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

Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California

Opus 46

 

SkyRose Chapel, in the Rose Hills Memorial Park, Whittier,
California, is located on a hill overlooking Los Angeles and the San Gabriel
and Sycamore Valleys. SkyRose Chapel is situated within beautifully landscaped
gardens that also do duty as a cemetery--SkyRose Chapel is the largest funeral
chapel in the world. Renowned architects Fay Jones and Maurice Jennings designed
SkyRose Chapel to be built of oak, Oregon redwood, bouquet canyon stone,
Douglas fir, and glass in a contemporary A-frame style that is at home in the
hills which the afternoon sun turns a vibrant rose color. SkyRose Chapel has
become popular as an attractive venue for weddings as well as for funerals.

The installation of a pipe organ in SkyRose Chapel had
always been the dream of Dennis Poulsen, Chairman of the Board of Rose Hills
Memorial Park. This dream was researched and brought to fruition by Mr. Poulsen
and Bruce Lazenby, Vice President of Engineering of Rose Hills Memorial Park.

The Rose Hills Foundation selected Quimby Pipe Organs, Inc.,
to build the pipe organ for the strikingly lovely SkyRose Chapel. The Quimby
pipe organ, Opus 46, has 65 ranks together with harp and chimes spread over
four manuals and pedal. The distinctly American design is eclectic in
conception and enables the instrument to perform a wide range of service and
organ literature. Messrs. Poulsen and Lazenby requested Michael Quimby, Tonal
Director, to design a tonal specification that would handle the diverse musical
demands required for funeral services, weddings, and recitals.

The instrument contains an unusually high proportion of
celeste ranks, and also a very high proportion of color reeds. The reeds in the
Solo division include several historic Skinner and Aeolian-Skinner ranks--the
Tuba Mirabilis (1924), French Horn (1946), English Horn (1946) and Corno di
Bassetto (1946). These ranks are included in the pipe organ on their original
windchest and reservoir. Also noteworthy are the 1924 Deagan "Class
A" Chimes and the restored 1929 Skinner Harp, both on their original
restored electro-pneumatic actions.

The electric blowers winding the organ amount to a total of
eleven and one-half horsepower, supplying wind at pressures ranging from
4" for the Choir division to 15" for the Tuba Mirabilis. There are
fourteen reservoirs and four schwimmers. The main chests, built by Quimby Pipe
Organs, Inc., are slider windchests built to the original Blackinton design
fitted with electro-pneumatic pallets. The Swell, Choir and Solo divisions have
68-note chests, providing additional topnotes for use with the octave couplers.
Electro-pneumatic unit chests are used for the offsets and extended ranks.

Quimby Pipe Organs' Opus 46 is located in an elevated
gallery near the rear of SkyRose Chapel. The visual presentation of the pipe
organ is of oak casework containing thirty-eight zinc façade pipes with
gold-colored mouths drawn from the Pedal 32' Principal and Great 16' Violone
ranks that are placed on platforms of escalating heights above the floor of the
gallery as well as nine oak pipes positioned along the side of the case. The
longest façade pipe, approximately 26' in length, is low G of the 32' Principal. The wood pipes along the side of the case are part of the Pedal 16' Bourdon rank. The Pedal 32' Posaune is full length, and is located behind the exposed wood pipes.

Quimby Pipe Organs' woodworkers constructed the case and
console in their workshop. Quimby Pipe Organs' designer and woodworkers
designed the oak organ case and console in consultation with Fay Jones and
Maurice Jennings in order to ensure an appearance in harmony with the
architecture of the Chapel. Harris Precision Products, Inc., of Whittier,
California, manufactured the console components and shipped them across the
country to Warrensburg where Quimby's woodworkers installed them in the
console. The console was then shipped back with the organ to Whittier! The
instrument is controlled by a multiplex relay with MIDI, including full
playback capability, and a combination action with 99 memory levels.
style="mso-spacerun: yes">  There are eight pistons to each
division and eighteen general pistons, together with three ensemble pistons,
three programmable Crescendo settings, and numerous reversibles.

Members of Quimby Pipe Organs, Inc., who made significant
contributions to the construction of the SkyRose instrument included Doug
Christie, Chris Emerson, Charles Ford, Johanna Harrington, Eric Johnson, Kevin
Kissinger, Brad McGuffey, Michael Miller, Gary Olden, Michael Quimby, Wayne
Shirk, Stan Sparrowhawk, Elizabeth Viscusi, and Randy Watkins.

Dr. Frederick Hohman presented the pipe organ to the public
in the dedicatory recital of the SkyRose organ on Saturday, September 20th,
1997.

--Quimby Pipe Organs, Inc.

GREAT (unenclosed)

                  16'
style='mso-tab-count:1'>          Violone
(1-14 façade)

                  8'
style='mso-tab-count:1'>             Diapason
(1-7 from Ped Principal)

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

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

                  8'
style='mso-tab-count:1'>             Harmonic
Flute (1-12 from 8' Bdn)

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

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

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

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

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

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

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

                  8'
style='mso-tab-count:1'>             Tuba
Mirabilis (Solo)

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

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

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

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

                                    Tremolo

                                    Chimes
(Solo)

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

                                    Tower
Chimes (prepared for)

                                    MIDI
on Great

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

                  22⁄3'
style='mso-tab-count:1'>      Rohr Nasat

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

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

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

                  2'
style='mso-tab-count:1'>             Plein
Jeu IV (2' rank from Octave)

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

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

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

                  8'
style='mso-tab-count:1'>             Vox
Humana

                  8'
style='mso-tab-count:1'>             Vox
Mystique (Vox Humana, box closed)

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

                                    Tremolo

                                    Chimes
(Solo)

                                    MIDI
on Swell

CHOIR (enclosed)

                  16'
style='mso-tab-count:1'>          Silver
Flute (1-12 digital)

                  8'
style='mso-tab-count:1'>             Flauto
Mirabilis (Solo)

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

                  8'
style='mso-tab-count:1'>             Gamba
Celeste (Solo)

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

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

                  8'
style='mso-tab-count:1'>             Melodia
(1-12 from Rohr Flute)

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

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

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

                  4'
style='mso-tab-count:1'>             Orchestral
Flute (Solo)

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

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

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

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

                  2'
style='mso-tab-count:1'>             Block
Flute

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

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

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

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

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

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

                  8'
style='mso-tab-count:1'>             Tuba
Mirabilis (Solo)

                                    Tremolo

                                    Chimes
(Solo)

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

                  4'
style='mso-tab-count:1'>             Celesta
(Solo)

                                    MIDI
on Choir

SOLO (enclosed)

                  16'
style='mso-tab-count:1'>          Contra
Gamba (1-12 digital)

                  8'
style='mso-tab-count:1'>             Flauto
Mirabilis

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

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

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

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

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

                  8'
style='mso-tab-count:1'>             French
Horn

                  8'
style='mso-tab-count:1'>             Corno
di Bassetto

                  8'
style='mso-tab-count:1'>             Tuba
Mirabilis

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

                                    Tremolo

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

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

                                    Tower
Chimes (prepared for)

                                    Chimes
(20 tubes)

                                    MIDI
on Solo

PEDAL (unenclosed)

                  32'
style='mso-tab-count:1'>          Sub
Principal (1-7 digital, 8-31 façade)

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

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

                  16'
style='mso-tab-count:1'>          Violone
(Great)

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

                  16'
style='mso-tab-count:1'>          Gamba
(Solo)

                  16'
style='mso-tab-count:1'>          Gedeckt
(Swell)

                  16'
style='mso-tab-count:1'>          Silver
Flute (Choir)

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

                  8'
style='mso-tab-count:1'>             Violoncello
(Great)

                  8'
style='mso-tab-count:1'>             Viola
Celeste II (Swell)

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

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

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

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

                  22⁄3'
style='mso-tab-count:1'>      Mixture IV

                  32'
style='mso-tab-count:1'>          Contra
Posaune (full length, ext Great Trumpet)

                  32'
style='mso-tab-count:1'>          Contra
Basson (1-12 digital, ext Swell Hautbois)

                  16'
style='mso-tab-count:1'>          Posaune
(ext Great Trumpet)

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

                  16'
style='mso-tab-count:1'>          Hautbois
(Swell)

                  16'
style='mso-tab-count:1'>          Cromorne
(Choir)

                  8'
style='mso-tab-count:1'>             Tuba
Mirabilis (Solo)

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

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

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

                  4'
style='mso-tab-count:1'>             Clarion
(ext Great Trumpet)

                  4'
style='mso-tab-count:1'>             Hautbois
(Swell)

                  4'
style='mso-tab-count:1'>             Cromorne
(Choir)

                                    Chimes
(Solo)

                                    MIDI
on Pedal

Lively-Fulcher Organbuilders, Alexandria, Virginia

St. Olaf Catholic Church,
Minneapolis, Minnesota

 

In 1997, Fr. John Forliti, Pastor of St. Olaf Church,
appointed Dr. Merritt Nequette and a parish committee to lead an organ project
at the church. The committee enlisted the services of Jonathan Biggers as organ
consultant. After a thorough study, Lively-Fulcher Organbuilders of Alexandria,
Virginia was chosen to build the new instrument which was installed and
completed in July, 2001.

The organ was inaugurated in a series of concerts in 2002
beginning with a service of blessing by Archbishop Harry J. Flynn, Archbishop
of St. Paul and Minneapolis, and organ recital performed by Dr. Lynn Trapp,
director of worship and music, organist, at St. Olaf Church, on February 9,
2002.  A hymn text by Delores
Dufner, OSB was commissioned for the occasion.

