settings demonstrates this organ's ability to be
completely at home in the 21st century.

A new organ invites exploration into its capabilities: stylistic range and
practical uses in the worship service as a solo instrument, with other
instruments, choirs and congregational singing. The St. Paul congregation and
its musicians are grateful for an instrument that satisfies beyond our
expectations.

--Dr. John C. Friesen

Senior Organist and Consultant,

St. Paul UMC

From the builder

The Bedient organ built especially for St. Paul United Methodist Church in
Lincoln, Nebraska is the company's Opus 70. It was designed specifically for
the St. Paul sanctuary. The three-manual and pedal organ has 47 stops, 59 ranks
and a total of 3,063 pipes.

To accommodate the needs of the church, we designed and built the organ in
two phases. Phase one consisted of the structural, mechanical, electrical, and
wind systems to make the organ function. Also included in phase one were
windchests and pipes of the Great, Swell, and part of the Pedal divisions. In
phase two, the windchests and pipes of the Choir division and the main part of
the Pedal division were added.

Inside the organ chamber a three-level structure, consisting of steel
columns and laminated wood beams, provides the support for the windchests and
the wind system. The façade casework and console are made of white oak,
the keyboard naturals are of bone, and the accidentals are of ebony. The pipe
shades are of basswood with the design drawn from the foliage in the stained
glass windows. The Pedal naturals are of hard maple and the accidentals are
capped with teak. The stopknobs are of cocobola. The pedalboard, expression
shoes and toe pistons adjust vertically via electric motor, while the
horizontal pedal and bench adjustments are mechanical.

The tonal basis of the organ is an amalgamation of 19th-century American,
18th-century German and 18th/19th-century French concepts. Pipes were made with
techniques and designs appropriate to their historical derivations. All the
pipes made by Bedient are an alloy of tin and lead, ranging from 2% tin to 85%
tin, based on the historical basis of the various stops. The façade
pipes, made by A. R. Schopp's Sons in Ohio, are of polished zinc up to the
six-foot body length pipes and are 80% tin beyond that size. They also feature
23-karat gold leaf gilding on the mouths. All wooden pipes are made of poplar
except for the one set of pipes that was retained from the old organ, the 32'
Contresoubasse, which is made of mahogany.

The manual windchests are slider chests and the valves that admit air into
the channels are electro-pneumatic. All offset chests are electro-pneumatic.
The electrical control systems of the organ were made by Peterson
Electro-Musical Products, Chicago, and include the Master Stop Processor with
Piston Sequencer.

The dedication concert for Opus 70 was performed on January 27, 2002 by Dr.
John C. Friesen, organist at St. Paul UMC. Dr. Friesen highlighted the evening
with his performance of works of Buxtehude, Bach, Langlais, Franck, and Vierne.
He was joined by members of the Lincoln Orchestra Association in the
performance of the Handel Organ Concerto in F Major, op. 4, no. 4, and the
Poulenc Concerto in G minor.

The new Bedient organ was also featured in a concert by The Lincoln Symphony
Orchestra celebrating their 75th Anniversary. The evening included Rev. Dr.
Victoria Sirota performing on Opus 70, after which she stated:

The new Bedient organ at St. Paul United Methodist Church in Lincoln, with
its classic European sensibilities coupled with American flexibility, worked
wonderfully for the Sirota organ concerto "In the Fullness of Time."
Individual stops have integrity and presence, and yet blend beautifully into an
artistic whole. Gene Bedient is a poet.

From the outset, it has been the goal of the Bedient Pipe Organ Company to
create a majestic organ that will serve St. Paul United Methodist Church well
for many generations to come.

--Gene Bedient

The Bedient staff:

Alan Baehr, design, case work, installation

Gene Bedient, concept, design and voicing

Gwen Bedient, administration

Duane Grosse, pipe making, electrical

Jerry Hill, case work

Chad Johnson, wood pipes, electrical, voicing, installation

Rick LaBrune, windchests

Paul Lytle, windchests, installation, administration

Stan Pypenko, pipe making

Ed Stibal, case work, console

Jon Taylor, case work, internal structure

Donna Varney, voicing, installation

Fred Zander, windchests, installation

Todd Znamenacek, pipe shades

The recording of this organ by Dr. John Friesen is available from the church
office: 402/477-6951;

<www.saintpaulumc.org&gt;.

For information on the Bedient Pipe Organ Company: 1060 Saltillo Road, Roca,
NE 68430; 800/382-4225;

<[email protected];

<www.bedientorgan.com&gt;.

