New Organs

David Petty & Associates,
Eugene, Oregon
Seattle University,
Seattle, Washington

David Petty & Associates of Eugene, Oregon have recently delivered their Opus 5 to St. Ignatius Chapel at Seattle University. The organ contains four stops, all made of wood. The 8′ Gedackt and 4′ Spitzprincipal are quarter-sawn white oak, the Nasard is cherry, and the 2′ Principal is made of purpleheart, for tonal and visual reasons. The entire case, blower box, bench, and carvings are of quartered white oak. The carvings were designed and executed by Mark Andrew, a local colleague of the builder, in cooperation with the organ committee of St. Ignatius Chapel. The carvings complement the architectural lines of the modern chapel. The organ is used daily for devotions and Masses and complements the existing Steinway grand piano.
Readers are invited to visit the builder’s site (www.davidpettyorgans.com) to view color photographs of the instrument under construction.

Manual
8′ Gedackt
4′ Spitzprincipal
22⁄3′ Nasard
2′ Principal

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

St. John’s Catholic Church, Fenton, Michigan

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

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

— Karl Wilhelm Inc.

Facteurs d’Orgues-Organbuilders

Karl Wilhelm Opus 157

St. John’s Catholic Church

Fenton, Michigan

GREAT C–g’’’

16’ Bourdon

8’ Prinzipal

8’ Rohrflöte

8’ Flute Harmonique

4’ Oktave

4’ Spitzflöte

22⁄3’ Quinte

2’ Superoktave

8’ Cornet V (c’–d’’’)

11⁄3’ Mixtur IV

1’ Zimbel III

8’ Trompette

4’ Clairon


SWELL C–g’’’ (enclosed)

8’ Principal

8’ Gambe

8’ Celeste TC

8’ Hohlflöte

4’ Principal

4’ Flute Harmonique

2’ Waldflöte

22⁄3’ Cornet III (TF)

2’ Mixtur IV

16’ Basson

8’ Trompette

8’ Hautbois

Tremolo


RÜCKPOSITIV C–g’’’

8’ Prinzipal

8’ Gedackt

4’ Prinzipal

4’ Rohrflöte

22⁄3’ Nasard

2’ Doublette

13⁄5’ Terz

11⁄3’ Larigot

1’ Scharf IV

8’ Cromorne

Tremolo


PEDAL C–f’

16’ Prinzipal

16’ Subbass

8’ Prinzipal

8’ Bourdon

4’ Choralbass

22⁄3’ Rauschpfeife IV

16’ Posaune

8’ Trompete

4’ Clairon



Note:

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

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

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

Dobson Pipe Organ Builders, Lake City, Iowa

Calvary Lutheran Church, Brookfield, Wisconsin

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

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

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

—John Panning



Photo credit: Lynn Dobson


GREAT (58 notes)

16’ Bourdon

8’ Prestant

8’ Chimney Flute

4’ Octave

4’ Nachthorn

2’ Fifteenth

11⁄3’ Mixture IV

8’ Trumpet

Swell to Great


SWELL (58 notes, expressive)

8’ Gedackt

8’ Salicional

8’ Celeste FF

4’ Principal

4’ Traverse Flute

22⁄3’ Nazard

2’ Piccolo

13⁄5’ Tierce

11⁄3’ Quinte

8’ Oboe


PEDAL (32 notes)

16’ Subbass

16’ Bourdon (Gt)

8’ Principal

8’ Gedackt (ext)

4’ Choralbass (ext)

16’ Posaune

8’ Trumpet (ext)

Great to Pedal

Swell to Pedal



Tremulant

Zimbelstern

Lauck Pipe Organ Company,
Otsego, Michigan
Opus 61, 2009
Karl Schrock Residence,
Kalamazoo, Michigan
Through the years, we have had the pleasure to build a substantial number of small residence organs for many college professors and church organists. There has always come a great sense of satisfaction in creating these smaller wonders because we know we are building these exclusively for one person. We also know that the money for these instruments is usually born from hard work and frugal saving. The joy is in giving the customer their long-anticipated dream and creating the most value for their money.
Our latest residence organ was for Dr. Karl Schrock, who is head of the organ program at Western Michigan University in Kalamazoo. This five-rank mechanical action organ has white oak casework, ebony naturals with coco bolo sharps, and ebony drawknobs.
—James Lauck

