Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

Trinity Christian College is a four-year liberal arts college founded in
1959 and located in Palos Heights, Illinois, a suburb 25 miles southwest of
Chicago. It is dedicated to providing students with a quality higher education
in the Reformed Christian tradition. The college has grown extensively in
recent years with many new buildings erected. In 2001, the college dedicated a
new 1,200-seat auditorium: The Martin and Janet Ozinga Chapel. The chapel is
also the home of the college's music department with faculty offices, rehearsal
rooms, a recital hall, a music computer lab, and practice rooms. An organ for
the auditorium was envisioned from the building's conception.

Under the chairmanship of music department chair Helen Van Wyck, a committee
was formed to choose a builder for the organ. Paula Pugh Romanaux was selected
as the consultant to work with the committee. After visiting several of our organs,
Lauck Pipe Organ Company was chosen to build the organ. Working with the
builder, the committee decided that the instrument would be located at the back
of the stage and would occupy the central position. The committee felt that an
organ with a detached console would prove more flexible, especially when used
with orchestra and to accompany small ensembles.

Several designs for the organ case were prepared ranging from traditional to
contemporary, the latter being chosen. The proportions of the case are generous
in order to fill the expansive rear wall of the stage area. The façade
consists of the 16' Principal, 8' Pedal Octave and the 8' Great Diapason,
with  pipes of polished tin. The
casework is arranged so that the Pedal division occupies the center and two
outer towers. Between the left and center tower is the Great Principal chorus
with the Choir division above. Between the right and center towers are the
Great flutes and reed with the Swell division above. A shallow case with
expression shades capable of a full range of motion allow for excellent egress
of sound. The emblem at the top of the center tower is the college's logo done
in relief and gilded.

Over the past 30 years, we have built many French-terraced consoles with
curved terraces, but Marilyn Mulder, the school's organ instructor, suggested a
console based on a design she saw at Chicago's Orchestra Hall. From her
photograph, we designed and built a console with straight, oblique terraces.
The woodwork is of cherry to match other furnishings in the chapel. The
terraces, keycheeks, manual and pedal sharps, and drawknobs are all of
rosewood. The manual naturals are of bone. Peterson supplied the MIDI system
and combination action. Lauck manufactured the coupler and relay systems, as
well as the electric expression servos.

The room, alas, suffers from insufficient reflection of sound. As we worked
with the acoustician and architect, the organ committee and I realized we would
not be able to have all of our requests granted; the acoustician was more
interested in absorbing rather than reflecting sound. The architect and
building committee did agree that the expansive drywall ceiling would be well
supported and made up of a double layer glued together so as to not absorb the
lower frequencies. Preliminary acoustical tests of the room proved that we
needed a lot of sound to fill it. The organ had to be scaled very boldly, with
variable scales and higher cut-ups being freely employed. In addition, generous
wind pressures, especially in the reeds, would be used. Our tonal concept was
to establish well-developed Principal choruses in each division, colorful and
contrasting flute choruses, and chorus reeds that bind together well. This goal
was achieved and supplemented by colorful solo reeds and strings with character
and variety.

The Great is based on a 16' Principal. The 8' extension of the Principal can
be used as a second Diapason and creates a rich fond d'orgue with the open and
stopped flutes. Mutations provide for a Great Principal Cornet. To ensure a
bold, full pedal, the 16' Diapason is really a 16' open wood located in the
central tower of the case. The Great 16' Principal is also available in the
Pedal for use in lighter textures, while the 8' Octave and 4' Choralbass are
independent. The Trumpet-en-Chamade is made of tin and is voiced on 10 inches
of wind pressure using domed parallel shallots. The Pedal Trombone unit is also
voiced with domed parallel shallots on 8 inches of wind pressure. The Swell
reeds are on 6 inches of wind with the Bassoon/Oboe having tapered shallots and
the Trumpet/Clarion parallel shallots. The Swell Gamba and Gamba Celeste are
slotted with rollers throughout. It is a well-developed string tone with good
strength and carrying power; however, the expression boxes and shades are
heavily built and can make the strings evaporate when desired. The Swell also
has a Flute Celeste, which is built as a Ludwigtone; basically, two wood pipes
built with a common middle wall on one foot. The Choir Viola and Viola Celeste
are of about equal power to the Swell strings but are not slotted and are of a
broader tone quality. They are voiced to work together perfectly yet retain
their individual colors.

The Lauck employees that built Opus 55 include: Craig Manor, console design
and construction, wood pipes; Ken Reed, pipemaker, office manager; Ben Aldrich,
design, windchests, foreman; Bob Dykstra, windchests, wood pipes, casework;
Dick Slider, windchests, lower casework; Dan Staley, circuit board
manufacturing, wiring; Jim Lauck, design, voicing, tonal finishing; Jonathan
Tuuk; tonal finishing.

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal  (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

                        Great
to Great 4

                        Swell
to Great 16-8-4

                        Choir
to Great 16-8-4

                        Zimbelstern

SWELL

16'  Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola  (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4       

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave  (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass  (32 pipes)

II Rauschquint (64 pipes)

II Mixture  (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

 

Paul Fritts and Co., Tacoma,
Washington, has built a new organ for Vassar College, Poughkeepsie, New York.
The mechanical-action pipe organ is installed in the 500-seat Mary Anna Fox
Martel Recital Hall of the Belle Skinner Music Building. It contains 34 stops
distributed over two manuals (Hauptwerk and Positiv) and Pedal.

The tonal design reflects both the North and Middle German schools of
organbuilding from the first half of the eighteenth century. North German
features include fully independent manual and pedal divisions with
well-developed upper work; a full spectrum of mutation stops (two on double
draws); and seven reed stops, 20% of the registers. Middle German building is
represented by a variety of six manual 8' flue stops; the “gravity”
of 16' stops in each manual division and four 16' pedal stops; a Tierce rank
which can be added to the Hauptwerk Mixture; and the inclusion of the Positiv
division in the main case, rather than positioned to the rear of the player.

The northern features pay homage to the seventeenth-century style of Arp
Schnitger and the middle German school points more to the pre-Romantic
eighteenth-century styles of Wender, Trost, Hildebrandt and others. The new
Vassar organ is well-suited for music of J. S. Bach with its cosmopolitan
mixture of northern, middle, and southern European traits. Other literature
from the sixteenth-century through the works of Mendelssohn will also sound to
advantage.

The new organ is placed centrally in a gallery nine feet above the stage
floor in the front of the hall. The case has a bright burgundy enamel finish.
Gold leaf highlights the gray painted pipe shades. The case and many internal
parts are crafted from popular. 
Many other woods were chosen for their various properties, including
mahogany, oak, maple, ebony, redwood and sugar pine.

Along with the new organ came alterations to the organ gallery and stage
area significantly improving acoustics, and a climate control system for the
recital hall. The Marian and Speros Martel Foundation Inc. donated funds
covering both the organ and hall improvements. Glenn D. White recommended
acoustical improvements, and Richard Turlington designed architectural plans
for the room. Frances D. Fergusson, President of Vassar College, initiated the
project. George B. Stauffer was consultant.

To inaugurate the new instrument, Merellyn Gallagher, James David Christie,
and Joan Lippincott played solo recitals in February and March 2003.

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

                        Positiv
to Hauptwerk

                        Hauptwerk
to Pedal          

                        Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

Fabry Pipe Organs, Inc., of Fox
Lake, Illinois, has completed the 5-rank antiphonal division added to the
original Möller organ in Faith Evangelical Lutheran Church, Homewood,
Illinois.

Fabry Inc. installed the original M.P. Möller instrument (2 manuals, 19
ranks) in 1980 in the rear balcony of the sanctuary and has been maintaining
the organ since that time. The console was prepared for an antiphonal division.
On many occasions while tuning the instrument, the organist, Mrs. Phyllis
Silhan, would always say, “I hope I get to see this instrument completed
before I retire.” Twenty-two years later, the church elected to add the
antiphonal division.

The new antiphonal division was installed in October of 2002. The original
specification for this division--8' Gedeckt, 4' Gemshorn, 2' Flautino, II
Mixture--was changed to 8' Gedeckt, 4' Octave, 4' Harmonic Flute, 2' Fifteenth,
and 8' Oboe. A new solid-state relay was provided that is totally prepared for
the addition of a small antiphonal console.

Fabry Inc. would like to thank the organist, Mrs. Phyllis Silhan, and
Reverend Dr. Timothy Knaff, who coordinated the entire project. David G. Fabry
built all the chestwork and new casework. Crew leader Joseph Poland handled the
installation.

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

                        Gt
& Sw to Ped 8

                        Sw
to Gt 16-8-4

                        Gt
4

                        Sw
16-UO-4

                        Antiph
to Ped 8

                        Antiph
to Gt 8

                        Antiph
to Sw 8

Cover

Buzard Pipe
Organ Builders, Champaign, Illinois

Opus 29,
completed November, 2003

All Saints
Episcopal Church, Atlanta, Georgia

Some years ago I was contacted about a new organ for All Saints Episcopal
Church by the assistant organist, Jefferson McConnaughey. We seemed to be
speaking the same language concerning how we thought organs should sound, and I
was eager to meet him, music directors Ray and Elizabeth Chenault, and to visit
the church. Our conversations were put on hold while the parish called a new
rector and undertook other projects. At the time we were blessed with
commissions to build the organ at St. Paul's Episcopal Cathedral, Oklahoma
City, and large instruments for Glenview Community Church (III/71) and Holy
Family Catholic Church of Rockford, Illinois (III/56).

A few years went by, and I was invited to visit the church. Judging from the
size of the instrument under discussion, I expected to enter a huge space.
Instead, the church was more modest than vast, the acoustic more understated
than generous. At first blush, it seemed that 40 stops could have adequately
met their needs. But, no real lady ever gives up all her secrets at once, and
so I patiently looked and listened.

I listened to their former instrument while walking around the room, and
observed the acoustical phenomena under which the musicians had been laboring
for so long. The organ, although installed in the chancel in relatively close
proximity to the congregation, diminished drastically in volume in the nave. I
concluded that a part of the organ had to be installed in the body of the
church, to support singing and "pull" the sound out of the main part
of the organ installed in the chancel. Additionally, sound generated in the
nave lost its energy quickly; sound simply didn't travel well without becoming
garbled.

The musicians wanted to be able to properly register an organ to
"text-paint" Anglican Chant, choral anthems and ceremonial music in
the Anglican musical tradition. They needed a wide variety of accompanimental
tone colors at every dynamic level so that the organ could always support the
singers, even at pianissimo volume levels. It was equally important that the
organ musically render the great body of organ literature, even that of the
French Baroque school, of which Mr. McConnaughey seemed quite fond. And, the
Chenaults are duo organists; the literature which has been (and has yet to be)
commissioned for them had to be accommodated. This requires a large organ, as
coloristic stops outside the component voices for the essential choruses had to
be included and integrated into the design. Fortunately, these stops were never
in competition for space or funding, nor were our classic concepts of the
hierarchical scaling of divisions within the instrument ever compromised. Some
specific organs were studied: The Temple Church, London; King's College,
Cambridge; and St. Paul's Cathedral, London.

There is a beautiful chapel behind the Epistle side choir stalls, at 90
degrees to the axis of the church, which also serves as an overflow room on
Sundays. Worshippers there were relegated to viewing services on a small
closed-circuit TV, and could not participate in the hymn-singing because, being
outside the body of the church, they couldn't hear the organ. If the new organ
were to address and meet all the musical and acoustical requirements of the
church, then the chapel also needed to have some pipes in it, so that those
seated there could feel a part of the worshiping community.

All of these requirements were brought to bear upon a single instrument. Yes,
I agreed, this instrument has to be large--very large. Even if the room seats
only 550 souls, the musical and physical requirements dictated an organ of a
size which one might initially think out of proportion.

The position and installation of the new Main Organ was relatively
straightforward. The Great, Swell, Choir, Tuba, and Pedal would have to be
installed in the chancel, in an enlarged version of their existing chamber,
plus spaces created by cantilevering steel platforms into the chancel space on
both Epistle and Gospel sides.

The antiphonal division, a romantic Solo Organ including a Diapason Chorus
which mirrors the Great, had to be installed in the nave. But there was no
floor space for cases, no desire to see columns, and windows everywhere, many
of them signed by Louis Comfort Tiffany. By clever engineering of the diatonic
windchest layouts (which we had first used at St. Paul's Cathedral in Oklahoma
City) we were able to tuck the Solo Organ cases up in the rafters of the church
above the narthex, on either side of a central great window. By creative use of
perspective, we were able to engineer the location of the supporting steel
platforms so that they wouldn't block the view of the Tiffany windows in the
side aisles, yet give us sufficient height for the pipes inside the cases.