GREAT

16'            Principal

8'               Principal

8'               Salicional

8'               Flûte
harmonique

8'               Rohrflute

4'               Spielflute
(prep)

22/3'        Quinte

2                Octave

13/5'        Terz

                   Mixture
IV-V

8'               Trompete

8'               Wesley
Trompette (prep)

                   Tremulant

                   Chimes

SWELL

8'               Violin
Diapason

8'               Viole
de Gambe

8'               Bourdon

8'               Voix
céleste

4'               Prestant

22/3'        Nazard

2'               Doublette

13/5'        Tierce

                   Mixture
III-IV

16'            Basson

8'               Trompette

8'               Hautbois

4'               Clairon

8'               Wesley
Trompette (prep)

                   Tremulant

CHOIR

8'               Principal

8'               Bourdon

8'               Dulciana

8'               Unda
Maris

4'               Principal

2'               Nachthorn

                   Cornet
II

                   Cymbale
III-IV

8'               Trompette

8'               Cromorne

8'               Wesley
Trompette (prep)

                   Tremulant

                   Zimbelstern

PEDAL

32'            Contresoubasse

16'            Contrebasse

16'            Subbass

102/3'      Quinte

8'               Principal

8'               Bourdon

4'               Octave

4'               Flute

16'            Bombarde

8'               Trompette

Couplers

Great/Pedal

Swell/Pedal

Choir/Pedal

Swell/Great 16, 8

Choir/Great 16, 8

Swell/Choir

Reverse Choir/Great

Great 16-UO

Swell 16-UO-4

Choir 16-UO-4

Piston Sequencer

Forward, Reverse, Reset

Reversibles

Great/Pedal

Swell/Pedal

Choir/Pedal

Swell/Great

Choir/Great

Swell/Choir

Pistons

8 General

6 Divisionals

General Cancel

Divisional Cancel

Tutti

Set

Orgues Létourneau Limitée, Saint-Hyacinthe, Québec, Canada, Opus 93

The Abbey of Gethsemani, Trappist, Kentucky

With roots tracing back to the 11th century Cistercian monks in France, the Abbey of Gethsemani was first established in Trappist, Kentucky in 1848. Today, the abbey is a vibrant and thriving community with 65 monks, hosting retreats year-round and supporting their work by mail-order and Internet sales of homemade fruitcakes, cheeses and bourbon fudge. Divine worship continues to be the foundation of the Trappist community and their activities, with the cycle of seven prayer services observed daily.
When confronted with the need to replace their previous pipe organ, the monks embarked on an exhaustive process to choose an organ builder. While a fine tonal result was an obvious priority, equal importance was placed on commissioning a mechanical-action instrument that was both comfortable to play and built to the highest standard of quality.

The end result of their search is the 29-rank instrument pictured here. The instrument’s simple casework is made from solid red oak and was designed to complement the abbey’s unadorned architecture. The façade displays pipes from the 16' Montre stop, made from 70% polished tin. Completed in December 2003, the organ serves daily, accompanying the abbey’s services, and was dedicated in a series of recitals by Philip T. Hines, Jr. and W. Dudley Oakes.

The organ’s console en fenêtre has bone and ebony keyboards and offers mechanical key action. The stop action is electric and boasts a 16-level piston capture system by Solid State Organ Systems of Alexandria, Virginia.

—Andrew Forrest

Orgues Létourneau Limitée

Saint-Hyacinthe, Québec

GRAND-ORGUE

16' Montre

8' Montre

8' Flûte à cheminée

8' Salicional

4' Prestant

4' Flûte conique

22?3' Nazard

2' Doublette

13?5' Tierce

11?3' Fourniture IV–VI

8' Trompette

Tremblant

Récit au Grand-Orgue

RÉCIT EXPRESSIF

8' Viole de gambe

8' Voix céleste

8' Bourdon

4' Prestant

4' Flûte à fuseau

2' Doublette

22?3' Cornet III

8' Hautbois

Tremblant

PÉDALE

16' Montre (G-O)

16' Soubasse

8' Prestant

8' Bourdon

4' Basse de chorale

16' Bombarde

8' Trompette

Grand-Orgue à la Pédale

Récit à la Pédale

Bedient Pipe Organ Company, Roca, Nebraska

Opus 71, Amistad Chapel, United Church of Christ Church House, Cleveland, Ohio

Opus 71, a Phoenix model from our Legacy Line, is a modest instrument with grand tonal possibilities. It is designed to lead liturgy, hymn singing and to play a significant amount of organ literature.
Eighteenth- and 19th-century organs of France and Germany inspire the design of the organ.
The organ case is constructed of Honduras mahogany and includes decorative pipe shades of iroko wood. The twenty-three pipes in the façade are speaking pipes and part of the Principal 8' stop. Their mouths are gilded with 23-karat gold leaf. The keyboard naturals are covered with blackwood, and the accidentals are of white maple. The pedal keys are made of oak, and the accidentals are capped with moradillo.

The fourteen sets of pipes in the organ produce twelve individual stops and total 807 pipes. The custom-designed iroko wood pipe shades incorporate maritime elements reflecting African captives’ revolt during transport to the United States on the slave ship, Amistad.

