New Organs

Karl Wilhelm Inc., Mont St. Hilaire, Québec, Canada, Opus 155

St. Thomas Episcopal Church, Berea, Ohio

The new organ at St. Thomas Episcopal Church is built according to classical principles. Key and stop action are mechanical. The organ consists of three divisions: the Great, above the impost, the Swell, enclosed in its own case behind the main organ, and the Pedal, with the Great except for the Subbass 16' and Posaune 16', which are of poplar wood and are on both sides behind. There are 21 stops and a total of 1156 pipes. Natural keys are plated with cow bone; sharps are ebony.

The organ is located in front of the stained glass window, where the sound projects along the central axis of the church. The casework is made of solid white oak, compatible to this modern church. The pipe shades above the pipes are motifs taken from the stained glass window, thus providing an acoustical function as well as enhancing the visual appearance of the organ.

In order to achieve a satisfying tonal ensemble, various stops have been chosen from different schools of organ building. The St. Thomas Episcopal Church organ mainly represents the classic German and French orientation with its principal choruses, flutes, strings, and reed stops. The brilliant sound of the instrument can be attributed in part to the temperament after Vallotti, which yields six pure fifths. The metal façade pipes are 75% pure polished tin. Other metal pipes in the organ are an alloy of 40% tin and 60% lead. This instrument has one wedge-shaped bellows and a winding configuration that creates a flexible wind effect.

— Karl Wilhelm Inc.

Facteurs d’Orgues-Organbuilders

Karl Wilhelm Opus 155

St. Thomas Episcopal Church

Berea, Ohio

GREAT (C–g¢¢¢ 56 notes)

16' Bourdon

8' Principal

8' Rohrflöte

4' Octave

22⁄3' Quinte

2' Superoktave

13/5' Terz

11/3' Mixtur IV

8' Trompete

SWELL (C–g''' 56 notes)

8' Salicional

8' Celeste TC

8' Hohlflöte

4' Spitzflöte

2' Doublette

11/3' Larigot

8' Oboe

Tremolo

PEDAL (C–f' 30 notes)

16' Subbass

8' Offenflöte

4' Choralbass

16' Posaune

8' Trompete (Great)



One manual coupler and two pedal couplers

Zimbelstern with 8 bronze bells

Levsen Organ Company,

Buffalo, Iowa

St. Peter Lutheran Church, Denver, Iowa

In 1902, Carl Schmidt donated a piece of land in the center of Denver, Iowa, to what is now St. Peter Lutheran Church. Denver is a little town of about 1700 residents north of Waterloo, Iowa, where the church now stands. By 1912, the predominantly Swedish congregation recognized the need for a pipe organ to enhance their musical worship. They purchased a 5-rank Hinners tracker organ from Pekin, Illinois. This information was disclosed by the Hinners Opus List created by E. A. Broadway in 1962. The organ was rebuilt with new electric action in 1954 by the Wicks Company of Highland, Illinois, and three ranks were added at that time. By the late 1980s, the organ developed serious problems with the relay; therefore, an organ committee was formed to explore their options.

Church member Marvin Schumacher, although not on the committee, made an important suggestion when the decision to go ahead and rebuild the organ had been made. As the owner of the Schumacher Elevator Company and builder of passenger, freight, and other elevators, he understood the need for safety and reliability. He proposed that a digital relay would be most appropriate. As his company’s website says, “Schumacher components are built to last,” and with that idea, the Levsen Organ Company of Buffalo, Iowa, which had serviced the instrument since around 1970, was awarded the contract to rebuild and enlarge the organ using a digital relay system.

Levsen Organ Company expanded the romantic instrument to include a 2' Fifteenth, III Mixture, 8' Trompette, 4' Gemshorn in the Swell and a 22⁄3' Nazard in order to provide more colorful ensembles. The church opted to keep all the organ pipes in the chamber rather than expose them. The entire 15 ranks are now under expression and are successful in leading the congregation in hymn singing and worship.