MANUAL I
8′ Rohrflute 61 pipes
4′ Principal (in façade) 61 pipes

MANUAL II
8′ Gedeckt (oak) 49 pipes
common bass
2′ Blockflute 61 pipes

PEDAL
16′ Pommer 32 pipes

Man I–Man II
Man I–Ped
Man II–Ped

269/694-4500
[email protected]

J. Zamberlan & Co.,
Wintersville, Ohio
Christ, Prince of Peace Parish, Ford City, Pennsylvania
Christ, Prince of Peace Parish was formed on July 23, 2002, from the merger of three parishes in Ford City; the building formerly known as St. Mary’s Church is now the sole worship site. A 1930s organ occupied split cases in the rear gallery; this instrument had been rebuilt in 1965, and by 2002 was experiencing severe mechanical problems, in addition to suffering from a lack of ensemble and variety of stops.
Initial design concepts retained the choir in the gallery, but in the end the parish decided a nave location was preferable for the singers. In addition to the console, a 3-rank unenclosed “choir” division, available independently on either manual, is located in the shallow right transept. Wind for this division comes from a small blower and reservoir located in the church basement but fed from an intake housed in the base of the choir casework, which also encloses the support steel for the chest as well as shelves for choir music.
Several ranks from the old organ were incorporated into the new stoplist, as well as two stops from a 1965 Möller at one of the closed churches. The existing quartersawn white oak gallery casework was retained, as were the façade pipes, which were refinished for the church by a local auto body shop. The new console, as well as the choir casework, is of red oak, finished to harmonize with the pews; this casework also incorporates panels from former modesty screens in the choir area. The console interior is of Honduras mahogany, oiled and waxed. Keyboards have bone naturals and ebony accidentals, with drawknobs, pistons, etc. of bocote; legal ivory is used for labels and stopknob faces.
The solid-state control system includes 128 levels of memory for 8 generals and 4 divisionals, as well as several reversibles. At the suggestion of a visiting recitalist, the parish agreed in 2008 to add Great and Swell Unison Off toestud reversibles to enhance the organ’s versatility; this permits drawing the normal stops plus Choir stops on either manual, then using the Unison Off and pedal coupler to achieve separate voices on that manual and the pedal.
The main chests of the organ are slider with electric pulldowns, with bass notes utilizing double pallets where necessary. All pallets were carefully sized, and pallet travel was kept at 4mm, in order to keep the action responsive. Several stops are either duplexed between divisions or unified; these sit on chests with individual note actions (electro-mechanical except for the largest bass pipes), which incorporate expansion chambers between the valve and toe to minimize undesirable speech characteristics sometimes found in this chest design. The organ comprises 37 stops, 27 registers, 36 ranks, and 1993 pipes, and is our largest instrument to date. Donald Fellows, director of music at St. Paul Cathedral in Pittsburgh, dedicated the organ on March 18, 2007. The parish director of music is Andrew Motyka.
—Joseph G. Zamberlan

GREAT (58 notes)
8′ Diapason
8′ Rohrflute (existing Tellers,
C1–b48 wood)
4′ Octave
4′ Open Flute (existing Tellers,
formerly in Swell, C1–c49 wood)
2′ Fifteenth
4′ Cornet IV (c13–c49)
11⁄3′ Mixture IV
8′ Trompette
8′ Cromorne
8′ Choir Gemshorn
8′ Choir Bourdon
4′ Choir Italian Principal
4′ Choir Bourdon (ext)
2′ Choir Bourdon (ext)
Swell to Great 16′
Swell to Great
Tremulant
Cymbelstern
MIDI

SWELL (58 notes)
16′ Quintaten (C1–f18 wood)
8′ Violin Diapason (existing Tellers,
C1–B12 from Gedackt)
8′ Gedackt (existing Möller, wood)
8′ Viole de Gambe (existing Tellers,
formerly in Great)
8′ Voix Céleste (existing Möller,
from G8)
4′ Principal
4′ Flute (existing Tellers, formerly in Great, C1–a46 wood)
22⁄3′ Nazard
2′ Spitzflute
13⁄5′ Tierce
2′ Plein Jeu III
2⁄3′ Cymbale II
16′ Basson
8′ Hautbois (ext)
8′ Choir Gemshorn
8′ Choir Bourdon
4′ Choir Italian Principal
4′ Choir Bourdon (ext)
2′ Choir Bourdon (ext)
Tremulant
MIDI