—Gene Bedient

GREAT

8' Principal (tc)

4' Octave

2' Octave

II Sesquialtera

II–III Mixture

SWELL (enclosed)

8' Salicional

8' Gedackt

4' Spitzflute

2' Flute

8' Trumpet Treble

8' Cromorne Bass

PEDAL

16' Subbass

8' Flute

Couplers

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

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)

Berghaus Pipe Organ Builders, Inc., Bellwood, Illinois
La Casa de Cristo Lutheran Church, Scottsdale, Arizona
Opus 224 (2008)

From the organbuilder
Overview
Berghaus opus 224 at La Casa de Cristo Lutheran Church contains 91 ranks, 94 stops, and 5,067 pipes over four manuals and pedal. The instrument takes its place as one of the largest pipe organs in the state of Arizona. The majority of the instrument (Pedal, Great and Positiv) is located on the mezzanine level at the front of the sanctuary, on a concrete platform measuring 42 feet across. The enclosed Swell is located above the musician’s gallery in a resonant chamber measuring 14 by 18 feet, and the Antiphonal is divided and elevated on two sides of the rear gallery, flanking the large rear window.
The casework is constructed from light-golden, rift-cut oak. The design emulates contemporary shapes found elsewhere in the sanctuary. The visually striking façade, including polished tin Principals from the Pedal, Great, and Positiv divisions, takes its inspiration from the McDowell mountain range, located in the northeast corner of the Phoenix valley. A sense of depth is created with the mountain-like arrangement of flamed-copper 16′ Principal pipes from the Great and Pedal divisions. The façade also contains twelve non-speaking wood pipes, painted sage green, in homage to the majestic Saguaro cactus found in the region. Adding to the visual display is the asymmetrical layout of the Trompette en Chamade, constructed with flamed-copper resonators. The twin Antiphonal façades echo the details found in the main organ.

Tonal Approach
We designed an eclectic instrument, taking cues from the American Classic and Romantic traditions, that would be able to handle a comprehensive repertoire, including a wide range of expression, both dynamic and tonal. To that end, there are no less than five manual 8′ principals, ten different 8′ and 4′ flutes, strings and hybrid (tapered) stops of varying tone and construction. The versatility of this instrument results from our ability to treat each of these stops as a beautifully unique voice when used alone, as well as having the ability to blend well, thus creating new and desirable tones when used in combination. This is evident in the Great, which contains the standard French-Romantic foundation of Principal, String, Open Flute, and Stopped Flute.
Given the challenge of creating a large organ with only one expressive division, it was clear from the onset of the project that great care would have to be taken in the tonal finishing process to ensure a seamless crescendo and to create an organ with equally balanced manual divisions. The ranks of the unenclosed Positiv are designed and voiced to provide a remarkable degree of expressiveness, and to serve as a tonal bridge between the Swell and the Great. The overall effect in the crescendo is that of a seamless transition from ppp to fff without experiencing staggering dynamic or color steps.