The series of inaugural concerts featured a recital and
masterclass by Swiss organist, Guy Bovet; a program of organ and contemporary
music with Twin Cities artists; Pipedreams Live hosted by Michael Barone of
Minnesota Public Radio and performers of the Liturgical Organists Consortium;
field days for elementary students to learn about the king of instruments; and
an organ and orchestra concert with Jonathan Biggers, organist, and the Kenwood
Chamber Orchestra, orchestra in residence at St. Olaf Church, conducted by Ken
Freed. This concert included the premiere of a commissioned work for organ and
orchestra composed by Richard Proulx.

The instrument has 61 stops and 67 ranks (49 independent
registers) playable over five divisions, Grand Orgue, Récit Expressif,
Positif Expressif, Bombarde and Pédale. The manual and pedal key actions
make use of electric slider windchests and the stop action is electric, complete
with state of the art combination action, 256 levels of memory and a sequencer.
The wind supply is regulated by a traditional bellows system linked to the wind
chests by wooden wind lines. The console is built in a low profile, curved jamb
configuration to enhance the organist's ability to follow the liturgy and
conduct the choir. The console has natural keys covered in bone and sharp keys
of solid ebony. The internal layout of the divisions within the organ case
places the Positif Expressif centrally in the lower middle of the case and the
Grand Orgue above that with the Récit Expressif behind the Grand Orgue.
The Bombarde reeds are located in the Positif box and the Pédale
division is divided on either side of the manuals and behind the 16-foot pedal towers
in the case. Wood pipes were made in the organbuilders' workshop and metal
pipes were made to their specifications in Germany.

The casework, constructed of African mahogany, takes its
inspiration from the contemporary architecture of the room and has simple
Scandinavian design elements yet a firm traditional layout. The façade
pipes are made of 72% tin and include pipes from the Grand Orgue Montre 16',
Montre 8' and Pédale Montre 8'. The organ is completely housed within
its own freestanding casework and because of the deep gallery around three
sides of the room is positioned at the front center of the church. A
Cymbelstern stop is provided on the instrument and the church's tower bells can
be played from the Récit keyboard.

The design of the pipe shades for the instrument is tied to
the rich traditions associated with St. Olaf. They are made of basswood with
patterns of dragons, eagles and serpents which are found in the Book of Kells.
These designs are slightly earlier than King Olaf's time, but they are strong
Scandinavian symbols from the period. The cross piercing the crown is based on
an 8th-century piece made for St. Rupert. The crown motif was specifically
chosen to represent St. Olaf and the crosses and crowns are covered with
24-carat gold leaf.

The tonal inspiration for the instrument is firmly based in
19th-century France but is designed and voiced with a broad literature base in
mind. The Tutti is robust to support large choirs, orchestra, and the singing
of a capacity crowd of worshipers. The organ has a wide variety of soft colors
as well. The broad foundation tone of the 8-foot stops and thick-walled
expressiveness of the Récit and Positif boxes ensure the accompanimental
versatility necessary for the performance of choral and solo literature. The
warm yet clear broadly scaled principal chorus work, blended with the mutations
and reed colors associated with Clicquot and Cavaillé-Coll, make for a
versatile medium for the main body of the organ literature. The voicing and
blending of individual stops coupled with the color requirements of French,
German and English literature allow the convincing performance of a wide range
of literature. This instrument is not meant as a copy of any one style nor is
it intended to be a collection of styles trying to do everything, but rather is
intended to be a modern instrument of the 21st century speaking with its own
voice.

--Lynn Trapp

 

GRAND ORGUE

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

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

                  8'
style='mso-tab-count:1'>             Flûte
à cheminée

                  8'
style='mso-tab-count:1'>             Flûte
harmonique

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

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

                  4'
style='mso-tab-count:1'>             Flûte
ouverte

                  22⁄3'
style='mso-tab-count:1'>      Quinte

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

                  2'
style='mso-tab-count:1'>             Fourniture
V

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

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

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur G.O.

                                    Positif
sur G.O.

                                    Bombarde
sur G.O.

POSITIF EXPRESSIF

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

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

                  8'
style='mso-tab-count:1'>             Flûte
douce

                  8'
style='mso-tab-count:1'>             Flûte
celeste

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

                  4'
style='mso-tab-count:1'>             Flûte
conique

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

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

                  2'
style='mso-tab-count:1'>             Quarte
de nazard

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

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

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

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

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

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur Positif

                                    Bombarde
sur Positif

                                    Positif
unison off

RÉCIT EXPRESSIF

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

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

                  8'
style='mso-tab-count:1'>             Viole
de gambe

                  8'
style='mso-tab-count:1'>             Voix
céleste

                  8'
style='mso-tab-count:1'>             Cor
de nuit

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

                  4'
style='mso-tab-count:1'>             Flûte
octaviante

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

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

                  22⁄3'
style='mso-tab-count:1'>      Cornet II

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

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

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

                  8'
style='mso-tab-count:1'>             Voix
humaine

                  4'
style='mso-tab-count:1'>             Clairon
harmonique

                                    Tremulant

                                    Octaves
graves

BOMBARDE (floating)

                  16'
style='mso-tab-count:1'>          Tuba
magna (ext)

                  8'
style='mso-tab-count:1'>             Tuba
mirabilis

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

                  8'
style='mso-tab-count:1'>             Cornet
V (tg)

PÉDALE

                  32'
style='mso-tab-count:1'>          Contre
soubasse (electronic)

                  16'
style='mso-tab-count:1'>          Grosse
flûte

                  16'
style='mso-tab-count:1'>          Montre
(G.O.)

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

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

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

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

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

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

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

                  22⁄3'
style='mso-tab-count:1'>      Fourniture IV

                  32'
style='mso-tab-count:1'>          Contre
bombarde (ext)

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

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

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

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

                                    Tirasse
Bombarde

                                    Tirasse
G.O.

                                    Tirasse
Positif

                                    Tirasse
Récit

 

G.O./Positif manual transfer

Chimes sur G.O.

Tower Bells sur Récit

Cymbelstern

Pedal & Manual pistons coupled

Sequencer

 

Weston Harris and Thomas J. McDonough, Organ Crafters of
Los Angeles, have completed a
three-manual, 38-rank organ at St. Augustine By-the-Sea Episcopal Church, Santa
Monica, California.  The organ
incorporates elements from the church's previous organ built in 1967 by Abbott
and Sieker Organ Builders as well as the historic Möller/Estey organ at
Bridges Hall of Music, Pomona College (recently replaced by Fisk Opus 117).
Other pipework was donated from the private collection of Mr. Joseph Horning, a
prominent Los Angeles organist and organ consultant who died in 2000.

The church is located at the popular Third Street Promenade
at Santa Monica Beach Pier. The organ enjoys a high gallery placement in an
extraordinary acoustical setting. Given this exceptional location, the new
organ's tonal style is based largely on the 1948 Aeolian-Skinner organ of the
Salt Lake City Tabernacle, where Mr. Harris studied organ performance and
apprenticed in organbuilding. The voices are gentle, and choruses finely
layered.

The previous organ (see photo) was installed in 1967 as a
temporary instrument for the new church following the arson burning of the
church's historic 1867 building. The new organ case forms the Positiv Organ
featuring pipes from the Bridges Hall of Music (front tower pipes) and wood
Holzgedeckt pipes. The flute pipes were obtained from a burnt-out church in
nearby Venice, California. They were barely rescued--being quickly pulled from
their windchest just as the wrecking ball was knocking through the chamber
walls. The fire scarring on the pipes provides an extraordinary antique patina
for the new organ case design.

--Weston Harris

 

GREAT (enclosed)

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

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

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

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

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

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

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

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

                                    Mixture
IV

                                    Cymbale
III

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

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

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

                                    Tremulant

                                    Gt/Gt
16-4

SWELL (enclosed)

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

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

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

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

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

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

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

                  11⁄3'
style='mso-tab-count:1'>      Mixture III

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

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

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

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

                                    Tremulant

                                    Sw/Sw
16-UO-4

POSITIV (unenclosed)

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

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

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

                  4'
style='mso-tab-count:1'>             Gedeckt*

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

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

                  8'
style='mso-tab-count:1'>             Mounted
Cornet IV (TG)

                                    Pos/Pos

                                    Pos/Gt

                                    Tower
Bells (8 Whitehall bells)

STATE TRUMPET (unenclosed)

                  16'
style='mso-tab-count:1'>          State
Trumpet*

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

                  4'
style='mso-tab-count:1'>             State
Trumpet*

                                    Trumpet
to Gt

                                    Trumpet
to Sw

                                    Trumpet
to Pos

PEDAL (enclosed in Great)

                  32'
style='mso-tab-count:1'>          Contra
Bourdon*

                  32'
style='mso-tab-count:1'>          Dolce
Gedeckt*

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

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

                  16'
style='mso-tab-count:1'>          Lieblich
Gedeckt (1-12 ext)*

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

                  8'
style='mso-tab-count:1'>             Bourdon*

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

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

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

                  32'
style='mso-tab-count:1'>          Contra
Posaune*

                  16'
style='mso-tab-count:1'>          Posaune
(1-12 extension Gt Trumpet)

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

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

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

                  4'
style='mso-tab-count:1'>             Clairon
(Gt)

 

Full interdivisional couplers

*indicates unification

Berghaus Pipe Organ Builders, Inc., Bellwood, Illinois
St. John’s Episcopal Church, Norwood Parish, Bethesda,
Chevy Chase, Maryland