As conversations concerning the tonal design took shape, Ray, Elizabeth, and
Jeff fell in love with our tonal style which, while embracing eclecticism, has
its own unique personality. They visited both our large organs, and Jeff
actually played Sunday services on our Opus 7 organ at The Chapel of St. John
the Divine in my wife Linda's stead. The All Saints organ is a very logical
outgrowth of our style as practiced in our smaller organs, and as our two
larger organs have led us. The humble beginnings of Opus 7 at the Chapel, in
which we made 29 stops into a cathedral organ, can be seen all over this much
larger organ. Well-informed national and historical inspirations are
distributed throughout, so that the whole is at unity with itself. No German
Hauptwerk, French Récit or English Chair Organs for us. For example the
Great includes the mature English practice of 8' First & Second Open
Diapasons, married nicely to the French Fonds d'Orgue. A voluptuous Full English
Swell has continental fire by virtue of the authentic (but modified) French
reed battery, but the lyrical soft solo reed is a plaintive English Oboe. No
quirky nomenclature either. Although rooted in 19th-century English practice of
"Diapason, Principal, Twelfth, Fifteenth," etc., the stops in our
organs are what they say they are. If the Swell reed is spelled
"Trompette," you can be assured that you will hear a Trumpet with
French shallots and pipe construction.

The Great is based upon a 16' Double Open Diapason of tin which stands
proudly in the Gospel side case along with the rest of the division. A complete
Diapason chorus through Mixture, flutes at 8' & 4', and a Viola da Gamba
make up the flue work, and the reeds are Trombas, brought up to the manuals from
the Pedal Trombone. The Mixture breaks at octaves, rather than at fifth
intervals. In this way, one doesn't hear alternating unison and fifths playing
as the top rank, and the breaks are virtually unheard.

The Great also incorporates an harmonic corroborating stop which was more at
home in English and American concert organs of the early part of the last
century. Our four-rank Harmonic Mixture has in it a unison, a quint, a tierce,
and a flat-seventh. These are all the harmonics present in Tromba class reeds,
which are on the Great at 8' and 4' pitches. We originally included the
Harmonic Mixture as a way to prevent the dark Trombas from covering the
brightness of the mixture work in full organ, but have found that when used
sans Trombas, the ancient flavor of 18th-century Dutch organs is perceived in
an uncanny way. One could even imagine the wind to be unsteady--but of course
it's not!

The Solo has a Diapason Chorus nearly mirroring the Great, and despite its
distance from the Main Organ, it can exactly balance the Great Plenum in
certain contexts. The Solo contains a pair of E. M. Skinner-inspired Gambas,
the celesting rank in the case across the church from its unison pair. Now
that's a Celeste! The Flügel Horn, while a lyrical romantic solo reed, has
just enough harmonic interest to function beautifully as a chorus reed. The
Bassett Horn is certainly at home playing obbligato parts in Elgar, but has
just enough Cromorne in it to play Daquin with a French nose in the air.

One can use the Choir in a classic context, as a Positiv when a lighter foil
to the Great is desired. But this division is the real choral accompanying
workhorse. It's one of the most elegant, light, but profound Choir divisions we
have created. The Choir features a flute chorus from 16' up, and a proper
Diapason chorus complete with a four-rank quint mixture, a fifth interval
higher than the Great. But the luxurious feature in this day and age is our
Dulciana Chorus, which includes a three-rank mixture in which the 4' enters
early on at tenor C. Our Dulcianas are truly small Diapasons, and there is
nothing like the effect of accompanying voices with Diapason color, but at such
a soft volume. The Dulciana Mixture has many uses in coloring and painting
texts, 90% of which I would never have envisioned. Our Cornopeans are
small-scaled, but fundamental Trumpets as the original prototypes were, not the
horn-like Cornopeans one would otherwise love to hate. The Clarinet is truly of
English style, and the English Horn is orchestral in color with enough body to
be the foundation of the Choir reed battery, yet enough jazz in the color to
differentiate itself from the more fundamental Swell English Oboe.

The Chapel Organ includes a small-scaled Diapason Chorus at 8' and 4' to
lead the hymn-singing, and an 8' Aeoline and Vox Angelica. These very, very
soft string-toned stops allow the worshippers there to feel connected, and also
provide a powerfully effective pianissimo "wrap-around" effect as the
softest sounds concluding a smooth decrescendo. These little strings can just
be barely heard in the nave as the expression box closes on the Solo Flute
Cœlestis. When they play alone, they are literally in another room, off in
the distance.

In the All Saints organ, the Great, Swell, Choir, Solo, and a portion of the
Pedal divisions play upon 4 inches of wind pressure. The Trombones and Trombas
play upon 7 inches of wind, the Solo Festival Trumpets on 6 inches, and the
Major Tuba plays upon 20 inches of wind. The Tuba is housed in its own
expression box, and the organist can easily select which expression shoe may be
used to operate the Tuba's expression (or whether it is to remain open) by a
simple rotary switch. We aim to expand the color and dynamic range of the pipe
organ, while keeping the console controls simple and straightforward.

Before I was selected as their builder, Ray, Elizabeth, and Jeff charged me
to design the perfect instrument for all their requirements, and they would
undertake the responsibility of presenting this plan to the organ committee to
get their reaction, and see if the instrument would have to suffer at the hands
of "value engineers." Although my past experience made me somewhat
timid about presenting such a large (expensive) instrument as part of a
selection competition, we arrived at the specification of 63 straight speaking
stops, 87 ranks of pipes (5229 pipes overall), in five free-standing cases
throughout their church.

I will never forget the evening of a crucial organ committee meeting when I
received an excited telephone call from Ray. The musicians presented the
proposal and the room fell silent. People on the committee asked questions to
the effect: "Now, do all three of you musicians agree on this builder? Do
all three of you agree with each other in every respect to this instrument?"
When the answer was an emphatic yes, a committee member said: "How many
times do musicians agree with each other about anything, let alone every of the
many thousands of details in this organ's design!? This is what we need for All
Saints, and we need John-Paul to build it for us." A member of the
committee, Sarah Kennedy, later wrote a check for the entire project, in loving
memory and in honor of her family, The Kenans.

The organs' visual designs were developed during August and September of
2001. The first draft of the Chapel Organ's design was revised to be more in
keeping with the modern nature of the chapel (and less like King's College,
Cambridge). The Main Organ and the Solo Organs were built according to my first
pen-and-ink renderings.

All of my design drawings are executed by hand. The discipline of cleaning
the drafting table and truing the parallel bars and 90-degree instruments
contributes to clearing my mind of everything except what I need to think about
for the organ on the blank piece of paper.

It is always my goal to design organ cases which appear as though they had
always been in the church. The All Saints cases use shapes and colors found
throughout the room, and mirror the restrained nature of the Victorian Gothic
design. But the cases become vivid, exciting, and dramatic by incorporation of
the fabulous red enamel and gold leaf adorning the church's clerestory. The
inclusion of the red gave me license to add contracting pieces of red-stained
Honduras mahogany in the stained white oak cases. The soaring nature of the
Solo Organs, as their lines ascend while moving toward the great window, seemed
to cry out for heraldic angels, announcing the Great Day of Judgment on
gold-leafed trumpets. Thanks to parishioner David Foerster for making these
possible.

All of us will remember exactly where we were on 9/11. I was at the drafting
table finishing the designs for the Main Organ cases. I had penciled the
drawing the day before and was preparing to ink the drawing when I heard the
news reports. My entire staff came up to the drafting room and we all went to
the conference area where a small television showed us the horrors unfold as
the second airliner smashed into the second building. As we heard a large
airplane overhead, being sent to land at our local airport, I was asked if we
were going to close for the day. I said, no. We had to go about our task of
making beautiful things, especially in light of the ugliness that visited
itself on our country that day. If we wanted to take time off individually to
mourn our country's losses, go with my blessing, but the doors would remain
open and I would continue to draw a beautiful pair of pipe organ cases.

I set to cleaning out my India ink pens, and put on a CD of The English
Anthem II from St. Paul's Cathedral,
London.

Oh Lord, look down from heaven, and behold the habitation
of Thy holiness and of Thy glory: Where is Thy zeal and Thy strength? Thy
mercies towards me, are they restrained?

My deepest thanks to the musicians at All Saints Church, everyone on the
organ committee, Greg Kellison, chairman; Paul Elliott, the rector; David
Foerster, and Sarah Kennedy for selecting me and my firm for this tremendous
commission.

My overwhelming gratitude goes to the members of my staff whose hard work
and dedication made such an excellent instrument so sublime: Charles Eames,
executive vice president, general manager and chief engineer; Brian K. Davis,
associate tonal director; Keith Williams, service department director; Shayne
Tippett, shop manager; Jay Salmon, office manager; Evan Rench, pipe maker,
voicer; Steve Downes, tonal assistant; C. Robert Leach, cabinetmaker; Stuart
Martin, cabinetmaker; Kenneth McCabe, winding systems; Ray Wiggs, consoles,
windchests; Robert Ference, service technician; Stuart Weber, service
technician; Jonathan Borchardt, service technician; JoAnne Hutchcraft Rench,
receptionist.

--John-Paul Buzard

GREAT (4-inch wind pressure)

Manual II - unenclosed pipework

16' Double Open Diapason

8' First Open Diapason

8' Second Open Diapason (ext 16')

8' Viola da Gamba

8' Harmonic Flute

8' Bourdon

4' Principal

4' Spire Flute

22/3' Twelfth

2' Fifteenth

2' Fourniture V

13/5' Harmonic Mixture IV

16' Double Trumpet

8' Trombas (ext Ped)

4' Clarion (ext Ped)

Tremulant

Chimes

8' Major Tuba (20" wind)

8' Tuba Solo (melody coupler)

8' Fanfare Trumpets (Solo)

SWELL (4-inch wind pressure)

Manual III - enclosed and expressive

8' Open Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste

4' Principal

4' Harmonic Flute

22/3' Nazard

2' Flageolet

13/5' Tierce

22/3' Full Mixture V

16' Bassoon

8' Trompette

8' Oboe

8' Vox Humana

4' Clarion (ext 16')

Tremulant

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHOIR (4-inch wind pressure)

Manual I - enclosed and expressive

16' Lieblich Gedeckt (wood)

8' English Open Diapason

8' Flûte à Bibéron

8' Gedeckt Flute (ext 16')

8' Dulciana

8' Unda Maris

4' Principal

4' Koppel Flute

2' Recorder

2' Mixture III–IV (Dulcianas)

11/3' Fourniture IV

Sesquialtera II (22/3' & 13/5')

16' English Horn

8' Cornopean

8' Clarinet

Tremulant

Cymbalstern (14 bells)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

Harp (digital)

Celesta (digital)

ANTIPHONAL SOLO (4- & 51/2-inch wind)

Manual IV - in twin cases over the narthex (expressive)

8' Open Diapason

8' Viola da Gamba

8' Gamba Celeste (CC)

8' Melodia

8' Flute Cœlestis II (Ludwigtone)

4' Principal

4' Flûte d'Amour

2' Doublette

11/3' Mixture IV

8' Flügel Horn

8' Corno di Bassetto

Tremulant

Cymbalstern (8 bells)

Chimes (Gt)

8' Fanfare Trumpets

8' Major Tuba (Gt)

Harp (digital)

Celesta (digital)

PEDAL (various wind pressures)

32' Double Open Diapason (digital)

32' Subbass (digital)

32' Lieblich Gedeckt (Ch, digital)

16' First Open Diapason

16' Second Open Diapason (Gt)

16' Bourdon

16' Lieblich Gedeckt (Ch)

8' Principal

8' Bass Flute (ext 16' Bourdon)

8' Gedeckt Flute (ext 16' Lieblich)

4' Choral Bass

4' Open Flute (ext 16' Bourdon)

22/3' Mixture IV

32' Contra Trombone (wood)

16' Trombone (wood, ext 32')

16' Double Trumpet (Gt)

16' Bassoon (Sw)

8' Trumpet (ext 16')

4' Clarion (Sw)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHAPEL (4-inch wind, floating)

8' Open Diapason

8' Aeoline

8' Vox Angelica (tc)

4' Principal

Chapel on Great

Chapel on Swell

Chapel on Choir

Chapel on Solo

Chapel on Pedal

Intraddivisional couplers

Gt/Gt 16-UO-4

Sw/Sw 16-UO-4

Ch/Ch 16-UO-4

Solo/Solo 16-UO-4

Interdivisional couplers

Gt/Ped 8, 4

Sw/Ped 8, 4

Ch/Ped 8, 4

Solo/Ped 8, 4

Sw/Gt 16, 8, 4

Ch/Gt 16, 8, 4

Solo/Gt 16, 8, 4

Sw/Ch 16, 8, 4

Solo/Ch 16, 8, 4

Pedal Stops to Divisional Pistons

The Wicks Organ Company, Highland,
Illinois has built a new organ for the Barrington United Methodist Church,
Barrington, Illinois. In 1999 the church building was destroyed by fire. Their
losses included a 41-rank Möller pipe organ, which had been rebuilt as
recently as 1988. As planning for their new building began, the search for a
new pipe organ started. The church’s demands for their new organ were
that it had to be a great congregational organ, but also able to perform for
recitals as well. The sanctuary was to be a top-notch performance facility as
well as a place of worship. The church desired an organ of 3 manuals and 5
divisions, including an antiphonal. Each division was to have a principal
chorus, and the foundations of the Great organ were to be exposed.