Tonal Analysis
The Great division consists of 19 stops, 22 ranks, and is mostly divided between two large slider chests, one containing the principal chorus through mixture, the other containing the flute and string stops. The 8′ First Principal is of generous scale, and is constructed of 75% tin throughout. This creates a timbre that is simultaneously bright and full, and gives it a singing quality that provides a strong foundation upon which the subsequent ranks are built. The 16′ Sub Principal is scaled proportionally (smaller) to the First Principal and is extended to be available as an 8′ stop (Second Principal). This gives an alternative diapason tone that is more subdued than its larger neighbor, yet is large enough to be a lighter 8′ texture for the entire plenum. The principal chorus is completed with narrowly scaled mutations, and is crowned by two mixtures: a full 2′ V-rank Fourniture, and a sparkling 1⁄2′ III-rank Cymbale. The Flûte Harmonique is large scale, with harmonic pipes starting at no. 30, and is voiced with a very strong increase in the treble. Other flute stops include a metal 8′ Bourdon, a harmonic 4′ Flûte Octaviante, and a II-rank Gross Kornet, constructed of large-scale open flutes at 51⁄3′ and 31⁄5′ pitches to enhance the 16′ harmonic series. The 8′ Gamba is of slender scale and is gently voiced to be a blending stop. The 16′ and 8′ unit Kontra Posaune is a blending chorus reed of German construction. The 16′ and 8′ Trompette en Chamade contains schiffchen-style shallots, producing a sound reminiscent of older Spanish trumpets, yet it can be used as a crown for full organ. The Great provides a myriad of combinations suited for a range of demands from the liturgical service to the solo organ repertoire.
The Swell division contains 21 stops, 23 ranks, and is “double-stacked,” with the complete principal chorus, mutations, and reeds occupying the lower level. Flutes, strings, and celestes are mounted above. The principal chorus is based on an 8′ Diapason of spotted metal, crowned with a 2′ IV-rank Plein Jeu. The relatively low pitch of this mixture, combined with a narrow scale, allows the pipes to be blown full, which helps to produce a clear principal tone. Furthermore, the mixture is voiced softly enough to give the entire plenum a gentler quality suitable for choral accompaniment. The III-rank Cymbale is designed as a tierce mixture and voiced to its full potential to reinforce harmonics present in the fiery chorus reeds. It also blends well and can be used as a higher-pitched mixture with the principal chorus.
The Viole de Gambe is made of 75% tin and slotted for optimum harmonic development. The combination of this stop with its 61-note Voix Celeste is intended to produce true string tone, and not tone associated with narrow principals or stringy hybrid stops. This approach allows us to keep each of the tonal categories of the instrument separate and distinct. The Swell is also home to the softest rank of the organ, the 8′ Flûte Conique, which when paired with its celeste elicits a most haunting timbre. Other flutes in this division include the 8′ Flûte à Cheminée, which is wood in the bass and is extended to 16′ pitch, and a 2′ Octavin, which goes harmonic at no. 13. This 2′ flute is not intended to be used with the mixture, but rather with the 8′ and or 4′ flutes. However, it works equally well with the principals, as the scale is moderate and the voicing is light. The battery of reeds consists of a full-length 16′ Basson, an 8′ Trompette and 4′ Clairon of French construction, and an 8′ Hautbois featuring coned-in bells and parallel French shallots. When combined with foundation stops, the 8′ Hautbois becomes a most useful solo voice, especially for music from the French symphonic school. The Voix Humaine is of American Romantic construction.
The Positiv division is located adjacent to the Swell, which allows this division, along with the Swell, to accompany the choir. Totaling 19 stops and 19 ranks, the Positiv is based on an 8′ Prinzipal constructed of 75% tin and is complete through a 1′ IV-rank Scharf. The ranks of the plenum are narrower in scale than in the other divisions and provide a good secondary chorus to the Great, especially in Baroque music. The 8′ Gemshorn has a very wide mouth with a low cut-up and a 1/3 taper, giving it a string-like tone. A complete Cornet decomposée including Septième comprises pipes of various construction, from the 8′ Holzgedackt made of poplar to the 22⁄3′ chimneyed Rohrquinte. There are three solo reeds in the Positiv division, including an imitative 16′ English Horn, an 8′ Cromorne, and an 8′ Trumpet with English shallots.
The Antiphonal division comprises 9 stops and 10 ranks, and provides additional support for congregational singing as well as interesting echo effects to the main instrument. Placed on opposing sides of the gallery, the Antiphonal is higher in elevation in comparison to the main organ. The Antiphonal principals are voiced in a mild fashion, to give a sense of surrounding the listener while providing a supplemental role to the main instrument. This approach was preferred to bombarding the listener with sound from the gallery and purposely announcing the Antiphonal’s presence. Of note are the two solo flutes: the 8′ Doppelflöte and the 4′ Flauto Traverso (harmonic), both made of poplar. The organ’s heroic reed, the 8′ Trompette de Fête, is located in the Antiphonal division as well. The Trompette de Fête features hooded resonators and is voiced on 18 inches of wind.
The Pedal division comprises 26 stops and 17 ranks. The division is thoroughly complete to provide ample foundation tone in a variety of timbres and volumes. Fortunately, few of the pedal stops are borrowed, which gives tremendous flexibility to the division as a whole. The principal chorus is based on an open metal 16′ Principal, scaled according to classical principles (relative to the Great 8′ First Principal). The entire chorus provides a solid contrast to the Great and gives excellent support without being woofy. When a more penetrating foundation is desired, the generously scaled 16′ Open Wood is useful for larger combinations. Of particular note is the 31⁄5′ V-rank Pedal Mixture. The first rank of this stop is a tierce (16′ series), constructed of 2/3 tapered pipes. Voiced gently, this rank dramatically enhances the 16′ fundamental tone, while giving the overall plenum a pleasantly reedy tone. This helps to further clarify the Pedal line in contrapuntal textures. As with many of our larger instruments, an 8′ Spitzflöte is included to give a more pointed emphasis to the Pedal line in softer combinations. The reed chorus consists of a 32′ and 16′ Bombarde constructed with pine resonators, and a large-scale 8′ Trompette with English shallots. A 4′ Rohrschalmei is a very characteristic reed useful for cantus firmus solos.

Wind System and Chests
The vast majority of flue stops in this organ are placed on slider and pallet chests, which we believe speak to the heart (and origins) of good organ building. Principals and flutes in each division (sans Antiphonal), are placed on separate chests. This helps to solidify each respective chorus. We have insured absolutely steady wind by incorporating a large number of bellows and schwimmers. By contrast, reeds are placed on electro-pneumatic chests, allowing wind pressures to vary to suit the tonality of each reed. Furthermore, wood wind conductors are used throughout the organ, which helps to eliminate turbulence and the resulting wind noise. Pneumatic pedal and offset chests are supplied with their own regulators and concussion bellows.