From the organbuilder
St. John’s Episcopal Church, Norwood Parish, is located just minutes away from Washington National Cathedral on the border between Bethesda and Chevy Chase, Maryland. St. John’s began in 1873 as a small mission congregation in what was then rural Bethesda. By 1895, the church had been elevated to parish status within the newly formed Diocese of Washington. Throughout its history, St. John’s has been dedicated to “building community at the crossroads of faith and life.” Today, the parish continues to honor this tradition by offering beautiful, liturgically oriented worship services and by providing a wide variety of programs that minister to the diverse needs of the congregation and community.
Prior to the renovation of St. John’s 500-seat Georgian-style sanctuary, the nave presented a feeling of light-filled openness, while the deep and narrow chancel appeared both dark and restrictive. In typical fashion, choir stalls were divided on both sides of the chancel, with the high altar placed against the front wall. The existing organ consisted of three manual divisions with the Great, Swell, and Pedal installed in chambers along the east wall, and the Choir placed on the west wall. Throughout its history and despite the best intentions of the parish, the organ suffered several major incidents involving water damage. With the east wall of the chancel positioned directly beneath the bell tower, it was determined that the tower was, in fact, the root of the problem. Although the tower had previously undergone extensive renovation, water was continuing to find its way into the chambers. At the urging of then director of music Douglas Beck, an organ committee was formed and charged with the task of identifying possible solutions. The committee was also asked to investigate and recommend several organ builders. The committee also felt that it would be wise to engage an organ consultant and did so by involving Donald Sutherland from the Peabody Institute. The initial findings of the committee can be summed up in the following two recommendations. First, the repair of the existing organ would not represent a sound artistic or economic option. Second, a new instrument should not be returned to the existing chambers. Based on these parameters, the committee proceeded to identify a select group of organ builders and to ask each builder to submit their vision for an instrument that would not only meet the liturgical requirements of the parish, but allow the parish to further expand its role in offering artistic expressions of faith to the greater community.
As discussions continued relative to the placement of the organ, it became increasingly clear that installing the organ in any other area of the sanctuary would require changes to the structure of the building. It was also at this point that the clergy and many of the parishioners suggested that the parish consider a comprehensive renovation of the chancel. Given this suggestion, a second committee, called the Architectural Review Committee, was formed to oversee the process and to investigate potential architects and contractors. With the selection of Kerns Group Architects and Forrester Construction, the “ARC” noted that a final decision regarding an organ builder should be made so that all parties could work in a collaborative fashion. On the recommendation of the organ committee, Berghaus Pipe Organ Builders, Inc. was selected to build the new instrument. Recognizing that the combined project including renovations to the building and the construction of a new pipe organ would require a significant financial commitment, St. John’s vestry authorized the formation of a third committee to oversee the fund raising process. The combined efforts of the Organ Committee, Architectural Review Committee, and the Capital Campaign Committee were incorporated under the theme “Enhance, Renew, Rejoice!”
Early in the process of examining the space, it was determined that placing the organ in the gallery would be difficult and limiting. The lack of height and depth would require that the entire rear portion of the church be rebuilt. There was also a great deal of concern expressed about the necessity of moving the choir to the gallery. Although some members of the parish had initially favored this approach, they quickly grasped the complexities involved and shifted their support to the possibilities represented by the chancel. Above and beyond the issue of the organ, enhancing the worship space was an important ingredient in St. John’s view that worship should involve a greater sense of community. One option was to open and enlarge the chancel, creating an inviting space for various forms of worship. Another was to bring the altar forward and install a new communion rail such that it would bring the communion experience closer to the congregation and enable more of those present to take communion at the rail. The ARC was also hopeful that natural light could find its way into the chancel so that the space would have the same warm, inviting feel currently attributed to the nave. This eventually led the architect to modify two of the former organ chambers and add skylights so that the chancel is bathed in soft, natural light. Another transforming suggestion involved moving the choir out of its traditional split arrangement and facing them towards the congregation. With the adoption of these suggestions, it was decided that the ideal placement of the new pipe organ was along the central axis of the building. The new organ would thereby occupy approximately 12 feet of the existing depth at the front of the chancel. This effectively moved the chancel forward placing parishioners, clergy, musicians, etc. in closer proximity. Obviously this change also provided the means for both music and the spoken word to be heard in a clear and full fashion.
St. John’s began its journey to rejuvenate the life of the congregation not only by overhauling the chancel and replacing the organ, but also by enhancing and renewing their relationship with the Creator. Staying close to its roots as a mission congregation, the early parish embraced a low-church form of worship. In the 1970s, under rector William A. Beal, the congregation experimented with a variety of new worship styles, including the Episcopal Church’s trial liturgies. This “new tradition” included the use of the 1979 Prayer Book. The move towards higher church expression continued into the 1980s and 1990s under Rev. Duane Stuart Alvord, and continues today under the leadership of the current rector, Rev. Susan M. Flanders, and the associate rector, Rev. Harrison West. The beautiful construction of the current worship form and the growing excellence of the music program as initially developed under the auspices of former director of music, Douglas Beck, and built upon by the current director of music, Anne Timpane, made it apparent that the new instrument would be required to provide ample support for congregational singing, but must also be an instrument that supports the Anglican choral repertoire. The organ committee’s visits to a wide variety of instruments across the full spectrum of builders pointed to the fact that the parish desired an instrument of great breadth of tone and timbre, with a sound that would fill the space, but not entirely overpower it. It was also important that the organ contain the subtle stops necessary to accompany children’s choirs while having the ability to uphold the congregation with a sense of majesty and power. However, it was also the desire of the former director of music that the instrument should be French-inspired, both in its specification and in its appearance. Given the design of the building, we chose to represent the visual aspect of this request in the design of the console.
The new Berghaus pipe organ at St. John’s Episcopal Church contains 58 speaking stops and 63 ranks over three manuals and pedal. The placement of the instrument along the central axis of the nave allows for optimal sound projection while enhancing the visual impact of the chancel space, most notably as natural light from the skylights reflects off the polished zinc façade. The painted, incised hardwood case is accented with solid walnut trim and gold-leafed pipe mouths. The case also features columns that emulate the columns found throughout the nave. The layout of the organ was intended to give each division its proper musical placement while providing easy access for tuning and service. The Grand-Orgue and Pédale are situated just behind and at the top of the façade, while the expressive Récit and Positif divisions are at the mid or impost levels. This arrangement establishes a leadership role for the Grand-Orgue and Pédale in accompanying congregational singing, while the Récit and Positif, placed at a lower level, are suitable for accompanying choral literature. Set at the very top of the case is a large semicircular arch that continues the barrel vault design of the nave, and allows for full projection of the Grand-Orgue chorus. While not strictly adhering to a particular historical period, the organ, both in terms of its stoplist and tonal approach, is a synthesis of the classical and romantic styles. This synthesis emphasizes a clear, singing quality in the individual stops, while providing depth and warmth when stops are used in combination. Each division contains a complete principal chorus, characteristic flute stops and a full battery of reeds that range from the very subdued to the fiery. Those who have experienced this instrument firsthand remark on how the organ increases in fullness as more stops are drawn. The favorable, but not overly reverberant acoustic is obviously helpful in this instance. The use of Berghaus custom slider and pallet windchests for the majority of the fluework and for certain reeds allows for a natural, unforced sound that ensures favorable blending qualities and excellent tuning stability. Much of the pipework in the organ is scroll and cone tuned. Stops on slider windchests are voiced on 3¼? of wind, while the majority of the reeds are voiced on pressures that range between 3½? and 4?.
The Grand-Orgue is based on a large-scaled 8? Montre constructed from 75% tin. This stop has a rich, full, singing quality, while at the same time providing articulation and clarity to the rest of the chorus. The 8? Gambe is a soft string with moderate sizzle. When combined with the full-bodied 8? Bourdon, it creates a secondary principal-like timbre. The 8? Flute Harmonique is an open flute throughout the compass and becomes harmonic at g32. It is well suited as a blending stop in the jeux de fonds combination, or as a solo stop when required by the Romantic repertoire. The 4? Flute Octaviante is a lighter and softer alternative to the 8? Flute Harmonique. Mutations in this division are based on principal scales and constructed from 52% tin. These stops are voiced to enhance the harmonic series present in the plenum. When used in combination with the flutes, the mutations provide a lighter, brighter cornet in contrast to the Mounted Cornet. The 8? Trompette is constructed from 52% tin, and contains English tapered shallots. Since the organ has a strong solo trumpet, this Trompette was voiced to blend with the flue stops within the division. The Mounted Cornet is scaled and constructed based on the French classical school. The 8? rank is a bourdon, with subsequent ranks being open. The 13?5? rank is proportionally the largest in scale. This stop, with its compass from c13 to g56, is musically successful in literature ranging from Byrd and Buxtehude, to Couperin and DuMage. The Trompette Royale is the organ’s crowning solo reed. Voiced on 10? of wind, the stop contains resonators that are hooded for maximum projection. Overall, the Grand-Orgue sets the tone of the entire instrument. Its placement at the center of the long axis provides an ideal vantage point for strong musical leadership, particularly in accompanying congregational singing. One stop from the former instrument was used in the new instrument. A 16? mahogany Quintaton was extensively rebuilt and revoiced to add a light 16? timbre to the Grand-Orgue.
The musical demands of the Anglican service require that an instrument have a wide variety of voices and dynamic possibilities, particularly in music for choir and organ. Given this situation, entire tonal divisions were designed to work as a unified whole. The Positif Expressif is also based on an 8? Principal of 75% tin and is designed to function as a secondary chorus to the Grand-Orgue. The gentle and singing nature of these principals provides ideal color for Baroque and Renaissance literature. Because of its enclosed placement, the chorus is extremely useful in accompanying choirs and instrumental ensembles. Flute stops include an 8? Bourdon (wood) and a 4? Flûte à Fuseau. In contrast to the Grand-Orgue, the mutations of the Positif are scaled to blend well with flutes versus principals. The 22?3? Nasard relies on Koppelgedackts in its bass octave. The 2? Quarte de Nasard is essentially a hybrid stop, beginning as a light principal, than taking on a bright flute tone in the treble range. The four-rank 1? Cymbale is useful as a chorus mixture, as well as offering a bell-like timbre to lighter textures. The two reeds include a narrow-scale 8? Trompette designed to blend with the principal chorus and an 8? Cromorne, which can be used successfully in either classical or romantic repertoire.
The Récit contains a wide variety of stops, each with its own unique construction. The Salicional and Voix Celeste are small in scale and slotted to give the pair a decidedly French sound. The 8? Flûte à Cheminée features long, wide chimneys for optimal harmonic development. The 4? Flûte Conique is of the Spitzflöte variety and is made of 40% tin. Perhaps one of the most unique stops is the 2? Flûte à Bec, or Block Flute, which incorporates large-scale pipework. Another unique feature of the Récit is the ability to combine the 8? Flûte à Cheminée with the 8? Voix Celeste. The separation that exists between the two ranks provides the slow undulating pattern typically heard in flute celestes. Since an 8? Principal does not exist in this division, the five-rank, 2? Plein Jeu is designed to reinforce the 8? and 4? pitches at earlier points than generally found in typical mixture compositions. The 8? Trompette and 4? Clairon are fiery reeds in the Cavaillé-Coll style, featuring ring and nut construction and resonators of 70% tin. The 8? Hautbois is reminiscent of the English variety. The 16? Basson is voiced to add gravity to the Swell reed chorus while introducing a lighter reed character in the Pédale. The entire reed chorus is placed at the back of the expression chamber with reeds voiced on 4? of wind.
The Pédale is based on the 16? Montre located in the façade. Given the variety of independent stops of varying dynamics and timbre, the Pédale division provides unusually full support for the demands of the manual divisions. The 32? Basse Acoustique is derived from the 16? Montre (unison) and the 16? Soubasse (quint). As an alternative to the 8? Pedal Octave, the 8? Cor de Chamois (Gemshorn) is suitable for giving the 8? line a more pointed emphasis, especially in Baroque combinations. The 32? and 16? Bombarde have wood resonators for maximum fundamental.
All aspects of the organ console, including the bench and music rack, were specifically designed for this instrument. The detail associated with the console complements not only the casework but many of the features that exist within the worship space. Since the director of music at St. John’s is both organist and choirmaster, the profile of the console needed to be low enough to allow the organist to direct the choir from the console. The low-profile French terraced design is constructed from solid walnut with added walnut veneers to insure the consistency of the grain pattern. Curved terraces are made from book-matched, burled walnut and are home to the oblique-face, pau ferro drawknobs. Stops are logically laid out with plenum and major reeds to the organist’s right; flutes, strings, mutations, and minor reeds to the left. Keyboards with maple naturals and walnut sharps feature top-resistant touch for maximum responsiveness. To keep the console free of electronic clutter, the memory level, record/playback and clochette controls are contained in a swivel drawer located on the right-hand side of the console.
The blessing of the new Berghaus organ and the newly renovated chancel was presided over by Bishop John Bryson Chane of the Diocese of Washington. In attendance were representatives from the Lift High the Cross Capital Campaign, the Organ and Architectural Review committees, Kerns Group Architects, Forrester Construction, and Berghaus Pipe Organ Builders. The organ itself was dedicated on Saturday, May 10, and featured nine prominent organists from the greater Washington area.
The completion of the organ is the culmination of many years of planning, preparation, and hard work by the individuals and committees at St. John’s, as well as the organ builder, architect, and general contractor. The result of this work is a grand worship space that uniquely fits the needs of the parish, and an instrument that will serve and inspire the congregation as well as the larger community for generations to come. Berghaus Pipe Organ Builders wishes to thank all those who helped make this project possible. We wish to thank The Reverend Susan Flanders, rector; The Reverend Harrison West, associate rector; Christine Walz-Dallaire, senior warden 2006–07; Ken Lee, senior warden 2007–08; Cynthia Stroman, organ committee chair; Suzanne Welch, architectural review committee chair and project manager; Bill Fry and Richard Saltsman, co-chairs of the Lift High the Cross capital campaign committee; Mike McConihe, chancellor; Douglas Beck, former director of music ministries; Anne Timpane, director of music ministries; Brian Briggs, parish administrator; and the many parishioners who gave of their time, talent, and treasure. Berghaus also wishes to thank Tom Kerns and Koji Hirota of Kerns Group Architects and Bassem Melham, Bill Morrissette, and Will Durham of Forrester Construction.
Berghaus Pipe Organ Builders also wishes to thank members of its staff for their countless hours and dedication to this project:
Brian Berghaus, president
David McCleary, director of sales and marketing
Tonal design: Jonathan Oblander, Kelly Monette
Visual design and layout: Steven Protzman
Voicing and tonal finishing: Kelly Monette, Jonathan Oblander, Mitch Blum
Construction: Stan Bujak, Chris Czopek, Steve Drexler, Jeff Hubbard, Trevor Kahlbaugh, Kurt Linstead, David Mueller, Daniel Roberts, Tim Roney, Paul Serresseque, Ron Skibbe, Jordan Smoots, Paul Symkowski, Mark Ber, Randy Watkins, Andy Schach.
—Jonathan Oblander
Tonal director
Berghaus Pipe Organ Builders