The church committee heard many styles of instruments built by Wicks over
the last seven decades. This included, a North German neo-Baroque style
instrument, a symphonic organ scaled and designed by Henry V. Willis, an
American Classic, and an Aeolian instrument from the 1920s that had been
rebuilt by the Wicks Organ Company in conjunction with Mr. Madison Lindsey. The
service playing abilities of each instrument were demonstrated to the
committee, and they identified and found themselves drawn to the
English/symphonic style of the rebuilt Aeolian instrument. The organ committee
chose Wicks over several other builders after hearing several new Wicks
installations and the company ‘s recent success in exactly this style of
instrument.

The completed organ is described as an English service organ with orchestral
capabilities. The instrument is able to not only provide a seamless crescendo
from ppp to fff, but can do it with flair. In addition to service music, the
organ is able to perform every possible type of organ literature from the
Renaissance to the present. It is also able to realize orchestral
transcriptions with great skill, thanks to the presence of many orchestral solo
stops in each division, blending choruses, and 2-inch thick beveled and overlapping
felted shades. The completed organ consists of 24 ranks of pipes and 25 digital
voices. The Wicks design team pre-engineered space to accommodate real pipe
ranks to replace these voices. The Swell is on 7 inches of wind, the Pedal 10
inches; the Choir and Great are on 6 inches, with the exception of the
Clarinet, English Horn, and Tuba in the choir, which are all on 10 inches.

The solo reeds of this organ are of a unique style, derived from the
Willis/Wicks style reeds used in many Wicks organs over the decades, married to
the traditional ideas of Skinner solo reeds. The end results were clear,
smooth, stops of unique color and great versatility throughout the compass. The
greatest asset to the organ is the lively acoustical environment of the sanctuary.
The collaboration of the building committee, acousticians Kirkegaard &
Associates of Chicago, and the Wicks Organ Company have resulted in a
beautiful, successful combination of organ and room.

The console is drawknob style with 45-degree side jambs, a glass music rack,
and P&S keys with ivory resin naturals and ebony sharps. The drawknobs are
made of polished hardwood. Made of red oak, the interior is very light and the
exterior is stained to match the woodwork of the chancel furnishings. The console
features a tilt tab that allows the digital Tuba and Festival Trumpet to
emanate from the antiphonal division located in the rear of the church instead
of their native divisions. The console also has a Manual I/II transfer for
French literature.

Installation of Opus 6412 began in August of 2003, and an initial tonal
finishing and adjustment of digital voices took place in early September. After
the church’s dedication, Wicks tonal director Dr. William Hamner and reed
voicer Greg Caldwell completed an entire tonal finishing.

--Brent Johnson

Great (exposed)

16’ Violone*

8’ First Open Diapason

8’ Second Open Diapason

8’ Violoncello

8’ Harmonic Flute (Ch)

4’ Principal

4’ Flute Octaviante

2’ Fifteenth

IV Full Mixture

8’ Chorus Tuba (Ch)

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Chimes* (Ant)

Swell (expressive)

16’ Minor Bourdon*

8’ Open Diapason

8’ Stopped Diapason*

8’ Viola*

8’ Viola Celeste*

8’ Flauto Dolce*

8’ Flute Celeste*

4’ Octave Diapason

4’ Triangular Flute*

22/3’ Nazard*

2’ Recorder*

13/5’ Tierce*

IV Plein Jeu

16’ Waldhorn*

8’ Cornopean

8’ Oboe*

4’ Clarion

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Tremolo

Choir (expressive)

8’ Geigen (1-12*)

8’ Concert Flute

8’ Dolcan*

8’ Dolcan Celeste*

4’ Octave Geigen

4’ Transverse Flute

2’ Harmonic Piccolo

16’ Bass Clarinet

8’ Clarinet

8’ English Horn

8’ French Horn*

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

8’ Chorus Tuba

Tremolo

Harp*

Antiphonal (unenclosed - floating) (prepared)

8’ Festival Trumpet*

8’ Tuba Mirabilis*

Chimes*

Antiphonal Pedal (prepared)

Pedal

32’ Contre Bourdon*

16’ Open Wood

16’ Major Bourdon

16’ Violone* (Gt)

16’ Minor Bourdon* (Sw)

8’ Principal

8’ Flute

8’ Stopped Flute

4’ Octave

4’ Harmonic Flute (Gt)

32’ Ophicleide*

16’ Trombone (1–12*)

16’ Waldhorn (Sw)

8’ Tromba

8’ Trumpet (Sw)

4’ Oboe (Sw)

7-bell zimbelstern

*= Digital Voices

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

by Jack M. Bethards

Jack M. Bethards is President and Tonal Director, Schoenstein & Co. Organ Builders. A San Francisco Bay Area native, he holds Bachelor's and Master's degrees from the University of California at Berkeley. He has been a professional musician and is currently active in the American Guild of Organists. He is past president of the Associated Pipe Organ Builders of America and member of the American Institute of Organbuilders, the International Society of Organbuilders, the Organ Historical Society and the Association Aristide Cavaillé-Coll. He serves on the advisory boards of several organ preservation societies. In his 43 years of pipe organ work and research, Mr. Bethards has been a frequent lecturer and contributor of articles to professional journals. A major thrust of his study, including work abroad, has been Romantic organ building in France, Germany, England and America.

Schoenstein & Co. is the oldest and largest organ factory in the Western states. The Schoenstein family has been building instruments for five generations. The firm was started in the Black Forest of Germany in the mid-19th century and in 1877 in San Francisco. In addition to organ building, Schoenstein & Co. does restoration work specializing in historic organs including the Salt Lake Mormon Tabernacle Aeolian-Skinner organ.

 

What do Miracle Whip® and Velveeta® have to do with stop lists and pipe scaling?  Not much. I am thinking more about Robert Armbruster's magnificent NBC studio orchestra that played so brilliantly on the Kraft Music Hall in the late 1940s.  His aggregation stretched versatility to the maximum. In addition to the usual theme, signature, and background music, he had to accompany Nelson Eddy and Dorothy Kirsten in arias from grand opera, art songs, favorites from operetta and musical comedy, as well as popular melodies of the day. The orchestra had to perform overtures and other legitimate repertoire on the same airwaves as the NBC Symphony and also make a good showing against popular orchestra leaders such as Paul Whiteman. All of this was done within the confines of a modest-size studio and the well-controlled budget of a broadcast that had to pay its own way. Does this sound familiar to those involved in planning for a church pipe organ? To me, it is directly analogous to the age-old quest of providing cathedral music in a parish church setting. Getting the most out of a limited number of stops has been a fascinating challenge and, when successful, a point of great pride for organ builders over centuries.

How did Robert Armbruster and his many colleagues in the fields of broadcast, motion picture, phonograph recording, and theater music bring the grandeur of the symphony orchestra to their audiences when budget and space were limited? It seems quite obvious that they analyzed the major effects produced by the full symphony orchestra and developed patterns of reduced instrumentation that captured the most important ones. A typical radio orchestra of the day might be composed of two flutes (one doubling piccolo), two clarinets (one doubling bass clarinet), one oboe (doubling English horn), one bassoon, two horns, three trumpets, two trombones, one tuba (bell-front recording type), one harp, two percussion (one traps, one tympani and mallets), eight violins, three violas, three 'cellos, and two basses. Sometimes for popular music two or three of the woodwind players would double saxophone. Piano (doubling celesta) and guitar might also be added. These jazz effects were strictly secondary. The orchestra was expected to sound symphonic, and did so at  less than one-third the size of a full symphony orchestra.

The string section in such an orchestra was just large enough to create a rich, full and luxurious sound. At least one of every woodwind tone color was represented. The brass section was larger than necessary to balance the number of strings and winds; however, it was vital to have brass power in reserve to provide the climactic crescendo that could not come from other choirs of the orchestra without far more players. In other words, brass was dominant in the tutti. Solid, powerful bass is an important component of the symphony orchestra, and the tuba was often more important in the role of doubling the string basses than in playing the bottom brass line.

Of course a cleverly worked out list of instrumentation is not nearly enough. Each instrumentalist must be capable of producing exquisite tonal color and have absolute control of dynamics, attack, accent, and release. I don't know of any effect more thrilling in music than hearing one of these great Hollywood orchestras performing at the height of the mid-century period when art music was considered appropriate as mass commercial entertainment. The world's greatest musicians were gathered in Hollywood. They played with a degree of self-confidence and authority that elevated these rather modest ensembles into the major leagues.

Many organ builders, ourselves  included, strive to produce small organs which do big musical jobs. Our choir organs in the French Romantic style and Multum In Parvo (much from little) parish church organs in the English style have captured the essence of comprehensive church organs in extremely small formats. A few years ago we set out to expand this concept with an effort to produce the major effects of the symphonic organ with a limited number of stops. It was conceded for decades that an organ could not be considered symphonic unless it had at least three manuals and 50 or so stops and those who advocate giant instruments--the bigger the better--would scoff at considering anything under 100 ranks symphonic. We came to the conclusion that much of the material in large symphonic organs, although sumptuously beautiful, was duplicative. But even after eliminating duplications, a symphonic stop list was far too large for the average church. We decided to follow the Kraft Music Hall model--analyze the major effects of symphonic organs and see if they could be reproduced in miniature. Obviously it would require more than just a few stops, but we felt that the job could be done with less than twenty.

Before going further one might question the practical value of this exercise. It is our belief that for most churches the organ can only earn its way if it has enough variety and tonal color and a wide enough dynamic range not only to accomplish the nearly impossible list of church musical jobs, but to prevent boredom from setting in among both musicians and listeners over time. Instruments dedicated entirely to the organ solo repertoire, which is the common approach in small designs, fall short in their ability to do the jobs that most congregations want accomplished. For most churches an organ of symphonic character is the ideal--they want versatility, musical leadership, and emotional connection. But they usually want these in a modest size building and on a budget. So aside from the pure pleasure of solving a musical puzzle, we had a good reason to build the smallest symphonic organ we could. We got our first opportunity in the exceptionally beautiful chapel of the First Presbyterian Church of Spartanburg, South Carolina. Our first task was to delineate the major effects of the larger symphonic organs:

Tonal Qualities

1.              Unison diapason tone of at least two different colors and dynamic levels with chorus work suitable to each.

2.              Flutes of vividly differentiated tone color including one powerful, open solo flute.

3.              Two celeste stops: a pair of genuine orchestral strings, and a pair of soft ethereal voices. Most small organs rely on one compromise celeste pair to do these two very different jobs. Such stops usually tend toward flute or diapason tone. Although they may be attractive, they do not elevate an instrument into the symphonic class.  Keen strings are absolutely necessary, but so are the less assertive, dolce tones. Both should be represented, and the string pairs should be full-compass to low C.

4.              Color reed tone useful in both solo and accompaniment roles.

5.              Heroic chorus and solo trumpet tone. In smaller acoustics, power is best achieved with unison tone of great intensity--not loud, high-pitched mixture tone. The proper character is usually achieved through high wind pressure reeds.

6.              Powerful Pedal bass. The symphonic organ has representatives of each tone color in the Pedal department. A Bourdon is not enough; there must also be open flue tone and reed tone to provide clarity, point, and drama. If possible, 32' tone should be included.

Control Elements

7.              Effective expression. A symphonic organ must be able to produce a crescendo from ppp to fff. It also should be able to produce full organ chorus effects at less than full organ volume. Part of this has to do with the proper terracing of voices, but solid expression boxes with responsive shades are vital, too.