Console
Design elements of the four-manual console were taken from architectural themes found in the church. The contemporary English-style drawknob console is low profile, and contains state of the art controls for the combination action and record/playback systems. Controls were placed inside a drawer to the organist’s right in order that the console be visually free of electronic clutter. The shell is made of light-golden, rift-cut oak to match casework. Drawknob jambs are made of burled walnut. Keyboard coverings are bone and feature top-resistant tracker touch.

Construction Timeline
The creative journey to construct opus 224 began late fall 2007, with final voicing completed spring 2009. The organ was dedicated in a festival service organized by Dr. Jennaya Robison, director of music, and played by Dr. Homer Ashton Ferguson III. Dr. Weston Noble conducted the combined choirs. The organ was also featured at the 2009 Region IX AGO convention.
Berghaus Pipe Organ Builders wishes to thank the members of La Casa de Cristo Lutheran Church, Scottsdale, Arizona, and the following individuals: Pastor Andrew Garman, senior pastor; Dr. Jennaya Robison, director of music; Dr. Homer Ashton Ferguson III, organist; and Dr. William Barnett, prior organist.
Berghaus Pipe Organ Builders also wishes to thank members of its staff for their countless hours and dedication to this instrument:
President: Brian Berghaus
Director of sales and marketing: David McCleary
Tonal design: Jonathan Oblander, Kelly Monette
Head tonal finisher: Kelly Monette
Reed specialist: Steven Hoover
Structural and visual design: Steven Protzman
Shop foreman: Jeff Hubbard
Logistics: Jean O’Brien
Construction / assembly / installation: Mark Ber, Mitch Blum, Stan Bujak, Kevin Chunko, Chris Czopek, Steve Drexler, Trevor Kahlbaugh, Kurt Linstead, David Mueller, Joe Poland, Daniel Roberts, Tim Roney, Paul Serresseque, Ron Skibbe, Jordon Smoots, Paul Szymkowski, Randy Watkins.
—Kelly Monette, David McCleary, and Jonathan Oblander

Photo credit: David McCleary

Berghaus Pipe Organ Builders, Inc., Bellwood, Illinois
La Casa de Cristo Lutheran Church, Scottsdale, Arizona
Opus 224 (2008)

GREAT – Manual II (unenclosed, 90 mm wind pressure)
16′ Sub Principal (façade) 61 pipes flamed copper and 75% tin
8′ First Principal (façade) 61 pipes 75% tin
8′ Second Principal (façade) 12 pipes (extension of 16′ Sub Principal)
8′ Flûte Harmonique 49 pipes 1–12 from Bourdon, harmonic @ f30
8′ Bourdon 61 pipes 52% tin
8′ Gamba 61 pipes 1–12 zinc, 13–61 52% tin
4′ Octave 61 pipes 52% tin
4′ Flûte Octaviante 61 pipes 52% tin; harmonic @ c25
22⁄3′ Twelfth 61 pipes 52% tin
2′ Fifteenth 61 pipes 52% tin
13⁄5′ Tierce 61 pipes 52% tin
51⁄3′ Gross Kornet II 88 pipes 51⁄3′ and 31⁄5′, 52% tin; c13 to g56
2′ Fourniture V 305 pipes 75% tin (15-19-22-26-29)
1⁄2′ Cymbale III 183 pipes 75% tin (29-33-36)
16′ Kontra Posaune 61 pipes 1–12 L/2, resonators zinc and 52% tin
8′ Trompete 12 pipes (extension of 16′ Kontra Posaune)
Tremulant
Zimbelstern 5 bells with adjustable delay, speed, and volume
16′ Trompette en Chamade 61 pipes 1–12 L/2, flamed copper resonators
8′ Trompette en Chamade 12 pipes (extension of 16′)
8′ Trompette de Fête (Antiphonal)

SWELL – Manual III (enclosed, 80 mm wind pressure)
16′ Bourdon 24 pipes poplar (extension of 8′ Flûte à Cheminée)
8′ Diapason 61 pipes 1–12 zinc, 13–61 52% tin
8′ Viole de Gambe 61 pipes 1–12 zinc, 13–61 75% tin; slotted
8′ Voix Celeste CC 61 pipes 1–12 zinc, 13–61 75% tin; slotted
8′ Flûte à Cheminée 49 pipes 40% tin, 1–12 from Bourdon
8′ Flûte Conique 61 pipes 75% tin
8′ Flûte Celeste TC 49 pipes 75% tin
4′ Prestant 61 pipes 52% tin
4′ Flûte Ouverte 61 pipes 40% tin
22⁄3′ Nasard 61 pipes 52% tin
2′ Octavin 61 pipes 75% tin; harmonic @ c13
13⁄5′ Tierce 61 pipes 52% tin
2′ Plein Jeu IV 244 pipes 75% tin (15-19-22-26)
1′ Cymbale III 183 pipes 75% tin (22-24-26)
16′ Basson 61 pipes L/1, resonators of zinc and 52% tin
8′ Trompette 61 pipes resonators of 75% tin
8′ Hautbois 61 pipes resonators of 52% tin
8′ Voix Humaine 61 pipes 52% tin
4′ Clairon 61 pipes resonators of 75% tin
Tremulant
8′ Trompette de Fête (Antiphonal)
16′ Trompette en Chamade (Great)
8′ Trompette en Chamade (Great)