From the director of music ministries
In January 2007, St. John’s signed a contract with Berghaus Pipe Organ Builders to build a new instrument that would fulfill and expand the music ministry’s mission and vision:

to explore the journey of faith and life through music; unite parishioners . . . by embracing and cultivating talents and gifts . . . enliven liturgy and community, nourish the musical and creative spirit . . .; inspire the people of St. John’s . . . strengthening relationships with God and one another.

St. John’s has had a pipe organ for more than 80 years. Organ music has enhanced important events in the life of the parish, from weekly worship services, to special holiday music, to baptisms, weddings, funerals and other occasions. However, progressive structural deterioration of the existing organ had caused significant wear and damage to the instrument’s infrastructure. The organ became increasingly unreliable, and so the decision was made not only to replace the instrument but also to think creatively about the chancel’s architectural design. Taking into consideration the size of the room, the number of people that the room will accommodate, and the desired uses of the instrument, it was decided to place the new organ on the central axis of the church for optimal sound projection and flexibility within the space. Berghaus worked in conjunction with our architectural review committee to find a harmonious blend of the advantages and challenges associated with the organ placement and chancel reconfiguration. The result is our stunning new three-manual custom-made work of art.
Berghaus was chosen by our organ builder selection committee after extensive information gathering and evaluation of the proposals submitted by several prominent organ builders. Berghaus’s excellent reputation, design philosophy, and character made them the stand out choice for St. John’s. Their attention to detail, dedication to craftsmanship, and ability to work within our timeframe and cost considerations resulted in an instrument that is not a reflection of me, or Berghaus, but of St. John’s and its parishioners.
Through the generosity of our donors, the work of Berghaus Pipe Organ Builders, and the talents of the guest organists who helped dedicate the instrument, we have built an instrument that will enrich our worship and give music to lift our spirits for year to come.
—Anne Timpane
Director of music ministries

_________________________________________________________________________________

GRAND-ORGUE – Unenclosed – Manual I. 31?4? wind pressure
16? Quintaton 61 pipes existing, mahogany, revoiced
8? Montre 61 pipes 75% tin throughout
8? Gambe 61 pipes 1–12 zinc, 13–61 52% tin
8? Flûte Harmonique 61 pipes 1–12 zinc, 13–61 52% tin, harmonic @ g32
8? Bourdon 61 pipes 52% tin
4? Prestant 61 pipes 52% tin
4? Flûte Octaviante 61 pipes 75% tin, harmonic @ c25
22?3? Quinte 61 pipes 52% tin
2? Doublette 61 pipes 75% tin
13?5? Tierce 61 pipes 75% tin
8? Cornet V 220 pipes 52% tin, c13–g56
11?3? Fourniture IV 244 pipes 75% tin (19-22-26-29)
8? Trompette 61 pipes resonators of zinc and 52% tin
Tremblant
16? Trompette Royale 1–12 from Ped 16? Bombarde; 13–61 from 8? Trompette Royale
8? Trompette Royale 61 pipes hooded resonators, voiced on 10? wind
Clochettes 5 bells (with adjustable delay, speed, and volume)

RÉCIT EXPRESSIF – Enclosed – Manual III. 31?4? (flues) and 4? (reeds) w.p.
8? Salicional 61 pipes 1–12 zinc, 13–61 52% tin, slotted
8? Voix Céleste FF 56 pipes 6–12 zinc, 13–61 52% tin, slotted
8? Flûte à Cheminée 61 pipes 52% tin
4? Prestant 61 pipes 52% tin
4? Flûte Conique 61 pipes 40% tin
2? Flûte à Bec 61 pipes 52% tin
2? Plein Jeu V 305 pipes 75% tin (15-19-22-26-29)
16? Basson 61 pipes resonators of zinc and 52% tin, 1–18 L/2
8? Trompette 61 pipes resonators of 70% tin, parallel open shallots
8? Hautbois 61 pipes resonators of zinc and 52% tin
8? Voix Humaine 61 pipes resonators of 52% tin
4? Clairon 61 pipes resonators of 70% tin, parallel open shallots
Tremblant
8? Cornet V — (G.O.)
8? Trompette Royale — (G.O.)