8.              Contrasting expression. There must be at least two divisions under expression for an organ to start claiming symphonic status. In a small instrument as many voices as possible should be under expression. In the symphonic concept, unexpressive voices are a luxury normally reserved for large instruments. In some cases layout demands that certain voices be unexpressive, for example where the Swell must be behind the Great, but this should be an exception.

9.              Precise, responsive, silent, lightning fast key and stop actions and a steady wind system.

10.           A comfortable console well equip-ped with playing aids.

Comparing the lists of orchestral instrumentation and organ stops, let us consider what are the most essential elements of each in addition to the bedrock string and brass sections of the orchestra and the comparable diapasons and chorus reeds of the organ. In other words, what special sounds and effects elevate the orchestra and the organ to the symphonic class or, put more simply, make a small ensemble sound big. In the orchestra, french horn, harp, tympani, and solid bass are vital. In the organ the key elements are real strings, a big solo flute, an heroic solo trumpet and also powerful, clear bass. In the orchestra, players must have absolute control over their instruments or else the conductor will not be able to create grand effects from limited instrumentation. In the organ, the key and stop action, wind system, expression system, and console must be perfectly responsive for the organist to be able to lift the organ to the symphonic level. Just as each member of the orchestra must have developed a beautiful and distinctive sound, so the voicer must give his pipes definite character and beautiful tone.

First Presbyterian Church

Spartanburg, South Carolina

Now let's review the Spartanburg organ stop list to see how it fulfills the symphonic ideal. The Great and Swell each have independent diapasons. The name Salicional may be a bit misleading to those who consider it a member of the string family. We use that name (and the name Dulciana) to indicate stops of the echo diapason class, which is characterized by pure diapason tone of moderate to low power. This nomenclature is quite common on British and continental Romantic organs. On the Great, the 8' Open Diapason is complemented with an independent 4' Principal that is quite narrowly scaled in the bass and tenor progressing upward to more nearly match the scale of the Diapason in the high treble. The Principal is rich in harmonics providing a simple, but quite satisfying chorus effect that also works well with the super coupler. The chorus of the Great is completed with a Mixture. Although it is often very useful, particularly in a small scheme to specify an independent Twelfth and Fifteenth instead of a Mixture, the unique tone color provided by a compound stop is essential to the symphonic ensemble. It is comparable to the difference between a three-violin section in a salon ensemble and eight violins in a small symphonic orchestra. In a scheme of only 12 voices it is impossible to have an independent diapason chorus in the Swell, but the unification of a small scale echo diapason makes a very convincing substitute, especially when the Stopped Diapason is included to provide additional unison weight. Unification works best when it is substituting for stops that would not have a very great scale difference if they were straight. In general, the smaller the unison scale the less difference there would be in its octave and fifteenth. Therefore, the Salicional is a good candidate for such treatment.

This organ has four distinctly different flute tones. The 8' Stopped Diapason is of wood with pierced stoppers from middle C producing a colorful but also solidly fundamental sound. The 4' Chimney Flute is an excellent companion, being of extremely small scale with a light, buoyant and lyrical tone. Its 22/3' unification adds interesting solo colors. The Corno Dolce of the Great is a moderate scale open flute with a 1/4 taper. The Harmonic Flute is a powerful solo voice which ascends in power up the scale. It also adds significantly to the foundation of the Great.

Genuine orchestral string tone is provided by the Vox Celeste (II). These are narrow scale strings of exceptionally keen intonation. The contrasting undulating effect is provided by the Flute Celeste which is paired with the Corno Dolce. It has a smooth, ethereal character with just enough edge to add distinct point to accompaniment lines and, with its celeste, to make a heavenly effect leading into the more pungent strings. It can be drawn on the Swell at both 8' and 4' pitches as a means of beginning the Swell build-up. Introduction of the Vox Celeste (II) with swell box closed is hardly noticed when it is preceded by the Flute Celeste at 8' and 4' pitch, the Great box having been opened. Although to many it would seem to be an impractical luxury to extend the Swell Vox Celeste to 8' pitch and also include an ethereal celeste on the Great, we believe that it is one of the basics for the symphonic effect.

For a color reed in this instrument we selected a Flügel Horn--truly a chameleon among stops. It sounds like a small scale or muted trumpet. In certain registers, especially when doubled by a flute, it can produce a French Horn character, and it also serves all of the traditional accompaniment and solo roles of the Oboe. E.M. Skinner often preferred a Flügel Horn in place of an Oboe on small stop lists because of its versatility. The color reed was placed on the Great both to provide mild chorus reed character for that division and so that it can be accompanied by Swell voices.

Chorus reed tone is provided by the Tuba Minor. Traditionally, the name tuba is applied to trumpets or trombas of exceptional power. The trumpet-type is brilliant, singing and bell-like in its tone while the tromba-type is darker, more sonorous and smoother. The tuba in this instrument is definitely of the trumpet class. It is voiced on 8” of wind pressure and is enclosed separately within the Swell box producing double the normal dynamic range.  Its shades are kept partially closed when it is serving in the role of a standard chorus trumpet. When its shades are closed it can play the part of a color reed, the volume level being like that of an oboe. When its shades are fully open this stop takes on an heroic character suitable for trumpet tunes, fanfares, and the like. When played on the Swell manual at 16' and 8' with the super coupler, it provides a thrilling full Swell effect.

It is unusual in an organ of this size to include three 16' Pedal stops, but these are vital if the organ is to be lifted out of the small organ class. A normal 16' Bourdon is augmented by the 16' Corno Dolce which is scaled so as to produce a very prompt-speaking clear and firm bass. It has a reduced scale in the bottom two octaves to produce the kind of bite one hears from the orchestral double bass. The profundity of the Pedal comes from the full length 16' extension of the Swell Tuba.

All of the voices of this organ are under expression. The Great and Swell are located next to one another and speak into the chapel through a ceiling grill. Swell shades open nearly 90˚ and are operated by a powerful, fast electric-pneumatic motor. It would be impossible to create a symphonic caliber dynamic range on an organ of this size without at least one powerful stop under double expression. Described above, this device increases the organ's dynamic range from mp to pp and at the other end of the spectrum from ff to fff.

The action system employs the Schoenstein individual valve Expansion Cell wind chest and the wind system uses five separate regulators to provide absolutely steady wind of adequate capacity and appropriate pressure. The console includes a solid state capture combination action with 16 memories and our Range feature which permits the organist to program pistons to be either generals or divisionals in any combination desired.

This organ has proven to be versatile far beyond what one would expect of a 12-voice scheme. In the context of a modest sized room, the organ is truly symphonic in character and has proven itself capable of playing most of the standard organ repertoire as well as sophisticated choir accompaniments and service music. The main characteristic that separates it from other organs of its size is the number of tone color possibilities and the impressive dynamic range. It is capable of a sustained uninterrupted crescendo from ppp to fff providing a sense of grandeur that is seldom heard even in instruments much larger. This also means that it has met the goal of any good accompanimental organ design: to have a variety of tonal colors available at any volume level the conductor desires.

University of St. Thomas

Houston, Texas

Our next opportunity to test this concept came at the University of St. Thomas in Houston. We were especially honored to work with architect Philip Johnson in designing an instrument for his striking chapel of St. Basil. The building promised an outstanding acoustic and perfect placement, which enabled us to work on a slightly larger format. Since there was to be a display pipe façade, we added an unenclosed First Open Diapason to the Great that is extended into the Pedal providing a fourth 16' Pedal stop on this 15-voice instrument. At the request of our client, we substituted a Clarinet for the Flügel Horn. Although we gave up the mild secondary chorus reed tone character of the Flügel Horn, we gained a color of more contrast with the Tuba. In the Swell we added a unified echo principal mutation at 22/3' and 11/3'. This stop is scaled to balance with the Salicional and augment the organ's secondary chorus as well as provide several options for additional color. The most significant change was to place the keen orchestral strings on high pressure in the secondary Swell expression box along with the Tuba. This is a great advantage for it allows the strings to be muted to various volume levels to serve in more accompaniment roles. Obviously, the build-up of celeste tone is quite enhanced. This also illustrates the value of the opportunity to work with an architect in designing an ideal organ space. In Spartanburg there was no way to enlarge the double expressive box, but in Houston we could tailor make the space to suit the optimum tonal design.

Grace United Methodist Church

Greensboro, North Carolina

Our next instrument along these lines at Grace United Methodist Church in Greensboro, North Carolina, provided a real challenge in placement. Although the side chancel chamber was of adequate size, the opening only spanned about half of it and could not be enlarged. This meant that the Great would fill the opening and that the tone of the Swell would have to speak across the Great and make a 180-degree turn to reach the nave. Obviously we could not enclose the Great, so we cut it back to the bare essentials and built up the Swell, duplexing several of its stops on to the Great. This plan was used with great success by E.M. Skinner in his small schemes. The Harmonic Flute, with its ascending increase in treble power, is one of the few solo voices that can work well unenclosed. Since the Corno Dolce and Celeste had to be in the Swell in order to be under expression, there was no room for its 16' extension, and the Harmonic Flute had to have its own bass. We have often noted the interesting musical quality of the orchestra's traverse flute, which changes to a distinctly string quality in its lowest range resulting from the tube of the flute being the same scale for its entire compass, and we decided to extend the Harmonic Flute into a string-scale bass stop at both 16' and 8' pitch. We reduced the diameter of the pipes as they progressed downward so that the tenor and bass of the Harmonic Flute is distinctly in the string family--enough so to name the extensions 'Cello and Double Bass.

The Great chorus, being unexpressive, required special treatment. An independent 2' Fifteenth completes the chorus, but Mixture tone is also necessary. In an organ of this size, Mixture tone is most useful when it is under expression, so we increased its size and power, placing it within the double expressive sub-division of the Swell. Used with the tuba it adds brilliance to the full Swell build-up. Used alone it can be adjusted to various different volume levels to suit lesser Swell combinations. In full organ combinations, when coupled to the Great, it tops off the diapason chorus.  After seeing the utility of four 16' Pedal stops in Houston, we wanted to do the same here. Fortunately the chamber was large enough to include a 16' extension of the Great Open Diapason. Since the stop did not have to be on display, we were able to make it of wood which yields a very solid, prompt-speaking tone.

Because this organ replaced an older instrument which had a very nice Vox Humana on its own chest, we were able to include this luxury economically. Being in the double expressive section adds to its exotic effect.

Grace Episcopal Church

Sheboygan, Wisconsin

Our next small symphonic organ was built for Grace Episcopal Church in Sheboygan, Wisconsin, an Anglo-Catholic parish that enthusiastically supports the highest traditions of Anglican music. The instrument was designed specifically to accompany the Anglican choral service. This musical emphasis combined with space restrictions in the small gallery dictated some variations on the symphonic theme. First, we substituted the Aeoline and Vox Angelica for the Corno Dolce and Flute Celeste. To make the absolutely smooth, unbroken build-up so beloved in this musical tradition, both celestes are in the string family. The Aeoline and Vox Angelica are keen but very delicate and blend perfectly into the powerful solo Gambas with both inner and outer shades of the Swell closed. Space and budget allowed the luxury of two color reeds so we could have our cake and eat it too with both Clarinet and Flügel Horn.

The lovely church lent itself to a victorian Gothic façade with decorated front pipes. This, in turn, gave us the opportunity to put two Great stops in display--the first Open Diapason and Harmonic Flute with its 'Cello and Double Bass extension. These stops can be accompanied with stops in their own division by using the Enclosed Great to Swell coupler.

The Swell box was not large enough to include open 8' bass pipes; therefore, we provided two unison stops, an open wood Claribel Flute and our very small scale English-style Lieblich Gedeckt sharing a common bass. The Swell has an independent 4' Gemshorn (a tapered principal) and 2' Fifteenth along with principal scale Quint and Tierce mutations to complete its chorus.

Using pipes from the former organ gave us the luxury of two independent Pedal stops making a total of five 16' stops in a 20-voice organ! This yields a reed, an open wood, a moderate scale string, and two levels of bourdon tone, the extremely soft character of the enclosed Lieblich Gedeckt being helpful for accompanying the more delicate sounds of the organ.