POSITIV – Manual I (unenclosed, 70 mm wind pressure)
16′ Quintaton 61 pipes 1–12 zinc, 13–61 75% tin
8′ Prinzipal (façade) 61 pipes 75% tin
8′ Gemshorn 61 pipes 1–12 zinc, 13–61 52% tin; 1/3 taper
8′ Holzgedackt 61 pipes poplar
4′ Oktav 61 pipes 75% tin
4′ Koppelflöte 61 pipes 52% tin
22⁄3′ Rohrquinte 61 pipes 52% tin
2′ Oktav 61 pipes 75% tin
2′ Blockflöte 61 pipes 40% tin
13⁄5′ Terz 61 pipes 52% tin
11⁄3′ Larigot 61 pipes 52% tin
11⁄7′ Septième 61 pipes 52% tin
1′ Scharf IV 244 pipes 75% tin (22-26-29-33)
16′ English Horn 61 pipes resonators of zinc and 52% tin
8′ Trumpet 61 pipes 52% tin
8′ Cromorne 61 pipes 52% tin
Tremulant
8′ Trompette de Fête (Antiphonal)
16′ Trompette en Chamade (Great)
8′ Trompette en Chamade (Great)

ANTIPHONAL – Manual IV (unenclosed, 75 mm wind pressure)
8′ Principal (façade) 61 pipes 1–12 flamed copper, 13–61 75% tin
8′ Doppelflöte (façade) 61 pipes poplar
4′ Octave (façade) 61 pipes 75% tin
4′ Flauto Traverso 61 pipes poplar; harmonic @ c25
2′ Fifteenth 61 pipes 75% tin
11⁄3′ Fourniture IV 244 pipes 75% tin (19-22-26-29)
Tremulant
16′ Trompette de Fête 61 pipes hooded resonators, 18 inches wind pressure
16′ Trompette en Chamade (Great)
8′ Trompette en Chamade (Great)

PEDAL (unenclosed, 90 mm wind pressure)
32′ Untersatz 7 pipes poplar
16′ Open Wood 32 pipes poplar
16′ Principal (façade) 32 pipes flamed copper and 75% tin
16′ Sub Principal (Great)
16′ Subbass 32 pipes poplar
16′ Quintaton (Positiv)
16′ Bourdon (Swell)
8′ Octave (façade) 32 pipes 75% tin
8′ Principal (Great)
8′ Spitzflöte 32 pipes 75% tin, 4/5 taper
8′ Metallgedackt 32 pipes 52% tin
8′ Bourdon (Swell)
4′ Octave 32 pipes 75% tin
4′ Spillflöte 32 pipes 52% tin
2′ Nachthorn 32 pipes 52% tin
31⁄5′ Mixture V 160 pipes 52% tin (10-12-15-19-22)
32′ Contre Bombarde 12 pipes (extension of 16′ Bombarde)
16′ Bombarde 32 pipes resonators of pine
16′ Posaune (Great)
16′ Basson (Swell)
8′ Trompette 32 pipes 52% tin
8′ Posaune (Great)
4′ Rohrschalmei 32 pipes 52% tin
Tremulant (slider chest stops only)
8′ Trompette de Fête (Antiphonal)
16′ Trompette en Chamade (Great)
8′ Trompette en Chamade (Great)

Bedient Pipe Organ Company, Roca, Nebraska

St. Mark’s Pro-Cathedral, Hastings, Nebraska

Hastings, Nebraska, 1927. While Edwin Perkins was perfecting the final collection of ingredients that was to become “Kool-Aid,” a few blocks away on North Burlington Avenue workers were assembling a limestone building that would become home to one of our more unusual projects.

Erected from 1921 to 1929, St. Mark’s Episcopal Pro-Cathedral was designed by Ralph Adams Cram, America’s leading Gothic Revival architect. This is the man who established Gothic as the standard style for college campuses across the country during that period. In fact, the Boston architect and writer served as consulting architect for Princeton when he drew up the plans for St. Mark’s in 1919.

Displaying characteristics of English Gothic churches, the building looks like a little piece of Europe relocated to the middle of the Great Plains. As described by the Adams County Historical Society, Cram’s design “emphasizes length, a moderately pitched roof, stepped rectangular apses, and a tower over the crossing.” Cram’s Gothic vision extends to the interior, which features post and beam construction, plastered walls and a vast array of stained glass windows.

However, when workers pulled down ladders and packed away their tools 77 years ago, the nave still lacked a very significant element. Cram had also provided a drawing for a grand pipe organ façade, the construction of which had to be delayed until funds were available.