POSITIF EXPRESSIF – Enclosed – Manual II. 31?4? wind pressure
8? Principal 61 pipes 75% tin throughout
8? Bourdon 61 pipes poplar
8? Flûte Celestes II (console preparation)
4? Octave 61 pipes 52% tin
4? Flûte à Fuseau 61 pipes 52% tin
22?3? Nasard 61 pipes 52% tin
2? Quarte de Nasard 61 pipes 52% tin
13?5? Tierce 61 pipes 52% tin
11?3? Larigot 61 pipes 52% tin
1? Cymbale IV 244 pipes 75% tin (26-29-33-36)
8? Trompette 61 pipes resonators of zinc and 52% tin
8? Cromorne 61 pipes resonators of zinc and 52% tin
Tremblant
8? Cornet V — (G.O.)
8? Trompette Royale — (G.O.)

PÉDALE – Unenclosed. Wind pressure 31?4? except Bombarde (4?)
32? Basse Acoustique — derived from 16? Montre and 16? Soubasse
16? Contrebasse (console preparation)
16? Montre (façade) 32 pipes 1–25 polished zinc, 26–32 75% tin
16? Soubasse 32 pipes poplar
16? Quintaton — (G.O.)
8? Octave 32 pipes 75% tin throughout
8? Cor de Chamois 32 pipes 1–12 zinc, 13–32 52% tin
8? Bourdon 12 pipes (extension of 16? Soubasse)
4? Basse de Choral 32 pipes 75% tin
4? Bourdon 12 pipes (extension of 16? Soubasse)
22?3? Fourniture IV 128 pipes 75% tin (12-15-19-22)
32? Contre Bombarde 12 pipes L/2 resonators of pine (extension of 16? Bombarde)
16? Bombarde 32 pipes L/1 resonators of pine
16? Basson — (Récit)
8? Trompette 32 pipes
4? Clairon 32 pipes
8? Trompette Royal — (G.O.)

Berghaus Pipe Organ Builders, Inc., Bellwood, Illinois
St. John’s Episcopal Church, Norwood Parish, Bethesda,
Chevy Chase, Maryland

From the organbuilder
St. John’s Episcopal Church, Norwood Parish, is located just minutes away from Washington National Cathedral on the border between Bethesda and Chevy Chase, Maryland. St. John’s began in 1873 as a small mission congregation in what was then rural Bethesda. By 1895, the church had been elevated to parish status within the newly formed Diocese of Washington. Throughout its history, St. John’s has been dedicated to “building community at the crossroads of faith and life.” Today, the parish continues to honor this tradition by offering beautiful, liturgically oriented worship services and by providing a wide variety of programs that minister to the diverse needs of the congregation and community.
Prior to the renovation of St. John’s 500-seat Georgian-style sanctuary, the nave presented a feeling of light-filled openness, while the deep and narrow chancel appeared both dark and restrictive. In typical fashion, choir stalls were divided on both sides of the chancel, with the high altar placed against the front wall. The existing organ consisted of three manual divisions with the Great, Swell, and Pedal installed in chambers along the east wall, and the Choir placed on the west wall. Throughout its history and despite the best intentions of the parish, the organ suffered several major incidents involving water damage. With the east wall of the chancel positioned directly beneath the bell tower, it was determined that the tower was, in fact, the root of the problem. Although the tower had previously undergone extensive renovation, water was continuing to find its way into the chambers. At the urging of then director of music Douglas Beck, an organ committee was formed and charged with the task of identifying possible solutions. The committee was also asked to investigate and recommend several organ builders. The committee also felt that it would be wise to engage an organ consultant and did so by involving Donald Sutherland from the Peabody Institute. The initial findings of the committee can be summed up in the following two recommendations. First, the repair of the existing organ would not represent a sound artistic or economic option. Second, a new instrument should not be returned to the existing chambers. Based on these parameters, the committee proceeded to identify a select group of organ builders and to ask each builder to submit their vision for an instrument that would not only meet the liturgical requirements of the parish, but allow the parish to further expand its role in offering artistic expressions of faith to the greater community.
As discussions continued relative to the placement of the organ, it became increasingly clear that installing the organ in any other area of the sanctuary would require changes to the structure of the building. It was also at this point that the clergy and many of the parishioners suggested that the parish consider a comprehensive renovation of the chancel. Given this suggestion, a second committee, called the Architectural Review Committee, was formed to oversee the process and to investigate potential architects and contractors. With the selection of Kerns Group Architects and Forrester Construction, the “ARC” noted that a final decision regarding an organ builder should be made so that all parties could work in a collaborative fashion. On the recommendation of the organ committee, Berghaus Pipe Organ Builders, Inc. was selected to build the new instrument. Recognizing that the combined project including renovations to the building and the construction of a new pipe organ would require a significant financial commitment, St. John’s vestry authorized the formation of a third committee to oversee the fund raising process. The combined efforts of the Organ Committee, Architectural Review Committee, and the Capital Campaign Committee were incorporated under the theme “Enhance, Renew, Rejoice!”
Early in the process of examining the space, it was determined that placing the organ in the gallery would be difficult and limiting. The lack of height and depth would require that the entire rear portion of the church be rebuilt. There was also a great deal of concern expressed about the necessity of moving the choir to the gallery. Although some members of the parish had initially favored this approach, they quickly grasped the complexities involved and shifted their support to the possibilities represented by the chancel. Above and beyond the issue of the organ, enhancing the worship space was an important ingredient in St. John’s view that worship should involve a greater sense of community. One option was to open and enlarge the chancel, creating an inviting space for various forms of worship. Another was to bring the altar forward and install a new communion rail such that it would bring the communion experience closer to the congregation and enable more of those present to take communion at the rail. The ARC was also hopeful that natural light could find its way into the chancel so that the space would have the same warm, inviting feel currently attributed to the nave. This eventually led the architect to modify two of the former organ chambers and add skylights so that the chancel is bathed in soft, natural light. Another transforming suggestion involved moving the choir out of its traditional split arrangement and facing them towards the congregation. With the adoption of these suggestions, it was decided that the ideal placement of the new pipe organ was along the central axis of the building. The new organ would thereby occupy approximately 12 feet of the existing depth at the front of the chancel. This effectively moved the chancel forward placing parishioners, clergy, musicians, etc. in closer proximity. Obviously this change also provided the means for both music and the spoken word to be heard in a clear and full fashion.
St. John’s began its journey to rejuvenate the life of the congregation not only by overhauling the chancel and replacing the organ, but also by enhancing and renewing their relationship with the Creator. Staying close to its roots as a mission congregation, the early parish embraced a low-church form of worship. In the 1970s, under rector William A. Beal, the congregation experimented with a variety of new worship styles, including the Episcopal Church’s trial liturgies. This “new tradition” included the use of the 1979 Prayer Book. The move towards higher church expression continued into the 1980s and 1990s under Rev. Duane Stuart Alvord, and continues today under the leadership of the current rector, Rev. Susan M. Flanders, and the associate rector, Rev. Harrison West. The beautiful construction of the current worship form and the growing excellence of the music program as initially developed under the auspices of former director of music, Douglas Beck, and built upon by the current director of music, Anne Timpane, made it apparent that the new instrument would be required to provide ample support for congregational singing, but must also be an instrument that supports the Anglican choral repertoire. The organ committee’s visits to a wide variety of instruments across the full spectrum of builders pointed to the fact that the parish desired an instrument of great breadth of tone and timbre, with a sound that would fill the space, but not entirely overpower it. It was also important that the organ contain the subtle stops necessary to accompany children’s choirs while having the ability to uphold the congregation with a sense of majesty and power. However, it was also the desire of the former director of music that the instrument should be French-inspired, both in its specification and in its appearance. Given the design of the building, we chose to represent the visual aspect of this request in the design of the console.
The new Berghaus pipe organ at St. John’s Episcopal Church contains 58 speaking stops and 63 ranks over three manuals and pedal. The placement of the instrument along the central axis of the nave allows for optimal sound projection while enhancing the visual impact of the chancel space, most notably as natural light from the skylights reflects off the polished zinc façade. The painted, incised hardwood case is accented with solid walnut trim and gold-leafed pipe mouths. The case also features columns that emulate the columns found throughout the nave. The layout of the organ was intended to give each division its proper musical placement while providing easy access for tuning and service. The Grand-Orgue and Pédale are situated just behind and at the top of the façade, while the expressive Récit and Positif divisions are at the mid or impost levels. This arrangement establishes a leadership role for the Grand-Orgue and Pédale in accompanying congregational singing, while the Récit and Positif, placed at a lower level, are suitable for accompanying choral literature. Set at the very top of the case is a large semicircular arch that continues the barrel vault design of the nave, and allows for full projection of the Grand-Orgue chorus. While not strictly adhering to a particular historical period, the organ, both in terms of its stoplist and tonal approach, is a synthesis of the classical and romantic styles. This synthesis emphasizes a clear, singing quality in the individual stops, while providing depth and warmth when stops are used in combination. Each division contains a complete principal chorus, characteristic flute stops and a full battery of reeds that range from the very subdued to the fiery. Those who have experienced this instrument firsthand remark on how the organ increases in fullness as more stops are drawn. The favorable, but not overly reverberant acoustic is obviously helpful in this instance. The use of Berghaus custom slider and pallet windchests for the majority of the fluework and for certain reeds allows for a natural, unforced sound that ensures favorable blending qualities and excellent tuning stability. Much of the pipework in the organ is scroll and cone tuned. Stops on slider windchests are voiced on 3¼' of wind, while the majority of the reeds are voiced on pressures that range between 3½' and 4'.
The Grand-Orgue is based on a large-scaled 8' Montre constructed from 75% tin. This stop has a rich, full, singing quality, while at the same time providing articulation and clarity to the rest of the chorus. The 8' Gambe is a soft string with moderate sizzle. When combined with the full-bodied 8' Bourdon, it creates a secondary principal-like timbre. The 8' Flute Harmonique is an open flute throughout the compass and becomes harmonic at g32. It is well suited as a blending stop in the jeux de fonds combination, or as a solo stop when required by the Romantic repertoire. The 4' Flute Octaviante is a lighter and softer alternative to the 8' Flute Harmonique. Mutations in this division are based on principal scales and constructed from 52% tin. These stops are voiced to enhance the harmonic series present in the plenum. When used in combination with the flutes, the mutations provide a lighter, brighter cornet in contrast to the Mounted Cornet. The 8' Trompette is constructed from 52% tin, and contains English tapered shallots. Since the organ has a strong solo trumpet, this Trompette was voiced to blend with the flue stops within the division. The Mounted Cornet is scaled and constructed based on the French classical school. The 8' rank is a bourdon, with subsequent ranks being open. The 13'5' rank is proportionally the largest in scale. This stop, with its compass from c13 to g56, is musically successful in literature ranging from Byrd and Buxtehude, to Couperin and DuMage. The Trompette Royale is the organ’s crowning solo reed. Voiced on 10' of wind, the stop contains resonators that are hooded for maximum projection. Overall, the Grand-Orgue sets the tone of the entire instrument. Its placement at the center of the long axis provides an ideal vantage point for strong musical leadership, particularly in accompanying congregational singing. One stop from the former instrument was used in the new instrument. A 16' mahogany Quintaton was extensively rebuilt and revoiced to add a light 16' timbre to the Grand-Orgue.
The musical demands of the Anglican service require that an instrument have a wide variety of voices and dynamic possibilities, particularly in music for choir and organ. Given this situation, entire tonal divisions were designed to work as a unified whole. The Positif Expressif is also based on an 8' Principal of 75% tin and is designed to function as a secondary chorus to the Grand-Orgue. The gentle and singing nature of these principals provides ideal color for Baroque and Renaissance literature. Because of its enclosed placement, the chorus is extremely useful in accompanying choirs and instrumental ensembles. Flute stops include an 8' Bourdon (wood) and a 4' Flûte à Fuseau. In contrast to the Grand-Orgue, the mutations of the Positif are scaled to blend well with flutes versus principals. The 22'3' Nasard relies on Koppelgedackts in its bass octave. The 2' Quarte de Nasard is essentially a hybrid stop, beginning as a light principal, than taking on a bright flute tone in the treble range. The four-rank 1' Cymbale is useful as a chorus mixture, as well as offering a bell-like timbre to lighter textures. The two reeds include a narrow-scale 8' Trompette designed to blend with the principal chorus and an 8' Cromorne, which can be used successfully in either classical or romantic repertoire.
The Récit contains a wide variety of stops, each with its own unique construction. The Salicional and Voix Celeste are small in scale and slotted to give the pair a decidedly French sound. The 8' Flûte à Cheminée features long, wide chimneys for optimal harmonic development. The 4' Flûte Conique is of the Spitzflöte variety and is made of 40% tin. Perhaps one of the most unique stops is the 2' Flûte à Bec, or Block Flute, which incorporates large-scale pipework. Another unique feature of the Récit is the ability to combine the 8' Flûte à Cheminée with the 8' Voix Celeste. The separation that exists between the two ranks provides the slow undulating pattern typically heard in flute celestes. Since an 8' Principal does not exist in this division, the five-rank, 2' Plein Jeu is designed to reinforce the 8' and 4' pitches at earlier points than generally found in typical mixture compositions. The 8' Trompette and 4' Clairon are fiery reeds in the Cavaillé-Coll style, featuring ring and nut construction and resonators of 70% tin. The 8' Hautbois is reminiscent of the English variety. The 16' Basson is voiced to add gravity to the Swell reed chorus while introducing a lighter reed character in the Pédale. The entire reed chorus is placed at the back of the expression chamber with reeds voiced on 4' of wind.
The Pédale is based on the 16' Montre located in the façade. Given the variety of independent stops of varying dynamics and timbre, the Pédale division provides unusually full support for the demands of the manual divisions. The 32' Basse Acoustique is derived from the 16' Montre (unison) and the 16' Soubasse (quint). As an alternative to the 8' Pedal Octave, the 8' Cor de Chamois (Gemshorn) is suitable for giving the 8' line a more pointed emphasis, especially in Baroque combinations. The 32' and 16' Bombarde have wood resonators for maximum fundamental.
All aspects of the organ console, including the bench and music rack, were specifically designed for this instrument. The detail associated with the console complements not only the casework but many of the features that exist within the worship space. Since the director of music at St. John’s is both organist and choirmaster, the profile of the console needed to be low enough to allow the organist to direct the choir from the console. The low-profile French terraced design is constructed from solid walnut with added walnut veneers to insure the consistency of the grain pattern. Curved terraces are made from book-matched, burled walnut and are home to the oblique-face, pau ferro drawknobs. Stops are logically laid out with plenum and major reeds to the organist’s right; flutes, strings, mutations, and minor reeds to the left. Keyboards with maple naturals and walnut sharps feature top-resistant touch for maximum responsiveness. To keep the console free of electronic clutter, the memory level, record/playback and clochette controls are contained in a swivel drawer located on the right-hand side of the console.
The blessing of the new Berghaus organ and the newly renovated chancel was presided over by Bishop John Bryson Chane of the Diocese of Washington. In attendance were representatives from the Lift High the Cross Capital Campaign, the Organ and Architectural Review committees, Kerns Group Architects, Forrester Construction, and Berghaus Pipe Organ Builders. The organ itself was dedicated on Saturday, May 10, and featured nine prominent organists from the greater Washington area.
The completion of the organ is the culmination of many years of planning, preparation, and hard work by the individuals and committees at St. John’s, as well as the organ builder, architect, and general contractor. The result of this work is a grand worship space that uniquely fits the needs of the parish, and an instrument that will serve and inspire the congregation as well as the larger community for generations to come. Berghaus Pipe Organ Builders wishes to thank all those who helped make this project possible. We wish to thank The Reverend Susan Flanders, rector; The Reverend Harrison West, associate rector; Christine Walz-Dallaire, senior warden 2006–07; Ken Lee, senior warden 2007–08; Cynthia Stroman, organ committee chair; Suzanne Welch, architectural review committee chair and project manager; Bill Fry and Richard Saltsman, co-chairs of the Lift High the Cross capital campaign committee; Mike McConihe, chancellor; Douglas Beck, former director of music ministries; Anne Timpane, director of music ministries; Brian Briggs, parish administrator; and the many parishioners who gave of their time, talent, and treasure. Berghaus also wishes to thank Tom Kerns and Koji Hirota of Kerns Group Architects and Bassem Melham, Bill Morrissette, and Will Durham of Forrester Construction.
Berghaus Pipe Organ Builders also wishes to thank members of its staff for their countless hours and dedication to this project:
Brian Berghaus, president
David McCleary, director of sales and marketing
Tonal design: Jonathan Oblander, Kelly Monette
Visual design and layout: Steven Protzman
Voicing and tonal finishing: Kelly Monette, Jonathan Oblander, Mitch Blum
Construction: Stan Bujak, Chris Czopek, Steve Drexler, Jeff Hubbard, Trevor Kahlbaugh, Kurt Linstead, David Mueller, Daniel Roberts, Tim Roney, Paul Serresseque, Ron Skibbe, Jordan Smoots, Paul Symkowski, Mark Ber, Randy Watkins, Andy Schach.
—Jonathan Oblander
Tonal director
Berghaus Pipe Organ Builders