St. Paul's School

Brooklandville, Maryland

Our latest example was just completed for St. Paul's School in Brooklandville, Maryland. This large Episcopal school has an attractive, new, collegiate-style chapel. The organ is located in a chamber above the narthex providing plenty of room for a complete exposition of this style. It combines and expands upon the designs of the earlier organs. The only unenclosed stop is the Grand Open Diapason, the bass of which is wood located horizontally on the roof of the expression boxes. The 4' Chimney Flute and Tuba from the Swell are borrowed onto the Great. An Oboe is added to the Swell giving this scheme the two most basic color reed tones. Most important, however, is the provision for a true 32' stop extending to low G. Although this is not part of the initial installation, space is prepared.

A review of these five stop lists shows that although musical, acoustical, and placement considerations must be taken into account if each installation is to reach its maximum potential, a basic design concept adhering to specific design criteria can be maintained. Our objective with each of these jobs was to preserve the symphonic character that was so attractive to our clients as they auditioned similar instruments and at the same time tailor a design to meet their requirements and space restrictions. This is the continuing fascination and challenge of organ design. The satisfaction derived from it is quite similar to the exhilaration an orchestrator feels when his work has yielded a sound that should only come from an orchestra two or three times as large. I'll bet Robert Armbruster enjoyed the playbacks of his Kraft Music Hall performances with the same relish we experience on hearing fine artists play one of these miniature symphonic church organs.

Schoenstein & Co.

First Presbyterian Church

Spartanburg, South Carolina

Chapel organ

2-manual and pedal organ

12 voices-15 ranks

Electric-pneumatic action

GREAT (Expressive)

                  16'          Corno Dolce (12 pipes)

                  8'             Open Diapason

                  8'             Harmonic Flute (Corno Dolce bass)

                  8'             Corno Dolce

                  8'             Flute Celeste (TC)

                  8'             Voix Celeste II (Sw)

                  4'             Principal

                  4'             Corno Dolce (12 pipes)

                  2'             Mixture III

                  16'          Flügel Horn (TC)

                  8'             Flügel Horn

                                    Tremulant

                                    Chimes (TA)

SWELL (Expressive)

                  16'          Bourdon (wood, 12 pipes)

                   8'            Salicional (Stopped Diapason bass)   

                  8'             Stopped Diapason (wood)

                  8'             Voix Celeste II

                  8'             Flute Celeste II (Gt)

                  4'             Salicet (12 pipes)

                  4'             Chimney Flute

                  4'             Flute Celeste II (Gt)

                  22/3'      Nazard (from Chimney Flute)        

                  2'             Fifteenth (12 pipes)

                  16'          Bass Tuba† (12 pipes)

                  8'             Tuba Minor†

                                    Tremulant

†In separate box inside Swell, 71/2” wind.

PEDAL            

                  16'          Corno Dolce (Gt)

                  16'          Bourdon (Sw)

                  8'             Open Diapason (Gt)

                  8'             Corno Dolce (Gt)

                  8'             Stopped Diapason (Sw)

                  4'             Octave (Gt Open Diapason)

                  16'          Bass Tuba (Sw)

                   8'            Tuba Minor (Sw)

                   4'           Flügel Horn (Gt)

Full couplers and usual accessories.

Schoenstein & Co.

Chapel Of St. Basil

University of St. Thomas

Houston, Texas

Two-manual and pedal organ

15 voices-17 ranks

Electric-pneumatic action

GREAT (Expressive)

                  16'          Corno Dolce (12 pipes)

                  8'             First Open Diapason†

                  8'             Second Open Diapason

                  8'             Harmonic Flute (Corno Dolce bass)

                   8'            Corno Dolce

                  8'             Flute Celeste (TC)

                  8'             Salicional (Sw)

                  4'             Principal

                  2'             Mixture III

                  8'             Clarinet

                                    Tremulant

†In display

SWELL (Expressive)         

                  16'          Bourdon (wood, 12 pipes)

                  8'             Salicional

                  8'             Stopped Diapason (wood)

                  8'             Gamba†

                  8'             Gamba Celeste†

                  8'             Corno Dolce (Gt)

                  8'             Flute Celeste (Gt)

                  4'             Salicet (12 pipes)

                  4'             Chimney Flute

                  4'             Corno Dolce (Gt)             

                  4'             Flute Celeste (Gt)

                  22/3'      Twelfth (TC-from Nineteenth)

                  22/3'      Nazard (from Chimney Flute)

                  2'             Fifteenth (12 pipes)

                  11/3'      Nineteenth

                  16'          Bass Tuba† (12 pipes)

                  8'             Tuba Minor†

                                    Tremulant

†In separate box inside Swell, 71/2” wind.

PEDAL

                  16'          Diapason (Ext 1st Open Diapason)

                  16'          Corno Dolce (Gt)

                  16'          Bourdon (Sw)

                  8'             Open Diapason (Gt Second Open)

                  8'             Corno Dolce (Gt)

                  8'             Stopped Diapason (Sw)

                  4'             Octave (Gt First Open)

                  4'             Flute (Gt Harmonic Flute)

                  16'          Bass Tuba (Sw)

                  8'             Tuba Minor (Sw)

                  4'             Clarinet (Gt)

Full couplers and usual accessories.

 

Schoenstein & Co.

Grace United Methodist Church

Greensboro, North Carollina

Two-manual and pedal organ

16 voices-19 ranks

Electric-pneumatic action

GREAT               

                  16'          Double Bass (Ped)

                  8'             Open Diapason

                  8'             Harmonic Flute ('Cello bass, 29 pipes)

                  8'             Stopped Diapason (Sw)

                  8'             Corno Dolce (Sw)

                  8'             Flute Celeste (Sw)

                  4'             Principal

                  2'             Fifteenth

                  8'             Tuba (Sw)

SWELL (Expressive)

                  16'          Bourdon (12 pipes)

                  8'             Salicional

                  8'             Stopped Diapason (wood)

                  8'             Gamba†

                  8'             Celeste (GG)†

                  8'             Corno Dolce

                  8'             Flute Celeste (TC)

                  4'             Salicet (12 pipes)

                  4'             Chimney Flute

                  22/3'      Nazard (from Chimney Flute)

                  2'             Fifteenth (12 pipes)

                  2'             Mixture IV†

                  16'          Bass Tuba† (12 pipes)

                  8'             Tuba†

                  8'             Flügel Horn

                  8'             Vox Humana†

                                    Tremulant          

† In separate box inside Swell, Vox in separate control box.

PEDAL                

                  16'          Open Diapason (12 pipes)

                  16'          Double Bass (12 pipes)

16'          Bourdon (Sw)

                  8'             'Cello

                  8'             Salicional (Sw)

                  8'             Stopped Diapason (Sw)

                  4'             Flute (Gt Harmonic Flute)

                  4'             Super Octave (Gt Open Diapason)

                  16'          Bass Tuba (Sw)

                  8'             Tuba (Sw)

                  4'             Flügel Horn (Sw)

Full couplers and usual accessories.

 

Schoenstein & Co.           

Grace Episcopal Church

Sheboygan, Wisconsin

Two-manual and pedal organ

20 voices-23 ranks

Electric-pneumatic action

GREAT (Expressive)

                  16'          Double Bass (Ped)

                  8'             First Open Diapason†

                  8'             Harmonic Flute† ('Cello bass)

                  8'             Second Open Diapason

                  8'             Aeoline

                  8'             Vox Angelica (TC)

                  8'             Lieblich Gedeckt (Sw)

                 4'             Principal

                  2'             Mixture IV

                  8'             Clarinet (TC)

†In display

SWELL (Expressive)

                  16'          Lieblich Gedeckt (wood, 24 pipes)

                  8'             Gamba†

                  8'             Gamba Celeste (TC)†

                  8'             Claribel Flute (Lieblich Gedeckt bass)

                  8'             Lieblich Gedeckt (metal)

                  4'             Gemshorn

                  22/3'      Twelfth (Nineteenth treble, 12                 pipes)

                  2'             Fifteenth

                  13/5'      Seventeenth (TC)

                   11/3'    Nineteenth

                  16'          Bass Tuba† (12 pipes)

                  8'             Tuba Minor†

                  8'             Flügel Horn

                                    Tremulant

†In separate box inside Swell, 10” wind.

PEDAL  

                   32'         Resultant

                  16'          Open Wood (12 pipes)

                  16'          Bourdon

                  16'          Double Bass (12 pipes)

                  16'          Lieblich Gedeckt (Sw)

                  8'             Principal (wood and metal)

                  8'             Octave (Gt 2nd Diapason)

                  8'             'Cello

                  8'             Claribel Flute (Sw)

                  4'             Fifteenth (metal, 12 pipes)

                  4'             Flute (Gt)

                  16'          Bass Tuba (Sw)

                  8'             Tuba (Sw)

                  8'             Flügel Horn (Sw)

Full couplers and usual accessories.

Schoenstein & Co.

St. Paul's School

Brooklandville, Maryland

Two-manual and pedal organ

18 voices-20 ranks

Electric-pneumatic action

GREAT (Expressive)  

                  16'          Corno Dolce (12 pipes, Harmonic Flute treble)

                  8'             Grand Open Diapason†

                  8'             Open Diapason

                  8'             Harmonic Flute (Corno Dolce bass)

                  8'             Salicional (Sw)

                  8'             Corno Dolce

                  4'             Flute Celeste (TC)

                  4'             Principal

                  4'             Chimney Flute (Sw)

                  2'             Mixture III

                  8'             Tuba (Sw)

                  8'             Clarinet

                                    Tremulant   

†In display

SWELL (Expressive) 

                  16'          Bourdon (wood, 12 pipes)

                  8'             Salicional

                  8'             Stopped Diapason (wood)

                  8'             Gamba†

                  8'             Gamba Celeste†

                  8'             Corno Dolce (Gt)

                  8'             Flute Celeste (Gt)

                  4'             Salicet (12 pipes)

                  4'             Chimney Flute

                  4'             Corno Dolce (Gt)

                  4'             Flute Celeste (Gt)

                  22/3'      Nazard (from Chimney Flute)

                  22/3       Twelfth (TC-from Nineteenth)

                  2'             Fifteenth (12 pipes)

                  13/5'      Seventeenth (TC)

                  11/3'      Nineteenth

                  8'             Oboe

                  16'          Bass Tuba† (12 pipes)

                  8'             Tuba†

                                    Tremulant

†In separate box inside Swell, 10” wind.

PEDAL

                  32'          Resultant† (Sub Bass and Bourdon)

                  16'          Double Open Diapason (12 pipes)

                  16'          Sub Bass

                  16'          Corno Dolce (Gt)      

16'          Bourdon (Sw)

                  8'             Open Diapason (Gt Grand Open)

                  8'             Flute (Gt Harmonic Flute)

                  8'             Salicional (Sw)

                   8'            Stopped Diapason (Sw)

                  4'             Octave (Gt Grand Open)

                  4'             Flute (Gt Harmonic Flute)

                  16'          Bass Tuba (Sw)

                   8'            Tuba (Sw)

                  4'             Clarinet (Gt)

†Prepared for addition of 32' pipes.

Full couplers and usual accessories.

Glück New York

Congregation Emanu-El, New York City

From the Chief Organist

Playing the largest and most comprehensive synagogue organ in history was
not in my thoughts when I began my organ studies so many decades ago. The new
Glück organ, the third instrument for the great sanctuary, and the largest
of three pipe organs in the temple complex, is unique in that the builder
brought his lifetime of familiarity with the literature and liturgy of the
synagogue into the design. Congregation Emanu-El is now served by a most
appropriate instrument.

The 1929 Casavant opened by Marcel Dupré quickly earned international
fame. Concert series and choral festivals abounded in the following years.
Music was written specifically for the instrument, and the congregation
commissioned many new choral works. Under the direction of Dr. Robert S. Baker,
major mechanical and tonal changes were made to the organ in the 1950s. That
version of the organ was presented to the public by the late Sir George
Thalben-Ball at the 1956 convention of the American Guild of Organists.

By the late 1980s, entire divisions of the organ were silent, and the rest
was going quickly. The organ was regularly tuned, yet had never been
releathered, and had suffered steam and water damage. The roar of leaking wind
was disruptive to worship services, and the temple began the process of
assessment, looking toward a major rebuild or replacement of the organ. A
handful of North American builders were asked to bid on the project, including
Sebastian M. Glück, who had built our 34-rank Beth-El Chapel organ.

Mr. Glück proposed an enlarged instrument in a style he dubbed
"Anglo-French Romantic Neoclassicism," promising to respect the
intent of the 1929 organ by retaining what could be restored of the remaining
original pipework. I had been concerned that Mr. Glück's many mixtures and
big reed choruses might bring too great a change to our ears, but the 135-rank
organ is an instrument of great dignity and grandeur, simultaneously powerful
and elegant.