When the congregation did raise money for a 21-stop Austin organ in 1931 (which they combined with an older organ), the instrument was squeezed into the organ chamber above the nave and bore no visual resemblance to the plans Cram had in mind. It was not until 72 years later, following a succession of repairs and attempted improvements, that the church conceded it was time to start over.
Although several builders were being considered, St. Mark’s chose Bedient following a tour of the interior of Opus 70 in Lincoln, Nebraska. Impressed by the attention to detail on general layout and structure, “they felt that indicated how meticulous the builder would be in other areas,” said Dr. Dan Schmidt, director of music. Our proximity to the project played a key factor, as well as our 36 years of experience building and renovating mechanical and electric action instruments, and our proven proficiency with electro-pneumatic slider chests.

The Bedient organ at St. Mark’s Pro-Cathedral was a challenge on several levels. Due to the general age and condition of the organ, and a questionable rebuild in the 1980s, we faced many issues that needed to be resolved. The original layout of the Austin organ was fine for the time, but the need to update the organ tonally necessitated a new, more accessible design.

One concern was the appearance of the organ. The congregation was initially hesitant to make any significant changes to their worship space—understandably so, as their church is on the National Register of Historic Places. Fortunately, Cram’s original blueprint for the organ was discovered in the St. Mark’s attic during a search for drawings for a renovation project. All involved decided that plan would be our guide.

Working from Cram’s drawing, Bedient designer Alan Baehr developed a façade design that closely resembles the 1919 plan. Where the previous organ was tucked into the chamber nearly out of view, the new white oak casework now projects three feet into the nave and towers more than 26 feet above the congregation. Bedient designers accentuated the projection by including an en chamade Trompette, one of the few modifications to the original façade design.

Pipe shades and ornamental carvings featured in the plans provided inspiration for our woodcarver, Todd Znamenacek, who closely followed Cram’s original organic/geometric style. Using the symbol of St. Mark, Znamenacek appropriately enhanced Cram’s design with the addition of two winged lions perched atop the instrument. Prior to their installation, many of Znamenacek’s Opus 74 carvings spent two months on display at the Stuhr Museum in Grand Island, Nebraska as part of the “Wings Over the Platte” exhibition. Because Cram’s façade would project outward from the organ chamber, it would also provide additional space for the inclusion of an independent Great division, which the organ never had.
Another layout concern was where to place the ubiquitous Austin 16¢ wood open pipes that were lying in a heap on the floor right where the new Great windchest needed to go. We solved that problem by refurbishing the pipes, painting them the same color as the wood ceiling of the church, and hanging the largest ones from the transept ceiling directly outside of the organ chamber. This was a very successful idea. It not only got the pipes out of our way, but their sound is much more present in the nave, a desirable achievement.

The new Great division and the new Swell division windchests are all of major third layout. They are slider windchests with rectangular electro-pneumatic key action valves, and the sliders are operated by magnetic solenoids.

One of the inherited problems with the old layout was the jumbled arrangement of the 16¢ Bourdon pipes on top of the Swell box and other places. We thought that the idea was good but the arrangement left a lot to be desired. The new arrangement is much more orderly, with good access to all of the pipes for tuning.

The remaining Austin Universal Windchest is that of the Choir chest, which was originally duplexed to be a Great and Choir division. It now serves only as the Choir division and has been augmented in size, including space for future additions.

The weakest remaining element of the organ is the Pedal Bombarde 16¢/Trumpet 8¢ unit by Austin. The sound is simply not large enough, and it is hoped that one day in the future, this stop can be replaced by a new one as was originally proposed.

Because the Austin console had some nice cabinetry details and the church was attached to it, we retained the keyboards, unit key contact assemblies and the shell. The console features a new Peterson Master Stop Processor combination and key action relay system. It was revised to have a tilting tablet stop action system by Harris. The original pedalboard, toe studs, and pistons were also retained.
As the “before and after” pictures reveal, this unique organ experienced a marvelous transformation. We are honored that St. Mark’s gave us the opportunity to resuscitate a dilapidated wallflower into a magnificent instrument worthy of their building’s historical stature. Organists’ reactions to the sound of this reborn instrument confirm the project a success on all levels.

Dean Rich Martindale of St. Mark’s summed up the project this way, “I want to thank you so much for all your efforts to restore and enhance this wonderful component of our worship here at the Pro-Cathedral. The entire parish is grateful for your skill and your dedication in helping us complete this project. Thank you again for your help in making our splendid new organ a reality.”