From the director of music ministries
In January 2007, St. John’s signed a contract with Berghaus Pipe Organ Builders to build a new instrument that would fulfill and expand the music ministry’s mission and vision:

to explore the journey of faith and life through music; unite parishioners . . . by embracing and cultivating talents and gifts . . . enliven liturgy and community, nourish the musical and creative spirit . . .; inspire the people of St. John’s . . . strengthening relationships with God and one another.

St. John’s has had a pipe organ for more than 80 years. Organ music has enhanced important events in the life of the parish, from weekly worship services, to special holiday music, to baptisms, weddings, funerals and other occasions. However, progressive structural deterioration of the existing organ had caused significant wear and damage to the instrument’s infrastructure. The organ became increasingly unreliable, and so the decision was made not only to replace the instrument but also to think creatively about the chancel’s architectural design. Taking into consideration the size of the room, the number of people that the room will accommodate, and the desired uses of the instrument, it was decided to place the new organ on the central axis of the church for optimal sound projection and flexibility within the space. Berghaus worked in conjunction with our architectural review committee to find a harmonious blend of the advantages and challenges associated with the organ placement and chancel reconfiguration. The result is our stunning new three-manual custom-made work of art.
Berghaus was chosen by our organ builder selection committee after extensive information gathering and evaluation of the proposals submitted by several prominent organ builders. Berghaus’s excellent reputation, design philosophy, and character made them the stand out choice for St. John’s. Their attention to detail, dedication to craftsmanship, and ability to work within our timeframe and cost considerations resulted in an instrument that is not a reflection of me, or Berghaus, but of St. John’s and its parishioners.
Through the generosity of our donors, the work of Berghaus Pipe Organ Builders, and the talents of the guest organists who helped dedicate the instrument, we have built an instrument that will enrich our worship and give music to lift our spirits for year to come.
—Anne Timpane
Director of music ministries