Organist August Knoll of Wheatland, Iowa had served as a consultant with proposals for enlarging and making these changes, and performed the dedication service.

—Tamara Fudge, D.Mus.

Moline, Illinois


GREAT

8' Open Diapason

8' Melodia

8' Dulciana

4' Octave

4' Concert Flute (12 pipes)

2' Fifteenth

III Mixture

8' Trompette (Sw)


SWELL

8' Stopped Diapason

8' Salicional

8' Vox Angelica (TC)

4' Gemshorn

22⁄3' Nazard

2' Gemshorn (12 pipes)
16' Fagott (TC, ext)

8' Trompette

4' Oboe

Tremolo


PEDAL

32' Resultant (32 notes)

16' Bourdon

16' Lieblich Gedeckt (12 pipes)

8' Open Diapason (Gt)

8' Bassflöte (12 pipes)

4' Choralbass (Gt)

16' Trompette (12 pipes)

8' Trompette (Sw)

4' Oboe (Sw)

Wicks Organ Company,
Highland, Illinois
All Saints Catholic Church,
Manassas, Virginia
All Saints Catholic Church in Manassas, Virginia, is privileged and blessed to have a new church building and a newly renovated pipe organ. Approximately thirteen years ago, our original Opus 6376 was purchased by All Saints from the Wicks Organ Company of Highland, Illinois, with the intention of one day moving it into a new church. The organ is a “hybrid” instrument, comprising pipework and digital voices. The pipework and console were built by Wicks, and the digital voices are a product of the Walker Technical Company of Zionsville, Pennsylvania.
During the design period for our new church, every attempt was made to ensure that we retained as much of the current organ as possible. In the fall of 2008, All Saints entered into a contract with the Wicks Organ Company for a redesign and expansion of the current instrument for the new church. All of the pipework in the previous organ was retained. The console was renovated and enlarged. Because the wood case of the original organ did not match the woodwork of the new church and did not fit into the new space, two new identical pipe towers were built (matching the wood stain of the altar area) to fit into the space on either side of the new altar. These towers contain the revoiced pipework, ten additional ranks of pipes, upgraded digital voices, and an array of new digital voices.
The enlarged stoplist features a wide range of voices in different tonal colors that are used to accompany the choir and the congregation, as well as to play solo organ literature. Full MIDI features, solid-state memory, and a playback system are also included. Mounted high above the baptismal font on the back wall of the sanctuary is a horizontal Fanfare Trumpet. Additionally, the bell tower carillon, by the Verdin Bell Company, is also controlled from the organ console.
The renovated organ was delivered by Wicks in July 2010, and it was completely installed in time for the dedication Mass on August 14. This updated and expanded version of our organ gloriously adorns the liturgical life of our vibrant parish community.
In addition to the rebuilt main organ, a Wicks digital organ was acquired by All Saints. The two-manual organ was installed in our Blessed Sacrament Chapel, where it is used for smaller liturgies.
—William H. Atwood
Director of Music, and Coordinator of Liturgical Ministries
All Saints Catholic Church
Manassas, Virginia

GREAT
16′ Violone* (D)
8′ Open Diapason 61 pipes
8′ Hohlflöte 61 pipes
8′ Gemshorn* (D)
8′ Bourdon* 61 pipes
4′ Octave 61 pipes
4′ Spillpfeife* 61 pipes
22⁄3′ Octave Quinte* 61 pipes
2′ Super Octave* 61 pipes
IV Fourniture 244 pipes
8′ Trumpet 61 pipes
(formerly in Swell)
8′ Tuba Mirabilis* (D)
8′ Fanfare Trumpet* 61 pipes
Tremolo
Chimes* (D)
Harp* (Ch) (D)
Cymbelstern 9 bells
Carillon (existing)
MIDI