PEDAL (32 notes, AGO)
32′ Bourdon (C1–B12 independent 10 2⁄3′
wood with Subbass,
from c13 Subbass)
16′ Principal (prep)
16′ Subbass (wood)
16′ Quintaten (Swell)
8′ Octave (prep)
8′ Gedackt (ext)
4′ Choral Bass (prep)
16′ Trombone (wooden resonators)
16′ Basson (Swell)
8′ Trompette (Great)
8′ Cromorne (Great)
4′ Clairon (Great)
Great to Pedal
Swell to Pedal
MIDI

740/765-9028
[email protected]

 

Information supplied by George Edward Damp, University
Organist, Associate Professor of Music, and Chair, Departments of Music History
and Historical Keyboards, and by John Brombaugh.

John Brombaugh, Organbuilder, Eugene, Oregon, has built the firm's opus 33 for Lawrence University,
Appleton, Wisconsin. The three-manual, mechanical action organ is a mix of many
historical styles, and comprises 42 stops, 49 ranks, and 2,496 pipes. The stop
and combination action is a solid state system with 32 levels of memory, 12
general pistons, and eight pistons for each division. Lawrence Memorial Chapel
has a deep orchestral stage with good acoustics, so the organ has been placed
at stage rear on a raised platform which puts the organist in view of the
auditorium audience and allows interaction with musicians and directors on
stage. A shallow loft 12 feet above the floor at the back of the stage that
runs to the ceiling offers effective acoustic projection of the Swell and Pedal
divisions.

The architectual design of the main case housing the Great
and some of the Pedal was inspired by the 1685 "Father" Smith organ
at Christ Church Cathedral, Oxford. The Positive is based on an idea used by Charles Fisk, cantilevered in front of the main case over the organist's head. The major parts of the casework are made from white oak fumed by concentrated
ammonia, then oiled. The unfumed white oak decorative carvings and pipe shades
were designed and executed by David Campbell. The Swell division is located in
the loft above and behind the main case. The Pedal Posaune and Subbass are
located in the loft or under the Swell.

The principal design influence on the majority of pipes and
voicing is from old North German/Dutch organs. The Great reeds are based on the
late classical French type and the Swell reeds and some of its flues are based
on ideas of "Father" Henry Willis. Tuning is based on an unequally
tempered system developed by Herbert Anton Kellner; pitch is a440. The front
pipes for the Great case are 98% lead; Positive facade is of 98% tin; the
majority of interior plenum pipes are 23% tin; bass resonators of the Contra
Oboe are partially of copper. The Pedal Subbass is of Douglas fir; the bass octave of the 32' Posaune is of tulip poplar. All pipes were fabricated in the
Brombaugh shop, and all metal pipes are hammered. Smaller open metal pipes are
cone tuned; stopped metal pipes have soldered caps.

The manual keys have line-engraved natural keyplates made of
cow shinbone; sharps are ebony. The keyscale follows that of Andreas
Silbermann's organ in Marmoutier, Alsace. The flat pedalboard follows the old
American standard. Compass is 56/30. Other details around the keydesk include
ebony moldings near the keys, zebrawood keycheeks, and music rack of zebrawood
with a frame of ebony and fumed white oak. Stop knobs with engraved nameplates
are turned of boxwood, rosewood, or coca bolo.

The slider windchests have tables of western red cedar on a
grid of white oak and sugar pine. Alaskan yellow cedar sliders are used with
modern slider seals, and sugar pine toeboards. Pallet valves are made from
laminated poplar or Sitka spruce. Manual pallets are covered with a single
layer of leather; pedal pallets are covered with felt and leather. The
suspended action uses trackers made from Alaska yellow cedar; rollerboards use
steel rollers with welded arms and teflon bearings. The Swell division features
shades of laminated Sitka spruce, mechanically controlled.