The stoplist combines academic discipline with artistic daring, and music of
all eras can be played convincingly. While not a single tone color is
duplicated, the organ's voices blend seamlessly. This was achieved by his
insistence that he voice and tonally finish every pipe in the room, on the very
windchest from which it was to sing. Our seventeen-voice professional choir
(expanded to 26 on Holy Days) has noted the difference in the way they hear and
sing with the organ.

The new console matches the elegant blend of Art Deco and Byzantine ornament
seen in the 1929 temple complex. Rosewood, cow bone, pao ferro, walnut, brass,
and polished onyx are among the luxurious materials chosen by the builder, a
lifelong organist and trained preservation architect. Despite 137 stop
controls, six expression pedals, and a full combination action, the console is
understated and free of unnecessary gadgetry.

The rabbis, administration, trustees, and music committee are all to be
commended and thanked for their vision and perseverance. They have set an
example for other Reform synagogues, and have assured Congregation Emanu-El's
musical future.

--Hunter Tillman

From the Tonal Director

When Gottfried Federlein, Stephen Stoot, and Joseph-Claver Casavant designed
the original organ for Congregation Emanu-El, they faced the task of scaling
pipes for a sanctuary that had not been built, designed to accommodate 2,500
people in cushioned pews. As were many sanctuaries of the era, Emanu-El was
clad with sound-absorbing artificial stone. Although the bimah
style='font-style:normal'> precinct at the East is lined with rare jewel stones
and framed by breathtaking mosaics, the organ must speak through a heavy
ornamental plaster grille before reaching the vast sanctuary. After the
building opened, the polished fossil stone of the central aisle was covered by
carpet.

In the 1950s significant revisions were made to the organ in accordance with
the prevailing tastes and theories of the time. Pressures were drastically
lowered, and 44 ranks, including the entire Choir division and all of the
chorus reeds, were discarded and replaced by pipes of much smaller scale.
Quintadenas and Cymbals replaced open flutes. Add-on windchests of incompatible
design made the newly enfeebled wind supply unsteady. Despite the organ's
"classical" makeover, the organ was no more effective, as the old and
new seemed to share a space, but not a musical goal.

When the organ was taken down, Emanu-El coordinated asbestos abatement,
plastering, and painting within the instrument as a prelude to the installation
of new fluorescent lighting, condensation drip pans, utility outlets, smoke
detection systems, and air conditioning.

I had to return to high pressures if I was to achieve the musical goals I
had set in my new tonal design. I also knew that the sluggish action and the
inability to tune the original pipes to concert pitch was the result of the
wind supply problem. I designed a new wind system of 17 reservoirs with
removable heads, sprung and weighted using an adjustable system of barbell
plates. Perimeter compression spring assemblies assure that the heads remain
airtight through changes in humidity, and can be taken out and rebuilt as bench
work. The historic pipes told me when they were comfortable singing, and the
new pressures were in the same range as our two slightly differing reference
points, which were the pressures given in Casavant's publicity at the time, and
the graffiti left by the installers in 1929.

Rigid wind lines were built for portions of the organ that were added or
relocated, and both original Spencer turbines were retained, one above the bimah
style='font-style:normal'> tribune in the East tower, the other beneath the
vaulting at the West end near Central Park. The Casavant pitman windchests that
were retained were completely stripped down and rebuilt or replicated in our
shop, as were all special pneumatic actions, from the selectable Celesta
dampers and the nine-stage shutter engines to the wooden boots and pneumatic
starters for the 32' Contra Trombone.

All mechanical components from the 1950s were removed, and all of the new
windchests are electro-pneumatic pouch actions. I wanted to voice and finish
the entire organ on wind that enters the pipes in the same manner, on actions
that operate with the same speed and range of motion. New tremulants were
provided, and I took my cue from Britain by leaving the high pressure sections
of the Swell and Solo departments off the tremulants.

The 65 Casavant ranks that were restorable feature substantial pipe metal,
generous cutups, and impressive scales. Cleaning and conservation was required
throughout, and restoration of the badly altered toe holes brought the tone
into line. For the most part, cutups seemed to be relatively unaltered. With
the exception of the two full-length 32' octaves and some of the largest 16'
pipes, all of that pipework, which constitutes half of the new instrument, was
removed for cleaning and restoration. The titanic 32' Trombone resonators were
rebuilt in the main chamber, rigged to a catwalk 100 feet above the bimah
style='font-style:normal'>. Shellac was the finish of choice for zinc basses
and wooden pipes, since it is renewable and traditional.

Each manual division contains one or more 8' Open Diapasons, and all normal
divisions contain fully developed Diapason choruses. Mixtures vary in scaling
and composition, but have several common characteristics. In sections of the
progressions that contain an odd number of ranks, the balance is set in favor
of the unisons, rather than the quints, lending clarity to voice leading in
contrapuntal work and choral accompaniment. All regular chorus mixtures bear
harmonics of the 8' series, even in the extreme treble. In each of the three
traditional manual departments, there is at least one flue and one reed at 16'
pitch, so gravity in all schools of literature can be achieved without muddying
the mixtures with contraquints in a dead acoustic.

That notwithstanding, three of the Emanu-El mixtures contain sub-unison
harmonics. The Grand Chorus V sports a bold 51/3' in the treble, the upper
range of the Harmonics V contains a 31/5' and a 22/7', and the Cornet des
Violes V retains its original sub-tierce throughout its compass.

Flutes of varied construction and material are present throughout the
specification, especially open flutes, from harmonic flutes in both wood and
metal, to the Major Open Flute in the Solo, to the Open Wood Flute in the
Great, the only discarded Casavant rank we miraculously found and reinstated.
It is distinguished by having its mouths wider than the depth of the pipe. The
Swell Flûte Harmonique is, in part, from Aeolian-Skinner's Opus 851 of
1931 for Trinity College, Hartford. It replaces a Quintadena that was
substituted for the original harmonic flute in the 1929 design.

Three jeux de tierce are present in
the main divisions: the mounted Cornet in the Great, the cornet
décomposé in the Choir, and the Sesquialtera in the Swell. They
weld with the many Trumpets and Clarions in the organ to form a thrilling Grand
Jeu.

The famous 13-rank Orchestral String Ensemble had been silent for many
years, and its reinstatement made a stunning contribution to the organ. With
nine 73-note undulating stops in a manual string complement of nearly three dozen
ranks, supported by two independent 16' Pedal strings, Emanu-El's lushness is
legendary. Gottfried Federlein, composer, organist, and early music specialist
long before the term was coined, was also a fan of Robert Hope-Jones and the
cinema organ. Interestingly, the Temple that had just merged with Emanu-El,
Temple Beth-El (after whom the chapel is named) had just dedicated their 1924
IV/106 Möller, complete with its 14-rank string department designed by Dr.
Clarence Dickinson.

Matched reed choruses of differing styles are found in each division:
"close," round English tone in the Choir; rich, chocolatey and
brilliant "free" English Trumpets in the Great; fiery French
Bertounêche Bombardes in the Swell; and brassy, rolling English Trombones
in the Pedal. The brilliant fanfare reeds with open German shallots in the Solo
actually sound rather French in that acoustic, due to the open shallots,
extreme pressure, and harmonic resonators. The ceremonial Temple trumpets, or Chazozerot
style='font-style:normal'>, are pure-toned, bright English Tubas, and are
available at three pitches, floating as a division. The 26" pressure reeds
take a commanding position above the North triforium at the spring of The Great
Arch. They are voiced and finished to crown, not to obliterate, the grand symphonic
ensemble.

Among the lyric solo reeds are the Baroque Musette, the Willis-style
Orchestral Oboe, the French Horn, the woody orchestral Clarinet, and the
Hautbois, with coned-in bells that I hammered to shape on site. The Shofar in
the Echo department, of odd construction and possibly altered several times in
attempts to generate an impression of the ram's horn, is merely listed as
"Muted Trumpet (for use in the Torah Service)" on some documents.

The Solo English Horn, a rare and beautiful free-reed stop, had its treble
half replaced by striking reeds in the 1950s. A stop of nearly identical
construction is shown in engravings in Audsley. I located a matching 1919
Casavant free-reed English Horn over the Internet, and this gem was returned to
the instrument by restoring and splicing the two ranks together. It sounds more
like a plaintive and pungent Basset Horn than an English Horn, but it remains a
favorite of the congregation.

Special thanks are due to the craftspeople of Glück New York, Inc., all
of whom are not only exceptional artists, but also degreed professional
musicians. General manager and foreman Albert Jensen-Moulton makes each project
a meticulous effort that comes in on time and on budget. Much of the project
was managed by Lynette Pfund, a dedicated conservator whose excitement never
faltered. The rest of the company family is made up of Lynette's husband,
Christopher Pfund, and Dominic Inferrera, both of whom will take on the most
complex procedures under the most daunting conditions. Best of all, they all
put up with me, and trusted that this enormous undertaking would result in
artistic success.

--Sebastian M. Glück

Specifications and color photographs of other Glück instruments may be
seen on the firm's website: <www.glucknewyork.com/&gt;.

Photographs by Albert Jensen-Moulton.

GREAT ORGAN (II, unenclosed)

                  6"
wind pressure

                  8"
wind pressure (*)

                  Bimah
Tribune North

                  Mechanicals
level 1, pipes level 2

16'           Double
Open Diapason  61, C, Pb

16'           Bourdon
style="mso-spacerun: yes">  61, C, W

8'              First
Open Diapason  61, C, Pb

8'              Second
Open Diapason  61, C, Pb

8'              Third
Open Diapason  61, C, Pb

8'              Open
Flute  61, C, W

8'              Chimney
Flute  61, C, W

8'              Gemshorn
style="mso-spacerun: yes">  61, C, Cm

4'              Principal
style="mso-spacerun: yes">  61, C, Cm

4'              Octave
style="mso-spacerun: yes">  61, C, Cm

4'              Harmonic
Flute  61, C, Cm

22/3 '      Twelfth
style="mso-spacerun: yes">  61, C, Cm

2'              Fifteenth
style="mso-spacerun: yes">  61, C, Cm

V              Cornet
(G20-G56)  185, Sp

V-VII     Mixture
Major  378,
style="mso-spacerun: yes"> Sp

IV            Sharp
Mixture  244, Sp

16'           Double
Trumpet*  61, Sp

 8'             Trumpet*
style="mso-spacerun: yes">  61,  Sp

4'              Clarion*
style="mso-spacerun: yes">  61,  Sp

                  Chimes
(in Echo)  21 tubes

                  Celesta
style='mso-tab-count:1'>

 

SWELL ORGAN (III, enclosed)

                  8"
wind pressure

                  10"
wind pressure (*)

                  Bimah
Tribune North

                  Mechanicals
level 3, pipes level 4

16'           Bourdon
Doux  73,  C, W

8'              Open
Diapason  73,
style="mso-spacerun: yes">  C, Pb

8'              Stopped
Diapason  73,
style="mso-spacerun: yes">  C, W

8'              Flûte
Harmonique  73, Sp

8'              Viole
de Gambe  73,
style="mso-spacerun: yes">  C, Sp

8'              Voix
Céleste  73,
style="mso-spacerun: yes">  C, Sp

8'              Æoline
style="mso-spacerun: yes">  73,  C, Sp

8'              Flûte
Conique  73,
style="mso-spacerun: yes">  C, Cm

8'              Flûte
Céleste  73,
style="mso-spacerun: yes">  C, Cm

4'              Principal
style="mso-spacerun: yes">  73,  C, Cm

4'              Violina
style="mso-spacerun: yes">  73,  C, Cm

4'              Flauto
Traverso  73,
style="mso-spacerun: yes">  C, W

2'              Piccolo
style="mso-spacerun: yes">  61, C, Cm

I-II           Sesquialtera
style="mso-spacerun: yes">  110, Cm

III             Clear
Mixture  183, Cm

III-IV     Full
Mixture*  214, Sp

16'           Bombarde
Harmonique*  73, Sp

8'              Trompette
Harmonique*  73, Sp

8'              Hautbois
style="mso-spacerun: yes">  73, Sp

8'              Voix
Humaine  73,
style="mso-spacerun: yes">  C, Pb

4'              Clairon
Harmonique*  73, Sp

                  Tremulant

CHOIR ORGAN (I, enclosed)