SWELL
16′ Rohrbourdon* (1–12 D)
8′ Geigen Diapason* 61 pipes
8′ Rohrflöte 61 pipes
8′ Viole de Gambe 49 pipes
(1–12 D*)
8′ Voix Celeste TC 49 pipes
4′ Principal 61 pipes
4′ Flauto Cantabile* 61 pipes
4′ Violina*
4′ Voix Celeste*
22⁄3′ Nazard (1–12 D*) 49 pipes
2′ Octavin* 61 pipes
2′ Flageolet* (50–61 D)
13⁄5′ Tierce TC 49 pipes
V Plein Jeu* (D)
16′ Contra Fagotto* (D)
8′ Trompette* (D)
8′ Oboe* (D)
8′ Vox Humana* (D)
4′ Clarion* (D)
8′ Fanfare Trumpet (Gt)
Tremolo
MIDI

CHOIR
8′ English Diapason* (D)
8′ Harmonic Flute* (D)
8′ Viola* (D)
8′ Erzähler* (D)
8′ Erzähler Celeste* (D)
4′ Lieblichflöte* (D)
4′ Gemshorn* (D)
2′ Piccolo* (D)
11⁄3′ Quinte (D)
III Mixture* (D)
8′ Cornopean* (D)
8′ French Horn* (D)
8′ English Horn* (D)
8′ Clarinet* (D)
8′ Fanfare Trumpet (Gt)
Tremolo
Chimes
Harp* (D)
MIDI

ANTIPHONAL
8′ Open Diapason* (D)
8′ Chimney Flute* (D)
8′ Flute Celeste II* (D)
4′ Octave* (D)
4′ Flauto Traverso* (D)
2′ Gemshorn* (D)
III Mixture* (D)
Tremolo*
16′ Antiphonal Pedal Subbass* (D)
8′ Antiphonal Pedal Flute* (D)

PEDAL
32′ Contra Violone (D)
16′ Open Diapason (D)
16′ Violone* (Gt) (D)
16′ Bourdon (D)
16′ Rohrbourdon* (Sw) (1–12 D)
8′ Octave (D)
8′ Bassflute* (D)
8′ Gemshorn* (Gt) (D)
8′ Rohrflöte* (Sw)
4′ Choral Bass (D)
4′ Kleinflöte* (Sw)
III Mixture* (D)
32′ Double Fagotto* (D)
16′ Trombone* (D)
16′ Contra Fagotto* (Sw) (D)
8′ Trumpet* (Gt)
8′ Fagotto* (Sw) (D)
4′ Clarion* (Sw) (D)
8′ Tuba Mirabilis* (Gt) (D)
8′ Fanfare Trumpet (Gt)
MIDI
* = New
D = digital voice

83 stops, including six percussions,
22 pipe ranks, 42 digital voices

===========================================================================

Lewis & Hitchcock,
Beltsville, Maryland
Christ Ascension Episcopal Church, Richmond, Virginia
Christ Ascension Episcopal Church of Richmond, Virginia, has a 1978 Schantz organ. Organist/choirmaster Ed Schutt wanted the organ to be made as flexible as possible. There was a desire for several additions, and there was no space for them in the organ chamber, which is directly behind the altar and speaks clearly down the length of the reverberant nave. Lewis & Hitchcock worked out a plan to use the unit stops as much as possible, and then fill out what was missing with digital stops from the Walker Technical firm.
The console now has a full complement of pistons and toe studs, and a multiple-memory combination action. The multiplex relay system allows the unit stops to play on all divisions. The result is a reliable, flexible instrument that can easily provide the right sound for the music.
—Gerald L. Piercey

GREAT
16′ Rohr Gedeckt (Sw)
8′ Principal 61 pipes
8′ Bourdon (Ped Bourdon/Sw Röhrfl)
8′ Gedeckt 61 pipes
4′ Octave 61 pipes
4′ Koppelflöte 61 pipes
2′ Waldflöte 61 pipes
IV Fourniture 244 pipes
16′ Contre Trompette (Sw)
8′ Trompette (Sw)
Great to Great 16-UO-4
Swell to Great 16-8-4
Positiv to Great 16-8-4
8′ Festival Trumpet (Walker digital)