GRAND-ORGUE – Unenclosed – Manual I. 31'4' wind pressure
16' Quintaton 61 pipes existing, mahogany, revoiced
8' Montre 61 pipes 75% tin throughout
8' Gambe 61 pipes 1–12 zinc, 13–61 52% tin
8' Flûte Harmonique 61 pipes 1–12 zinc, 13–61 52% tin, harmonic @ g32
8' Bourdon 61 pipes 52% tin
4' Prestant 61 pipes 52% tin
4' Flûte Octaviante 61 pipes 75% tin, harmonic @ c25
22'3' Quinte 61 pipes 52% tin
2' Doublette 61 pipes 75% tin
13'5' Tierce 61 pipes 75% tin
8' Cornet V 220 pipes 52% tin, c13–g56
11'3' Fourniture IV 244 pipes 75% tin (19-22-26-29)
8' Trompette 61 pipes resonators of zinc and 52% tin
Tremblant
16' Trompette Royale 1–12 from Ped 16' Bombarde; 13–61 from 8' Trompette Royale
8' Trompette Royale 61 pipes hooded resonators, voiced on 10' wind
Clochettes 5 bells (with adjustable delay, speed, and volume)

RÉCIT EXPRESSIF – Enclosed – Manual III. 31'4' (flues) and 4' (reeds) w.p.
8' Salicional 61 pipes 1–12 zinc, 13–61 52% tin, slotted
8' Voix Céleste FF 56 pipes 6–12 zinc, 13–61 52% tin, slotted
8' Flûte à Cheminée 61 pipes 52% tin
4' Prestant 61 pipes 52% tin
4' Flûte Conique 61 pipes 40% tin
2' Flûte à Bec 61 pipes 52% tin
2' Plein Jeu V 305 pipes 75% tin (15-19-22-26-29)
16' Basson 61 pipes resonators of zinc and 52% tin, 1–18 L/2
8' Trompette 61 pipes resonators of 70% tin, parallel open shallots
8' Hautbois 61 pipes resonators of zinc and 52% tin
8' Voix Humaine 61 pipes resonators of 52% tin
4' Clairon 61 pipes resonators of 70% tin, parallel open shallots
Tremblant
8' Cornet V — (G.O.)
8' Trompette Royale — (G.O.)

POSITIF EXPRESSIF – Enclosed – Manual II. 31'4' wind pressure
8' Principal 61 pipes 75% tin throughout
8' Bourdon 61 pipes poplar
8' Flûte Celestes II (console preparation)
4' Octave 61 pipes 52% tin
4' Flûte à Fuseau 61 pipes 52% tin
22'3' Nasard 61 pipes 52% tin
2' Quarte de Nasard 61 pipes 52% tin
13'5' Tierce 61 pipes 52% tin
11'3' Larigot 61 pipes 52% tin
1' Cymbale IV 244 pipes 75% tin (26-29-33-36)
8' Trompette 61 pipes resonators of zinc and 52% tin
8' Cromorne 61 pipes resonators of zinc and 52% tin
Tremblant
8' Cornet V — (G.O.)
8' Trompette Royale — (G.O.)

PÉDALE – Unenclosed. Wind pressure 31'4' except Bombarde (4')
32' Basse Acoustique — derived from 16' Montre and 16' Soubasse
16' Contrebasse (console preparation)
16' Montre (façade) 32 pipes 1–25 polished zinc, 26–32 75% tin
16' Soubasse 32 pipes poplar
16' Quintaton — (G.O.)
8' Octave 32 pipes 75% tin throughout
8' Cor de Chamois 32 pipes 1–12 zinc, 13–32 52% tin
8' Bourdon 12 pipes (extension of 16' Soubasse)
4' Basse de Choral 32 pipes 75% tin
4' Bourdon 12 pipes (extension of 16' Soubasse)
22'3' Fourniture IV 128 pipes 75% tin (12-15-19-22)
32' Contre Bombarde 12 pipes L/2 resonators of pine (extension of 16' Bombarde)
16' Bombarde 32 pipes L/1 resonators of pine
16' Basson — (Récit)
8' Trompette 32 pipes
4' Clairon 32 pipes
8' Trompette Royal — (G.O.)

Casavant Frères, Saint-Hyacinthe, Quebec, Canada

Principia College, Cox Auditorium, Elsah, Illinois, Opus 3838

The history of Principia dates from 1897 when Mary Kimball Morgan began home schooling her two sons in order to give them a “fuller” education than what she found in the public schools in St. Louis. Mrs. Morgan, a Christian Scientist, based her educational philosophy on the writings of Mary Baker Eddy, the founder of Christian Science. Soon, when other parents began to observe the difference between her sons and their children, she was asked to take them as students. In 1898 the name Principia was chosen, and by 1906 the first high school graduation was held. A junior college—one of the first in the United States—was added in 1912, and in 1934 the first graduates of the senior college emerged to begin their careers. Today, although it is not an official institution of the Christian Science Church, Principia is staffed by Christian Scientists to serve Christian Science students from infants through adults. Principia maintains two campuses. The college itself is magnificently located on limestone bluffs overlooking the Mississippi River in Elsah, Illinois.

The architect for the college campus, Bernard Ralph Maybeck (1862–1957) of San Francisco, California, was retained in 1923 to prepare a master plan. He decided to use an English village as the inspiration for his creation, to which he referred as his “favorite child.” Construction began in 1931 during the Great Depression, and by 1935 the college moved to the new location in Elsah. In 1993 the Principia College campus was granted National Historic Landmark status by the United States Department of the Interior for its unique plan and distinctive original buildings.

A large auditorium was constructed in 1964, primarily for the annual Principia Public Affairs Conferences. It was soon realized that a much wider variety of activities were using the building and that a pipe organ would be a valued asset. Detlef Kleuker Orgelbau of Brackwede/Westfallen, Germany, installed a two-manual, 32-rank instrument with electric-slider action in 1967. The organ was mounted on a platform hung from a sidewall, the console being positioned in front of stage center. Virgil Fox performed the inaugural concert. Various mechanical problems developed within a short period, and the tonal quality of the instrument proved to be inadequate for the size of the auditorium. Principia decided in 1983 to have the organ rebuilt and enlarged. The result was unfortunately even less successful, both tonally and mechanically, than the original Kleuker. With two failures, the school administration was understandably hesitant to consider another organ project for Cox Auditorium. Yet, a reliable and highly versatile instrument continued to be a demonstrated need for the building. The Music Department, led by college organist Dr. John Near, initiated discussions with the administration in 2000 to have several organ builders visit the campus and provide proposals for a mechanical action organ that would reflect many of the tenets found in the organs of Cavaillé-Coll. Casavant Frères was awarded the contract in August 2002 after several individual donors and the college classes of 1952 and 1953 generously provided funding as their 50th reunion gift to Principia.

When the Casavant team of Jacquelin Rochette (tonal director), Didier Grassin (tracker workshop director), and Carroll Hanson (Casavant representative) visited the site for the first time, we clearly realized the challenges that Cox Auditorium would bring. The 1100-seat auditorium is a shoebox-shaped room 180¢ long and 72¢ wide with a rising seating floor and a large stage. Despite the concrete floor and brick sidewalls, the acoustics are fairly unforgiving. This is mostly due to the thin suspended ceiling, heavy stage curtains and padded seats. The proposed placement of the organ at the back of the stage was enough to depress any weathered organbuilder. The instrument would have to share the space with an active ballet and theater program; it would be allowed a strictly limited footprint that could not interfere with the stage lighting; and it would be subject to potential damage due to the maneuvering of backdrops and decors required by various performances. In addition, a thick proscenium dropped about 8¢ from the ceiling at the front of the stage. Seen from the back of the auditorium, the top portion of the organ would have been hidden. Budget and other administrative practicalities did not allow us much leeway.

We walked away scratching our heads, wondering what layout would minimize the effect of this unfortunate placement. We investigated the possibility of moving the organ forward for musical events, studied the floor strength, and researched the feasibility of air cushions. We were ready to try anything in order to get the sound out of the stage.

That is when the ballet program came to the rescue. After a particularly successful ballet evening, the dance group effectively argued that the loss of precious stage floor would drastically restrict the breadth of their shows. The organ had to go elsewhere.

The move off the stage was certainly good news, visually and tonally. We gave a sigh of relief, although the placement question was still not solved. The previous defunct organ was set against the left wall on a small platform, but such a position would not have been adequate for the large three-manual scheme that was envisioned. The college was ready to explore all options. The possibility of adding a side extension to the building opened the door to a viable solution. It was felt that the organ should not speak entirely sideways to the audience, and sketches were prepared to study the feasibility of an angled case whose platform would link with the main stage. It quickly transpired that steel columns supporting the building could be neither suppressed nor moved. This added another layer of technical difficulties, as we would have to build the organ either beside or around the immovable pillars. Any viable solution encompassing a steel column would have to give good access to the windchests and pipework for maintenance and tuning. After many careful studies, we were able to propose a solution in which the organ would be angled by 20 degrees, with the Récit key action trackers brushing past a steel column. The success of the placement would have to rely on the precision of the new building extension and our own manufacturing, as both organ and building would have to fit like hand and glove. It turned out that the construction of the new chamber was superbly crafted under the college’s supervision, and 30' tall walls were impeccably vertical and placed within a quarter of an inch of the required dimensions.

The internal parts of the instrument are organized in two layers: the Grand Orgue, the Positif, and the Pédale upperwork occupy the front section in the protruding casework, while the Récit Expressif and the large pedal pipework stand behind in the new chamber. The organ is set on symmetrical windchests laid out in major thirds from tenor C for the manual divisions. Since the case follows a strict Werkprinzip, one can read the placement of the main divisions on the façade: the Positif, just above the console, is crowned by the Grand Orgue and its Montre 8'; the Pédale is on either side behind the 16' Montre. The Récit division has been split in two sections: the flues, Hautbois, and Voix humaine are at the front, and the battery of 16', 8' and 4' reeds are at the back. The key action has been realized with traditional wooden trackers, wooden squares, and steel rollers. The electric drawstop action is complemented with a generous capture system. The winding is done through large single rise reservoirs and wooden trunks.