                  61/2"
wind pressure

                  North
Triforium

                  Mechanicals
level 1, pipes levels 2 & 3

                  Deagan
Celesta level 4

16'           Gemshorn
style="mso-spacerun: yes">  73, Sp

8'              Open
Diapason  73, Sp

8'              Melodia
style="mso-spacerun: yes">  73, W

8'              Gamba
style="mso-spacerun: yes">  73, Sp

8'              Gamba
Céleste  73, Sp

8'              Dolce
style="mso-spacerun: yes">  73, Sp

8'              Dolce
Céleste  73, Sp

4'              Principal
style="mso-spacerun: yes">  73, Sp

4'              Chimney
Flute  73, Sp

22/3'       Nazard
style="mso-spacerun: yes">  61,  Sp

2'              Recorder
style="mso-spacerun: yes">  61,  Sp

13/5'       Tierce
style="mso-spacerun: yes">  61,  Sp

III             Mixture
style="mso-spacerun: yes">  219, Sp

16'           Bassoon
style="mso-spacerun: yes">  73, Cm

8'              Trumpet
style="mso-spacerun: yes">  73, Cm

8'              Clarinet
style="mso-spacerun: yes">  73, Cm

4'              Clarion
style="mso-spacerun: yes">  73, Cm

                  Tremulant

                  Celesta
style="mso-spacerun: yes">  61

                  Celesta
Dampers Off

                  Great/Choir
Transfer

SOLO ORGAN (IV, enclosed)

                  Main
section

                  10"
wind pressure

                  Above
the Great Arch, North

                  Mechanicals
level 5, pipes level 6

8'              Stentorphone
style="mso-spacerun: yes">  73, C, Pb

8'              Major
Open Flute  73, C, W

8'              Violoncello
style="mso-spacerun: yes">  73, C, Sp

4'              Fugara
style="mso-spacerun: yes">  73, C, Cm

V              Grand
Chorus  305, Sp

V              Harmonics
style="mso-spacerun: yes">  305, C, Cm

8'              English
Horn (free reeds )  73,
style="mso-spacerun: yes">  C, Sp

8'              Orchestral
Oboe  73,  C, Sp

                  Tremulant

 

                  Brass
section

                  15"
wind pressure

                  Above
the Great Arch, South

                  Mechanicals
level 5, pipes level 6

16'           Bombarde
Harmonique  73, Sp

8'              Trompette
Harmonique  73, Sp

8'              French
Horn  73,  C, Sp

4'              Clairon
Harmonique  73, Sp

                  Chimes

                  Celesta

STRING ENSEMBLE (enclosed)

                  131/2"
wind pressure

                  Bimah
Tribune, North

                  Mechanicals
level 5, pipes level 6

16'           Contra
Gamba  73,
style="mso-spacerun: yes">  C, Sp

8'              Grand
Gamba  73,
style="mso-spacerun: yes">  C, Sp

8'              Grand
Gamba Céleste  73,
style="mso-spacerun: yes">  C, Sp

8'              First
Violin (parent)  73,
style="mso-spacerun: yes">  C, Sp

8'              Second
Violin (sharp)  73,
style="mso-spacerun: yes">  C, Sp

8'              Third
Violin (flat)  73,
style="mso-spacerun: yes">  C, Sp

4'              Viola
style="mso-spacerun: yes">  73,  C, Sp

4'              Viola
Céleste  73,
style="mso-spacerun: yes">  C, Sp

V              Cornet
des Violes  353, C, Sp

                  Tremulant

ECHO ORGAN (enclosed)

                  8"
wind pressure

                  Southwest
Tower Gallery

                  Mechanicals
level 1, pipes level 2

                  25-note
Deagan Class A Chimes level 3

8'              Open
Diapason  73,
style="mso-spacerun: yes">  C, Pb

8'              Cor
de Nuit  73,
style="mso-spacerun: yes">  C, Cm

8'              Viole
Ætheria  73,
style="mso-spacerun: yes">  C, Sp

8'              Voix
Mystique  73,
style="mso-spacerun: yes">  C, Sp

4'              Spire
Flute  73,
style="mso-spacerun: yes">  C, Cm

8'              Shofar
style="mso-spacerun: yes">  73,  C, Sp

8'              Musette
style="mso-spacerun: yes">  73,  C, Sp

                  Tremulant

TUBA ORGAN (unenclosed)

                  26"
wind pressure

                  North
Spring of the Great Arch

                  Level
5

4'              Tuning
Reference  12, Ht

16'           Chazozerot
(from C13)

8'              Chazozerot
style="mso-spacerun: yes">  61,  Sp

4'              Chazozerot
style="mso-spacerun: yes">  12, Sp

PEDAL ORGAN (unenclosed)

                  7"
wind pressure

                  12"
wind pressure (*)

                  Bimah
Tribune, South

                  Mechanicals
levels 1 & 5

                  Pipes
levels 1 through 6

32'           Grand
Open Bass  12, C, W

16'           Open
Diapason Wood  32, C, W

16'           Open
Diapason Metal (Great)

16'           Violone
style='mso-tab-count:1'> 32 
C, Sp

16'           Dulciana
style="mso-spacerun: yes">  32, C, Sp

16'           Gemshorn
(Choir)

16'           First
Bourdon  32, C,
style="mso-spacerun: yes"> W

16'           Second
Bourdon (Great)

16'           Bourdon
Doux (Swell)

102/3'    Quint
style="mso-spacerun: yes">  32, C, W

8'              Principal
style="mso-spacerun: yes">  32, Sp

8'              Open
Flute  12, C, W

8'              Violoncello
style="mso-spacerun: yes">  12, C, Sp

8'              Stopped
Flute  12, C, W

4'              Fifteenth
style="mso-spacerun: yes">  32, Sp

4'              Open
Flute  12, C, W

IV            Mixture
style="mso-spacerun: yes">  128, Sp

 32'          Contra
Trombone*  12, C, Zn

16'           Trombone*
style="mso-spacerun: yes">  32, C, Cm

16'           Bassoon
(Choir)

8'              Trumpet*
style="mso-spacerun: yes">  32, Sp

4'              Clarion*
style="mso-spacerun: yes">  32, Sp

                  Chimes

ECHO PEDAL ORGAN 

                  (enclosed,
except for Principal)

                  7"
wind pressure

                  Southwest
Tower Gallery

                  Mechanicals
level 1, pipes level 2

16'           Sub
Bass  32, C, W

8'              Principal
style="mso-spacerun: yes">  32, Sp

8'              Stopped
Flute  12, C, W

CHAPEL GREAT (II, unenclosed)

                  4"
wind pressure

                  In
West Gallery arch

16'           Infrabass
(prepared)

8'              Principal
style="mso-spacerun: yes">  61,  Sp

8'              Gemshorn
(prepared)

4'              Octave
style="mso-spacerun: yes">  61, Mö, Sp

4'              Spire
Flute (prepared)

2'              Doublet
style="mso-spacerun: yes">  61,  Sp

IV-V       Chorus
Mixture 268, Sp

8'              Posaune
(ext. Pedal)  17, Cm

                  Carillon

CHAPEL SWELL (III, enclosed)

                  4"
wind pressure

                  West
Gallery, South Chamber

8'              Viola
Pomposa  68, Sp

8'              Viola
Pomposa Céleste  68, Sp

8'              Bourdon
en Bois  68, Mö, W

4'              Prestant
style="mso-spacerun: yes">  68, Sp

4'              Flûte
Harmonique  68, Ht

2'              Octavin
style="mso-spacerun: yes">  68, Mö, Sp

II              Sesquialtera
(prepared)

II-IV       Corona
style="mso-spacerun: yes">  202, Sp

8'              Trompette
style="mso-spacerun: yes">  68, Sp

8'              Hautbois
style="mso-spacerun: yes">  68, Cm

                  Tremulant

CHOIR (I, enclosed)

                  4"
wind pressure

                  West
Gallery, North Chamber

8'              Dulciana
style="mso-spacerun: yes">  61,  Sp

8'              Unda
Maris  49, Sp

8'              Flauto
Doppio  61, W

4'              Fugara
style="mso-spacerun: yes">  61,  Sp

4'              Flauto
Tedesco  61,
style="mso-spacerun: yes">  Sp

22/3'       Nasard
(prepared)

2'              Corno
di Notte  61,
style="mso-spacerun: yes">  Sp

III-IV     Loquatio
style="mso-spacerun: yes">  208, Sp

8'              Clarinetto
style="mso-spacerun: yes">  61, Pb

                  Tremulant

CHAPEL CHAZOZEROT (floating)

16'           Herald
Trumpet (prepared)

8'              Festival
Trumpet (prepared)

4'              Fanfare
Clarion (prepared)

CHAPEL PEDAL

                  4"
wind pressure

                  West
Gallery, distributed

16'           Contrebasse
(prepared)

16'           Viola
Magna 12, Zn

16'           Soubasse
style="mso-spacerun: yes">  32, 19^th, W

16'           Infrabass
(Great)

8'              Octave
style="mso-spacerun: yes">  12, Zn

8'              Soubasse
style="mso-spacerun: yes">  12, 19^th, W

8'              Bourdon
(Swell)

8'              Viola
(Swell)

51/3'       Twelfth
(prepared)

4'              Fifteenth
style="mso-spacerun: yes">  32, Sp

4'              Pommer
(Swell)

2'              Twenty-Second
style="mso-spacerun: yes">  12, Sp

IV            Mixture
(prepared)

32'           Harmonics
(derived)

16'           Ophicleide
style="mso-spacerun: yes">  32, Cm

8'              Trumpet
style="mso-spacerun: yes">  12, Cm

4'              Clarion
style="mso-spacerun: yes">  12, Cm

                  Carillon

 

Abbreviations

C              1929
Casavant Opus 1322

Mö           1924
Möller, Temple Beth-El

19th        19th
century

W             wood

Pb            lead

Cm           "common
metal" (35% tin)

Sp            "spotted
metal" (50% tin)

Ht             Hoyt
2-ply metal

Zn            Zinc

Mixture Compositions

Sanctuary Organ

GREAT ORGAN

                  Mixture
Major (2') V-VII

C1            15.19.22.26.29

C13         12.15.19.22.26.29

C25         08.12.15.19.22.26

C37         01.01.08.12.15.19.22

F#43      01.01.08.12.15.19

C#50      01.01.08.08.12.15

 

                  Sharp
Mixture (1') IV

C1            22.26.29.33

C13         19.22.26.29

C25         15.19.22.26

C37         12.15.19.22

C49         08.12.15.19

F#55      01.08.12.15

                  Cornet
(8') V

G20        01.08.12.15.17

SWELL ORGAN

                  Sesquialtera
(22/3') I-II

C1            12

C13         12.17

D#52      08.12

Clear Mixture (2') III

C1            15.19.22

C#38      08.15.19

C#50      01.08.12

                  Full
Mixture (2') III-IV

C1            15.19.22

F#19      12.15.19.22

F#31      08.12.15.19

C#50      01.08.12.15

CHOIR ORGAN

                  Mixture
(2') III

C1            15.19.22

C#50      08.12.15

C#62      08.12.15

SOLO ORGAN

                  Grand
Chorus (4') V

C1            08.12.15.19.22

G#21      05.
08.12.15.19

F42         01.05.08.12.15

                  Harmonics
(2') V

C1            15.17.19.21b.22

G#45      08.10.12.14b.15

STRING ENSEMBLE

                  Cornet
des Violes (4') V

C1            08.10.12.15.17

C#50      08.10.12.15

PEDAL ORGAN

                  Mixture
(22/3') IV

C1            19.22.26.29

Beth-El Chapel Organ

GREAT ORGAN

                  Chorus
Mixture (11/3') IV-V

C1            19.22.26.29

C13         15.19.22.26

C25         08.12.15.19.22

C37         01.08.12.15.19

C49         01.08.12.15

SWELL ORGAN

                  Corona
(11/3') II-IV

C1            19.22

C13         15.19.22

F#31      12.15.19.22

F#43      08.12.15.19

F#55      01.08.12.15

CHOIR ORGAN

                  Loquatio
(1') III-IV

C1            22.26.29

C13         19.22.26

C25         15.19.22

C37         12.15.19.22

C49         08.12.15.19

F#55      01.08.12.15

First Baptist Church, Ocala, Florida

 

The Wicks Organ Co., Highland, Illinois, Opus 6382

 

In 1992, First Baptist Church of Ocala, Florida began a process of rebirth after a fire claimed all they had: furnishings, libraries, a concert grand piano, a Skinner pipe organ, choir robes, hymnals and Bibles. The congregation built a new 2,800-seat facility, which is one of the largest churches in Ocala. The final step of their rebuilding process was bringing a pipe organ into the new building.