The wind system consists of two large single-fold wedge
bellows in a room below the stage, and a third small wedge bellows below the
Swell windchests. Wind is supplied by a one horsepower blower, conveyed through
large rectangular wooden wind conductors. The wind is musically flexible
without requiring any assisting stablizers. The Pedal Posaune and Subbass are
on 130 mm; the remainder of the organ is on 87 mm. Two tremulants are present:
the tremulant affecting the Great and Positive is based on a form used by Arp
Schnitger and can be adjusted for depth by the position of the activating knob;
the Swell tremulant uses a small motor-driven weight on the Swell bellows.

The Brombaugh staff included Chris Fralick, David Campbell,
Karl Nelson, Keith Spahn, Michael Korchonnoff, Darron Welch, Terry Lambert,
Mark Werner, Matthew Vettrus, Trent Buhr, Bob Lea, Fred Spencer, Christa
Brombaugh, and John Brombaugh.

The Memorial Chapel, built in 1918 as a World War I
memorial, contained previous organs by Steere (1919), Kimball (1934), and
Schantz (1965). The organ department was chaired from 1926 to 1969 by La Vahn
Maesch (who served as Dean of the Conservatory 1954-70), and Miriam Duncan from
1969-84, when George Edward Damp was appointed University Organist. Robert
Dodson is Dean of the Conservatory. The new organ was dedicated on May 5, 1995
with a recital by Prof. Damp featuring works of Alain, Muffat, Couperin, Below,
Bach, Mendelssohn, and Brahms.

GREAT

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

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

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

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

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

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

                                    Mixture
IV-VI

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

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

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

POSITIVE

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

                  8'
style='mso-tab-count:1'>            Praestant+

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

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

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

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

                                    Sesquialter
II

                                    Scharff
IV-VI

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

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

SWELL

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

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

                  8'
style='mso-tab-count:1'>            Vox
Celeste (tc)

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

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

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

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

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

                                    Willis
Mixture III

                  16'
style='mso-tab-count:1'>         Contra
Oboe

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

PEDAL

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

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

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

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

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

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

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

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

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

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

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

                                    Couplers

                                    Gt/Ped

                                    Pos/Ped

                                    Sw/Ped

                                    Pos/Gt

                                    Sw/Gt

*Great stops that transmit to Pedal

+Some bass tones common with another stop

Petty-Madden Organbuilders, Hopewell, New Jersey, Op. 53

Dobbs Chapel at Trinity Presbyterian Church, Atlanta, Georgia

Petty-Madden has installed its second organ at Trinity Presbyterian Church, Atlanta. The first, a large three-manual electro-pneumatic instrument built in the 1980s, is located in the church’s primary worship space. The second instrument was commissioned for the recently completed Dobbs Chapel at Trinity.

The new mechanical-action organ for Dobbs Chapel is contained within a case of painted and stained hardwoods. In order to fulfill the church design team’s vision of an organ with minimal visual intrusion into the chancel, the organ case is unusually deep—eighteen feet to be exact—with the Swell division located behind the Great and Pedal. Since most of the organ is tucked behind a false wall, its physical massiveness is not apparent to the eye.

Planning, designing and producing an organ typically present new challenges for the organbuilder. Throughout the entire project, mutual trust and respect proved to be the coin of the realm, making working conditions exceedingly pleasant and rewarding. The quality of talent and cooperation gathered around the conference table produced extraordinary results. The chapel architecture is lavishly elegant in its simplicity; the acoustics—even for a space that seats less than 200—are as good as it gets; and the organ is ideally suited—both visually and aurally—for its home.

The quality of ingredients in large part determines the quality of the finished product. Petty-Madden has long maintained and demonstrated that lead is a noble metal and that the popularity of organ pipes made with high tin content is based more on myth and misconception than common sense. All principal pipework, including the polished façade, and open flutes are made from an alloy that is 60% lead and 40% tin. The quantity of lead is further increased to 75% in the stopped flutes and the Pedal Posaune. Of the flue pipes, only the Viola and Viola Celeste are made predominantly of tin. The principal chorus is at the same time bold yet gentle; there is a certain vocal breathiness in the speech of the flue pipes; the reeds are colorful, quick and consistent in attack and timbre; the ensembles are tight and cohesive, and the tonal style eclectic.