The case design itself is a reflection of the very successful Maybeck architecture that graces the college buildings. We tried to emulate the elegant Arts & Crafts feel by mixing strict main lines with gently curved pipeshades. Great care has been given to enhance the verticality of the overall composition by breaking any potential horizontal lines. The case is made of stained solid American walnut throughout, with highlights of natural maple in the pipeshades. The polished tin façade provides a strong contrast with the soft grain of the walnut. The ensemble warmly glows in the auditorium.

Despite its curved drawstop terraces and porcelain stop nameplates, the console is not trying to copy any Cavaillé-Coll examples. The various elements and their arrangement have been chosen for their elegance and feel. It is a play of simplicity and richness with the walnut highlighted by thin strips of ebony. All the electronic controls, with the exception of a small readout, are discreetly hidden behind small doors.

The tonal architecture of the instrument is thoroughly grounded in the 19th-century French tradition. Dr. Near’s passion for French organ literature, especially that of Charles-Marie Widor, had to find a good vehicle through a full and noble sound. Jacquelin Rochette shaped a tonal structure that continues the musical principles set in the highly successful organ of Brick Church in New York City and which serves effectively the immense corpus of the French repertoire. The organ is articulated around a traditional 16¢ Grand Orgue. The Récit Expressif is typical of the large Récit found in late grand Cavaillé-Coll organs, with the exception of the 16¢ Bourdon that Dr. Near preferred to have in the Positif. The Positif is treated more classically with its series of mutations and a large-scale Cromorne. The Pédale is richly endowed from 32' upwards, although it is the division with the most compromises, as the large reeds and stopped flutes have been obtained through extensions.

Thanks to the wealth of foundation stops, many built with “entaille de timbre,” the organ is solidly grounded, and the generous basses contribute a wonderful gravitas to the instrument. Given the musical goals of retaining clarity throughout the entire compass and achieving nice initiation of speech, the mixtures have been purposely kept under control to avoid any aggressiveness. At the same time, though, the large number of reed stops—twenty percent of the ensemble, built with full-length resonators and designed with Cavaillé-Coll shallots—provides a thrilling tutti of great richness without ever being shrill.

This instrument was not without technical difficulties, and we have been fortunate to work alongside a college whose search for excellence has encouraged us to challenge ourselves. This exhilarating experience was greatly facilitated by their continuing support and assistance. A special thanks goes to Dr. John Near for his valuable guidance and his deep involvement during the entire project. Dr. Near will inaugurate the organ on May 11.

Didier Grassin

Jacquelin Rochette

Casavant Frères

A note from the college organist

Principia is thrilled to have this magnificent new organ in Cox Auditorium. It brings a much-needed new dimension to the performance opportunities at the college, and it is a wonderful addition to the musical landscape of the greater St. Louis community. I want to express my gratitude to the many generous donors who made the project possible, and to all the Casavant personnel who worked so tirelessly to make the instrument such a fine success.

John R. Near

Professor of Music

Casavant Opus 3838

3 manuals, 42 stops


Grand Orgue

16' Montre

8' Montre

8' Violoncelle

8' Bourdon

8' Flûte harmonique

4' Prestant

4' Flûte ouverte

4' Doublette

22?3'Cornet III

11?3' Fourniture IV–V

16' Bombarde

8' Trompette

4' Clairon

Récit Expressif

8' Diapason

8' Bourdon

8' Viole de gambe

8' Voix céleste (TC)

4' Octave

4' Flûte octaviante

2' Octavin

2' Plein jeu V

16' Basson

8' Trompette harmonique

8' Hautbois

8' Voix humaine

4'' Clairon harmonique

Tremblant

Positif

16' Bourdon doux

8' Principal

8' Cor de nuit

4' Prestant

4' Flûte à fuseau

22?3' Nazard

2' Quarte de nazard

13?5' Tierce

11?3' Larigot

1' Mixture IV

8' Trompette

8' Cromorne

Tremblant

Pédale

32v Soubasse

16' Montre (G.O.)

16' Contrebasse (prepared)

16' Soubasse

16' Bourdon doux (Pos.)

8' Octavebasse

8' Contrebasse (prepared)

8' Bourdon

4' Octave

4' Flute (prepared)

32'Contre Trombone

16' Trombone

8' Trompette

4' Clairon



Pos/G.O.

Réc./G.O.

Réc./Pos.

Tirasse G.O.

Tirasse Pos.

Tirasse Réc.

Cover

The Muller Pipe Organ Company, Toledo, Ohio, has completed
the installation of a new organ for Trinity Episcopal Cathedral in Little Rock,
Arkansas. The 4-manual, 82-rank organ is designed in the American Classic
tradition as developed by the Aeolian-Skinner Company. In great measure, it is
modeled after the G. Donald Harrison instrument at All Saints Episcopal Church,
Worcester, Massachusetts. James R. Metzler, Organist and Choirmaster at the
Cathedral, sang treble as a boy in the Choir of Men and Boys at All Saints and
studied with Henry Hokans on that organ.

The new organ has complete choruses in each division, and is
notable for the warmth of its strings and foundations as well as the brilliance
of the ensemble and fiery French-style reeds. The movable console is a measured
reproduction Aeolian-Skinner, and is of quarter sawn and rift sawn oak. The
tracker touch keyboards have bone naturals and ebony sharps, and the console
features reproduction Aeolian-Skinner components throughout. It is fully
equipped with multiple memory level combination action, general sequencer,
MIDI, transposer, and record/playback sequencer. The specification (designed by
James Metzler) and console are designed to make the organ as flexible as
possible for visiting recitalists. The full array of couplers includes Great to
Choir as well as Great/Choir transfer.

Certain playability options made possible with electro-pneumatic
action are exploited to the fullest. The Great Montre, primarily intended as a
16' manual stop for the Great, is also playable at 8' as an additional
foundation stop. The Choir organ features a French Cromorne as well as an
English Clarinet, and both of these stops are playable from the Solo. The Great
Principals are also available as a Grand Cornet on the Solo manual (a petite
cornet of flutes is on the Choir). The 8' Cor Anglais, a solo reed in the
Choir, is extended downward as the 16' Choir chorus reed, functioning with the
Cromorne and Rohr Schalmei.

The exposed Antiphonal has a complete principal chorus and
flutes at 8' and 4', plus an 8' chorus reed (the one stop retained from the old
organ, the venerable "Dean Higgins' Trumpet"). The Antiphonal also
boasts a Trompette en Chamade with lacquered brass bells. The Pedal is complete
and quite independent. Because of space considerations, three of the four 32'
stops are digital. However, the 32' Contre Bombarde is full length. The
expression boxes make use of tight fitting horizontal shutters and 16-stage
motors for an unusually successful crescendo with the full Swell.

The installation of the new organ was made possible through
funds for a multi-million dollar restoration program at the Cathedral, which
dates from the 1800s. Martin Neary, former Organist and Master of the
Choristers at Westminster Abbey, London, England, played the dedication
recitals in late October. This is Muller's 80th anniversary year.

--Mark Muller

GREAT

16' Montre

8' Principal

8' Montre

8' Flute Harmonique

8' Bourdon

4' Octave

4' Rohrflute

2 2/3' Quinte

2' Doublette

1 3/5' Tierce

IV Fourniture

III Cymbale

8' Trompette

8' Trompette en Chamade (Antiphonal)

Tremulant

Chimes

Zimbelstern

Unison Off

MIDI

SWELL

16' Bourdon

8' Geigen

8' Rohrfl??te

8' Viole de Gambe

8' Voix Celeste

8' Flauto Dolce

8' Flute Celeste

4' Octave Geigen

4' Spillflute

2' Octavin

III Plein Jeu

III Cymbale

16' Basson

8' Trompette

8' Hautbois

8' Vox Humana

4' Clairon

Tremulant

Sw 16-UO-4

MIDI

CHOIR

16' Gedeckt

8' Montre

8' Gedeckt

8' Dulciana

8' Unda Maris

4' Prestant

4' Koppelflute

2 2/3' Nazard

2' Principal

2' Blockfl??te

1 3/5' Tierce

11/3' Larigot

1' Sifflote

III Zimbel

16' English Horn

8' Cromorne

8' Cor Anglais (ext)

8' Clarinet

4' Rohr Schalmei

8' Trompette en Chamade (Antiphonal)

Tremulant

Ch 16-UO-4

MIDI

SOLO

V Grand Cornet (Gt)

16' Bombarde

8' Trompette Harmonique

4' Clairon Harmonique (Bombarde)

8' Cromorne (Ch)

8' Clarinet (Ch)

8' Trompette en Chamade (Antiphonal)

Chimes (Gt)

Solo 16-UO-4

MIDI

ANTIPHONAL

8' Montre

8' Bourdon

4' Prestant

4' Flute a Cheminee

2' Doublette

IV Fourniture

16' Bombarde en Chamade

8' Trompette en Chamade

4' Clairon en Chamade

8' Dean Higgins' Trumpet

Tremulant

Ant 16-UO-4

MIDI

ANTIPHONAL PEDAL

16' Soubasse

PEDAL

32' Contre Basse (digital)

32' Soubasse (digital)

16' Contre Basse

16' Soubasse

16' Montre (Gt)

16' Bourdon (Sw)

16' Gedeckt (Ch)

8' Principal

8' Gedeckt Pommer

8' Bourdon (Sw)

4' Octave

4' Flute Harmonique

IV Fourniture

32' Contre Bombarde

32' Contre Basson (digital)

16' Bombarde (ext)

16' Basson (Sw)

8' Trompette (ext)

8' Basson (Sw)

4' Clairon (ext)

4' Cromorne (Ch)

MIDI