—Gene Bedient and Jon Taylor

Bedient staff

Alan Baehr, design and management

Jasmine Beach, financial administration

Gene Bedient, president, design and voicing

Gwen Bedient, administration

Duane Grosse, head pipe maker

Chad Johnson, project manager, woodworker and voicing

Paul Lytle, vice president and sales

Mark Miller, vice president of field operations and sales

Dave Musfeldt, woodworkerv
Eric Smith, pipe shop

Jason Smith, pipe maker, safety coordinator, and machine shop supervisor

Ed Stibal, head woodworker

Jon Taylor, woodworker, marketing, purchasing

Donna Varney, voicing, marketing, sales and service

Fred Zander, woodworker, chest builder

Todd Znamenacek, woodworker, carver

St. Mark’s Pro-Cathedral

Bedient Opus 74

GREAT

16' Bourdon

8' Principal

8' Rohrflute

4' Octave

4' Spitzflute

22⁄3' Quinte

2' Octave

Mixture IV

8' Trompete

8' Dean’s Trompette (TC)

Carillon*

Great 16

Swell/Great 16

Swell/Great 8

Swell/Great 4

Choir/Great 16

Choir/Great 8

Choir/Great 4

SWELL

16' Bourdon*

8' Stopped Diapason*

8' Salicional*

8' Voix céleste*

4' Prestant

4' Harmonic Flute*

22⁄3' Nazard

2' Doublette

13⁄5' Tierce

16' Basson

8' Trompette

8' Hautbois*

8' Dean’s Trompette (TC)

4' Clairon

Tremulant

Swell 16

Swell Unison Off

Swell 4

CHOIR

8' Bourdon*

8' Dulciana*

8' Unda Maris

4' Prestant (prepared)

4' Flute d’Amore*

2' Principal

Sesquialtera II (prepared)

Cymbale III

8' Trumpet*

8' Dean’s Trompette (TC)

8' Cromorne*

Carillon*

Choir 16

Choir Unison Off

Choir 4

Swell/Choir 16

Swell/Choir 8

Swell/Choir 4

Zimbelstern (prepared)

PEDAL

32' Resultant*

16' Open Diapason*

16' Bourdon*

16' Lieblich Gedackt*

8' Open Diapason

8' Flute*

4' Choral Bass

16' Bombarde*

8' Trumpet*

Great/Pedal 8

Great/Pedal 4

Swell/Pedal 8

Swell/Pedal 4

Choir/Pedal 8

Choir/Pedal 4



* 1931 Austin stops

Bedient Pipe Organ Company, Roca, Nebraska

St. Agatha Church, Upper Arlington, Ohio

Our Opus 75 represents an entirely new look for the Bedient Pipe Organ Company. Challenged by an unusually long and narrow organ chamber, Bedient designers looked to the Art Nouveau movement for their solution. The result is an organic, curvaceous façade that works perfectly in the wide opening. Yet, for all the novelty inherent in the look, it’s the sound that captivates its audience.
The organ’s elevated position takes advantage of the nave’s resonant surfaces, and sound floats effortlessly overhead to settle clear and gently on the listener’s ears. The stoplist is a fine example of our diverse “American” sound.

The façade is perched on a 36' long masonry ledge and is supported by a steel frame. The II/32 organ’s 2,293 pipes completely fill the shallow chamber with the eight largest Principal 16' pipes mounted upside down with their mouths speaking through the façade. The casework is made of rift-sawn white oak veneer, vacuum-formed over undulating laminated substrates. Since this specialized style of woodworking was new to Bedient, we worked with famed Nebraska woodworker/artist Roger Holmes, who created case pieces in both his and our shops.

The console rides on a movable platform and features a Peterson ICS 4000 control system and electro-repulsion drawknobs by Harris. The 61-note keyboard has bone naturals and ebony sharps. The 32-note pedalboard is of maple. The casework has been finished with golden oak stain followed by a satin polyurethane top coat.

February 26, 2006 marked the blessing of the Bedient organ at St. Agatha with Mark Ludwig II as organist. Special mention should be made of Miss Amelita Mirolo as principal donor of the organ and Rev. Monsignor L. David Funk, pastor. In continued celebration of the new organ, a concert by Paul Thornock, diocesan music director, and James Yeager, professor of music at Pontifical College Josephinum, was presented on April 2.

—Gene Bedient





GREAT

16' Principal

8' Principal

8' Rohrflute

8' Flûte harmonique

8' Salicional

8' Voce umana

4' Octave

4' Spitzflote

22?3' Quinte

2' Octave

13?5' Terz

Mixture IV–V

8' Trompete

8' Cromorne Bass

8' Cromorne Treble

SWELL

16' Bourdon

8' Violin Diapason

8' Bourdon

8' Viole de Gambe

8' Voix céleste

4' Prestant

4' Flute octaviante

22?3' Nazard

2' Doublette

2' Octavin

13?5' Tierce

Cymbale III–V

16' Basson

8' Hautbois

8' Trompette

4' Clairon

Tremulant

PEDAL

32' Resultant (Subbass 16' + 102?3' from Subbass)

16' Contrebasse (1–18 common with Great Principal 16')

16' Subbass (56 pipes)
102?3' Quinte (from Contrebasse 16')

8' Principal (44 pipes)

8' Flute (ext)

4' Flute (ext)

4' Octave (ext)

16' Bombarde (56 pipes)

16' Basson (Sw)

8' Trompette (ext)

4' Trompette (ext)



All manual stops are straight speaking stops.