An organ should work as beautifully as it sounds, too. The mechanical key-action is light and responsive, inasmuch as a smooth, sensitive tracker action was a “given” from the outset of the design process. Instead of traditional wood, inert carbon fiber rods are used for the trackers and the hornbeam tracker squares are fitted with virtually frictionless acetal bearings, which ride on stainless steel axles. The wind chest pallets and key channels are designed for optimum wind supply to the pipes and minimum “pluck.” Pneumatic tremulant controls are located outside the organ case in the blower room; thus, the tremulants are silent. The wind system for the organ is also silent. The wind trunks are constructed of birch and have multiple-cut miters to minimize wind turbulence. Of particular interest is the construction and location of the Swell division. Positioned low in the rear of the case, the Swell must speak through the Great, thereby creating a remarkable cohesion with the latter. Second, the thick walls and shutters of the Swell contain a dead air space sandwiched between the inner and outer wooden surfaces; all of this results in an extraordinary expression rarely found in most organs. Indeed, with the shutters closed, “full Swell” can only be heard faintly when coupled to the Great foundation stops. A gradual pressure of the foot on the expression pedal unleashes a dramatic crescendo worthy of any romantic literature ever written.

Finally, the organ case is totally integrated with the elegant and simple architecture of the chapel. Graceful Ionic columns on elevated pedestals support the entablature under the pedal towers, pipes of the Great Principal in the center flat frame the window behind the organ, and the raised panels of the case mirror those found in the chapel wainscoting. The recessed console is constructed of quarter-sawn red oak and the pipe screens in the pedal towers are bundles of metal cylinders held together with hand-carved wooden ribbons.

—Bynum Petty


GREAT (Manual I)

8’ Principal

8’ Chimney Flute

4’ Octave

4’ Hohl Flute

2’ Block Flute

22⁄3 Sesquialtera II

2’ Mixture IV

8’ Trumpet

Tremulant

Swell to Great


SWELL (Manual II)

8’ Viola

8’ Viola Celeste

8’ Stopped Flute

4’ Principal

4’ Koppel Flute

2’ Octave

1’ Mixture IV

8’ Trumpet

8’ Oboe

Tremulant


PEDAL

16’ Subbass

8’ Principal Bass

8’ Gedackt Bass

4’ Choral Bass

16’ Posaune

Great to Pedal

Swell to Pedal


Mechanical key action

Electric stop action

8-level combination action

8 general combinations

4 divisional combinations per division

61-note manual compass

32-note pedal compass

Manual keys of laminated construction with polished bone covers
on the natural keys and polished ebony on the sharps

Pedal keys made of maple; sharps capped with African blackwood

70 mm (± 2.75”) wind pressure throughout

Dobson Pipe Organ Builders,
Lake City, Iowa
University of Delaware,
Newark, Delaware
For years without a pipe organ on campus, the University of Delaware in Newark is now the home of Dobson Op. 74, a two-manual mechanical-action instrument of 22 ranks. Made possible by the generosity of Edward and Naomi Jefferson and named in their honor, the new organ is installed in the original home of Newark’s St. Thomas Church (Episcopal), which stands adjacent to the campus and was purchased and restored by the university for use as a small recital hall. Deconsecrated in 1956, the former church’s subsequent physical decline has been arrested by a careful restoration directed by Homsey Architects of Wilmington, Delaware.
Located in an intimate setting with only seventy seats, Op. 74 has been designed primarily for use as a teaching and recital instrument. It is capable of accommodating a generous range of organ literature and is well suited for use with small instrumental ensembles. Because of the modest size of the hall, the voicing treatment emphasizes warmth and color rather than strength or brilliance. The metal pipes are made of alloys containing from hammered 12% tin to burnished 75% tin. The Pedal Subbass and basses of the manual 8' flute stops are made of poplar and cherry, while the Great Flute 4' has open pipes of hard maple. The instrument is voiced on a wind pressure of 70 millimeters, supplied from a large, weighted, single-rise reservoir.
The instrument’s location in a balcony of modest depth led to the unusual placement of the console on the right side of the instrument when viewed from the front. The Great is located immediately adjacent to the console; the Swell, whose enclosure has shutters on three sides, is in the center of the case; the Pedal is at the left side. The casework is constructed of white oak with a fumed, oiled and lacquered finish, and is embellished with colors and 24K gold leaf. The woodwork of the drawknob console incorporates black walnut, ebony, rosewood, Carpathian elm burl and cow bone. The instrument has mechanical key and stop actions. For increased versatility, a system of mechanical duplexing permits the three Pedal voices to play at both unison and octave pitches.
Dedication series recitalists included David Herman (Trustees Distinguished Professor of Music and University Organist), Thomas Trotter, and William Owen. In addition to being the first organ on campus, the instrument carries another distinction: it is thought to be the first pipe organ whose entire installation, from delivery to final tuning, was broadcast live on the Internet. Video clips and stills recorded by the webcam can still be found at
<http://www.udel.edu/pipeorgan/&gt;.
—John Panning