David Kocsis, Wicks Area Sales Director writes:

Among the unique features of this project, the organ was to be a gift from a non-member--but one whose daughter and son-in-law were members. Secondly, the church provided a single sheet outlining their requirements for this instrument. The organ was to be a "supplemental" instrument, used mostly to enhance the 25-piece orchestra and 180-voice choir. It would also, upon occasion, be used as a recital instrument. They wanted an instrument of the "American Classic" school with the following characteristics incorporated: four-manual drawknob console; multiple Principal choruses; plentiful and opulent strings; a variety of flute choruses and solo stops; reeds to complement the overall instrument and offer solo opportunities; a Pedal division that offers strong, solid underpinning with at least two 32’ stops; a Trompette-en-Chamade of polished copper with flared bells; exposed pipework across entire chamber area (52 ft.) to eliminate existing latticework and grillwork; preparation on console for Chimes and Zimbelstern; MIDI capability.

Our proposal was for an instrument of 74 pipe ranks over five divisions with an additional four 32-foot computer-generated stops in the Pedal division, using the Walker Paradox system. The plan also called for (at the direction of the church) preparations for an 11-rank Solo division, and a 9-rank Antiphonal division.

We decided early on that Daniel Angerstein would tonally finish the instrument. Although First Baptist, Ocala was not a bad room, the irregular shape and carpeting did not make it acoustically live, either. Our factory-trained technician in Florida, Mr. Robert Campbell, would handle the  installation.

The specification for the instrument was a joint venture design involving Area Director David Kocsis, his associate Herb Ridgely, and voicer Dan Angerstein. After the contract was signed in late November, 1998, the three members of the design team met at the church to study the acoustics, room layout, chamber space, etc., so that detailed design work could begin. On the drive back to Atlanta, the pipe scales for the organ were discussed and finalized. The entire organ would be on 5" wind pressure with the notable exception of the Trompette-en-Chamade, which was to be on 10" wind pressure, and the Choir division English Tuba on 12". In order to "ring" the room, the Great 8' Principal would be built to a 40 scale, and the Great 8' Montre a 42 scale. One of the features of the design is the placement of the lowest pipes of the Pedal 16' Open Wood in the organ facade, stained to match the rest of the woodwork in the sanctuary. This placement allows the most profound of 16-foot foundation tone immediate access to the room. Of particular interest in the Walker system designed for this organ is that the computer-generated harp in the Choir can also be used with the Tremulant, providing a vibraharp sound.

There are several ancillary console controls that enhance ease of playing such a massive console, and also add facility to the instrument. These include: Pedal, Solo and Swell Melody couplers to the Great, all Swells to Swell, all Mixtures Off, all 32's Off, All Reeds Off, and All Celestes Off. To allow maximum visibility and eye contact between the organist and the minister of music, all inter-manual couplers were placed in the stop jambs, rather than on a coupler rail. This resulted in a console somewhat wider than normal (slightly over 8 feet). There are eight divisional pistons and 15 General pistons with 32 levels of memory. A 13-position transposer is included. The main body of the casework is painted semi-gloss off white, again matching the main color in the sanctuary. The whole idea was to give the impression that the building and the organ had been conceived as an integral whole.

The first of two truckloads of pipe organ arrived in Ocala on March 22, 2000, and the second truck arrived on April 12. Installation was completed on June 3 and voicing of the instrument in the room began on June 5. The logistical problems associated with installing a large pipe organ are many. The crew faced a 52-foot facade that begins 12' above the top choir riser and extends upward to accommodate full length 16-foot metal Principals and full length 16-foot Open Wood pipes. Bob Campbell's crew had scaffolding from floor to ceiling that would cover one of the four sections, and it took a considerable amount of careful planning to insure that all work was completed on one bay before tearing down the scaffolding and moving it to the next location.

From the beginning of the installation, the entire organ facade was covered every Sunday during church services so that the completed installation could be unveiled at one time. This occasion occurred on Sunday, June 4, 2000. The Sanctuary was dimly lit, and at the appropriate time, the entire organ facade was lit by a battery of specially placed lighting. This was only the prelude--the organ was heard for the first time by the congregation on July 2.

We at Wicks thank the committee and staff of first Baptist Church of Ocala for placing their trust in us to build an instrument according to their wishes. In particular, we would like to thank Dr. Ed Johnson, Sr. Pastor; Mr. Terry Williams, Minister of Music; and Mr. Larry Kerner, Chair of the Organ Committee. The entire congregation placed its confidence in us from the outset, and was extremely helpful from the beginning of the detailed design process through the installation. Several members of the church also volunteered their time and talents to help with the installation, especially with fitting and trimming of the facade to accommodate slight building irregularities. This really was a "team" effort, and everyone should be very proud of the results.

The dedication of the new IV/74 instrument at the First Baptist Church of Ocala, FL will be held on Sunday, September 24, 2000, featuring John Weaver, organ chair at The Curtis Institute of Music in Philadelphia and The Julliard School of Music in New York City.

{C}

 {C}

GREAT

1. 16' Montre

2. 16'    Bourdon

3. 8' Principal

4. 8' Montre (from #1)

5. 8' Flute Couverte

6. 8' Flute Harmonique

7. 4' Octave

8. 8' Gemshorn

9. 4' Nachthorn

10. 22/3' Twelfth

11. 2' Fifteenth

12. 2' Hohlflute (from #6)

13. 13/5' Seventeenth

14. IV-V Fourniture

15. IV Cymbale

16. 16' Kontra Trompete (from #17)

17. 8' Trompete

18. 8' Trompete en Chamade (10≤ w.p.)

19. Tremulant (Flutes)

20. Chimes [D]

21. Zimbelstern

22. Pedal Bass Coupler to Great

23. Swell Melody Coupler to Great

24. Solo Melody Coupler to Great

25. MIDI on Great

{C}

 {C}

SWELL (Enclosed)

26. 16' Bourdon Doux

27. 8' Geigen Principal

28. 8' Rohrflute (from #26)

29. 8' Viola Pomposa

30. 8' Viola Celeste

31. 8' Flauto Dolce

32. 8' Dolce Celeste TC

33. 4' Prestant

34. 4' Flauto Traverso

35. 22/3' Nazard

36. 2' Quarte de Nazard

37. 13/5' Tierce

38. IV-V Plein Jeu

39. III-IV Cymbale

40. 16' Contre Trompette

41. 8' Trompette

42. 8' Oboe

43. 8' Vox Humana

44. 4' Clairon (from #40)

45. 8' English Tuba (Ch)

46. 8' Trompette en Chamade (Gt)

47. Tremulant

48. MIDI On Swell

{C}

 {C}

CHOIR (Enclosed)

49. 16' Gemshorn [D]

50. 8' English Diapason

51. 8' Flute Ouverte

52. 8' Gemshorn

53. 8' Gemshorn Celeste TC

54. 4' Principal

55. 4' Koppelflute

56. 2' Principal

57. 11/3' Larigot

58. 1' Principal (from #56)

59. II Sesquialtera

60. IV-V Scharf

61. 16' Dulzian (from #62)

62. 8' Cromorne

63. 4' Rohr Schalmei

64. 16' English Tuba TC (from #65)

65. 8' English Tuba (12≤ w.p.)

66. 8' Trompette en Chamade (Gt)

67. 8' Harp [D]

68. 4' Harp Celesta [D]

69. Tremulant

70. MIDI On Choir

{C}

 {C}

SOLO (Enclosed)

15 Prepared Stops

71. 16' Trompette en Chamade TC (Gt)

72. 8' Trompette en Chamade (Gt)

73. 4' Trompette en Chamade (Gt)

74. 16' English Tuba TC (Ch)

75. 8' English Tuba (Ch)

76. 4' English Tuba (Ch)

77. MIDI On Solo

{C}

 {C}

ANTIPHONAL (Floating)

12 Prepared Stops

{C}

 {C}

ANTIPHONAL PEDAL

1 Prepared Stop

{C}

 {C}

PEDAL

78. 32' Contra Principal [D]

79. 32' Contra Bourdon [D]

80. 16' Open Wood

81. 16' Bourdon

82. 16' Principal

83. 16' Montre (Gt)

84. 16' Bourdon Doux (Sw)

85. 16' Gemshorn (Ch)

86. 8' Octave

87. 8' Major Bass (from #80)

88. 8' Bourdon (from #81)

89. 8' Viola (Sw)

90. 8' Open Flute (Ch)

91. 62/5' Gross Terz (Gt)

92. 51/3' Gross Quinte (Gt)

93. 4' Choral Bass

94. 4' Cantus Flute

95. 2' Flute (from #94)

96. IV Grave Mixture

97. IV Acuta

98. 32' Contra Bombarde [D]

99. 32' Contra Fagotto [D]

100. 32' Cornet des Bombardes IV

101. 16' Bombarde

102. 16' Contre Trompette (Sw)

103. 16' Kontra Trompete (Gt)

104. 16' Dulzian (Ch)

105. 8' Trompette

106. 8' Trompete (Gt)

107. 8' Oboe (Sw)

108. 4' Bombarde Clarion (from #101)

109. 4' Oboe (Sw)

110. 4' Schalmei (Ch)

111. 8' Trompette en Chamade (Gt)

112. 8' English Tuba (Ch)

113. Chimes (Gt)

{C}

 {C}

[D] = Digital Ranks

{C}

 {C}

Couplers

Sw/Gt 16 8 4

Ch/Gt 16 8 4

So/Gt 16 8 4

Ant on Gt

So/Sw 16 8 4

Ant on Sw

Sw/Ch 16 8 4

So/Ch 16 8 4

Ant on Ch

Ant on So

Gt 16 UO

Sw 16 UO 4

Ch 16 UO 4

So 16 UO 4

Ant UO 4

Gt/Ped 8 4

Sw/Ped 8 4

Ch/Ped 8 4

So/Ped 8 4

Ant/Ped 8

{C}

 {C}

Charles M. Ruggles, Conifer, Colorado, has built a new organ for The Randolph Church, Randolph, New Hampshire. The organ is designed on classic models typical of instruments found in New England and European churches; two manuals and pedal, mechanical action. Its structural and tonal characteristics make it suitable for the needs of The Randolph Church--for service playing, accompanying congregational singing, and playing a wide segment of standard organ literature. The case features cherry wood frame, redwood panels, and walnut trim. The Rohrflöte 8 and Octave 2 are common between the two manuals; the Bourdon 16 is an extension of the Bourdon 8. Manual compass 56 notes, pedal compass 30 notes; standard AGO pedalboard. Couplers, operated by foot levers, include Great to Pedal, Swell to Pedal, and Swell to Great.

{C}

 {C}

GREAT

                  8'             Principal

                  8'             Rohrflöte

                  4'             Octave

                  2'             Octave

                                    Mixture

                                    Sesquialtera II (from middle c)

SWELL

                  8'             Rohrflöte

                  8'             Gamba (tenor C)

                  4'             Flute

                  2'             Octave

                  8'             Dulcian

PEDAL

                  16'          Bourdon

                  8'             Bourdon

{C}

 {C}

B. Rule & Company, New Market, Tennessee, has rebuilt and installed a Hook & Hastings organ for Covenant Baptist Church, Houston, Texas. Built by Hook & Hastings in 1893 for First Baptist Church of Georgetown, Kentucky, the organ was removed from this church in 1963. It was owned for many years by David Bottom, of Lexington, Kentucky, who set it up in several different locations before carefully putting it in storage several years ago. B. Rule recommended the organ to Covenant Baptist Church, who bought it from David Bottom. Compass: 58/27.

B. Rule & Co. rebuilt the organ, including a complete rebuild of the chests and bellows and re-covering the manual keys with bone. The hand-pumping mechanism was also restored. Two changes were made: the Dulciana was replaced with a 2' Fifteenth, and the Oboe was extended to full compass from its previous tenor C status.

The small new sanctuary has a concrete floor and live acoustics, creating an environment which encourages congregational singing. The acoustical consultant was Charles Boner. The organist of the church is Carl McAliley, who played a joint dedication recital with Bruce Power on March 4.

{C}

 {C}

GREAT

                  8'             Open Diapason

                  8'             Melodia

                  4'             Octave

                  2'             Fifteenth

SWELL

                  8'             Stopped Diapason

                  8'             Viola (1-12 from St. Diap)

                  4'             Harmonic Flute

                  8'             Oboe

PEDAL

                  16'          Bourdon

Accessories

                                    Sw/Gt

                                    Gt/Ped

                                    Sw/Ped

                                    Sw/Gt Octaves

                                    Tremolo

                                    Blower Signal