GREAT (58 notes)
8' Prestant
8' Chimney Flute
4' Octave
4' Flute
2' Super Octave
11⁄3' Mixture IV
8' Trumpet
Swell to Great

SWELL (58 notes, expressive)
8' Bourdon
8' Salicional
4' Principal
4' Chimney Flute
2' Piccolo
11⁄3' Gemsquinte
22⁄3' Cornet II
8' Oboe
Tremulant (affects entire organ)

PEDAL (32 notes)
16' Subbass
8' Principal
8' Gedackt (ext)
4' Choralbass (ext)
16' Trombone
8' Trumpet (ext)
Great to Pedal
Swell to Pedal

Fowler Organ Company, Lansing, Michigan, Opus 21
Andrews University, Theological Seminary Chapel
Berrien Springs, Michigan
The instrument is centered in the front of the chapel, which seats approximately 400. It is housed in a free-standing case built of red oak with the console contained within the case. The case is a contemporary adaptation of a classic case form with the bass pipes of the 8' Principal/8' Pedal Octave in flamed copper. The upper flat is from the Great Principal, the lower flat is the Pedal Octave, both in polished tin.
Since the instrument dominates the front of the chapel, it was felt that it needed to make a statement of purpose beyond simply being a musical instrument. The pipe shades were designed in collaboration with the builder and carved by Norman Moll; he and his wife Dorothy are significant benefactors to the university and to this instrument. The carvings are symbols that can be seen both in a traditional sense and yet be open to wider interpretation. The center tower contains the circle surrounding the Alpha and Omega, representing God the Father and creator eternal. The other carvings—the dove, the lamp, the book, and the praying hands—can be interpreted in a variety of ways depending on the experiences of the viewer. These are set on a background of rays radiating outward, clad in flamed copper.
The layout of the instrument follows the case design with the Swell in the lower center, the Great directly above, and the Pedal divided on either side. The action is electro-mechanical throughout, and the operating system is multiplex solid state. This includes a multi-memory combination action, transposer, and MIDI control with onboard synthesizer and sequencer. The manual keys are rosewood with maple sharps; the drawknobs were hand turned from hard maple by Mr. Moll’s father.
Tonal design follows an “American Classic” model. The flues are generously scaled, voicing is lightly articulate and clearly defined. The reeds are quite colorful and distinctive. The Great Cromorne, built with “clarinet” style resonators and closed German shallots, has the ability to play solo or blend into the ensemble. The Trompette is extended to 16' with half-length basses and Cavaillé-Coll-style shallots.
—Brian Fowler

GREAT
8' Principal
8' Bourdon
4' Octave
4' Rohrflute
22⁄3' Nazard
2' Blockflute
13⁄5' Tierce (T/C)
III Mixture
8' Trompette (Sw)
8' Cromorne
Tremulant
MIDI on Great
16' Swell to Great
8' Swell to Great
4' Swell to Great
16' Great
Unison Silent
4' Great

SWELL
8' Holz Gedeckt
8' Viole de Gambe
8' Viole Celeste (T/C)
4' Harmonic Flute
4' Viola
2' Principal
8' Trompette
8' Cromorne (Gt)
4' Clarion
Tremulant
MIDI on Swell
16' Swell
Unison Silent
4' Swell

PEDAL
32' Resultant Bass
16' Subbass
16' Gedecktbass
8' Octave
8' Bourdon
4' Choralbass
2' Doublette
16' Bombarde
8' Trompette
4' Cromorne
MIDI on Pedal
8' Great to Pedal
4' Great to Pedal
8' Swell to Pedal
4' Swell to Pedal

Accessories
Multi-memory combination action
Transposer
Sequencer
Digital synthesizer
Balanced swell expression
Crescendo pedal