SWELL
16′ Rohr Gedeckt (ext)
8′ Rohrflöte 61 pipes
8′ Viole 61 pipes
8′ Viole Celeste TC 49 pipes
4′ Spitz Principal 61 pipes
4′ Hohlflöte 61 pipes
22⁄3′ Nazard 61 pipes
2 Blockflöte (ext 4′ Hohlflöte) 12 pipes
13⁄5′ Tierce 61 pipes
III Scharff 183 pipes
16′ Contre Trompette (ext)
16′ Bassoon 61 pipes
8′ Trompette 61 pipes
Tremolo
Swell to Swell 16-UO-4
8′ Festival Trumpet (Gt)

POSITIV
16′ Rohr Gedeckt (Sw)
8′ Rohrflöte (Sw)
8′ Nason Gedeckt 61 pipes
8′ Gemshorn 61 pipes
8′ Gemshorn Celeste TC 49 pipes
4′ Nachthorn 61 pipes
2′ Principal 61 pipes
11⁄3′ Larigot 61 pipes
III Zimbel 183 pipes
16′ Contre Trompette (Sw)
8′ Trompette (Sw)
8′ Krummhorn 61 pipes
Tremolo
Positiv to Positiv 16-UO-4
Swell to Positiv 16-8-4
8′ Festival Trumpet (Gt)

PEDAL
32′ Untersatz (Walker digital)
16′ Principal 32 pipes
16′ Bourdon 32 pipes
16′ Rohr Gedeckt (Sw) 12 pipes
8′ Octave (ext) 12 pipes
8′ Bourdon (ext) 12 pipes
8′ Rohrflöte (Sw)
4′ Choral Bass 32 pipes
4′ Bourdon (ext) 12 pipes
2′ Choral Bass (ext) 12 pipes
22⁄3′ Mixture III (Walker digital)
32′ Bombarde (Walker digital)
16′ Contre Trompette (Sw) 12 pipes
8′ Trompette (Sw)
4′ Clarion (Sw)
Great to Pedal 8-4
Swell to Pedal 8-4
Positiv to Pedal 8-4
8′ Festival Trumpet (Gt)

27 registers, 34 ranks, 4 Walker digital voices

Marceau & Associates Pipe Organ Builders, Inc., Seattle, Washington
Our Saviour’s Lutheran Church, Stanwood, Washington
Opus 27, 2009
Marceau & Associates Pipe Organ Builders has completed their Opus 27 project at Our Saviour’s Lutheran Church in Stanwood, Washington. The original instrument was built by Balcom & Vaughan Organ Builders of Seattle as their Opus 735, completed in 1968 for the First Presbyterian Church of Bellevue, Washington. This organ served as the primary musical resource for the Bellevue congregation until 1995, when a new sanctuary was built that included a new Casavant Frères pipe organ. At that time, the original sanctuary became the chapel, providing services on a smaller scale. In 2008, the chapel and adjoining buildings were slated for demolition to expand the current church campus. This news was brought to the attention of the organ committee of Our Saviour’s Lutheran, who decided to purchase this organ instead of rebuilding and enlarging their existing Kimball/Balcom & Vaughan instrument.
In May 2008, with the help of volunteers from Our Saviour’s, the organ was removed and transported to the Marceau organ shop in Seattle. From June to September, the organ was repaired, modified and redesigned to fit into the two organ chambers in Stanwood. The winding system was reduced to eliminate redundant reservoirs, a new electrical system by the Syndyne Corporation of Vancouver, Washington was installed, and all pipes were cleaned and revoiced for a more musical result. During the fall, the organ was installed and finished. It was used for the first time on Thanksgiving.
Since the original organ had no visible pipework, a new façade was designed with members of the church fabricating all of the casework. New polished zinc pipes from A. R. Schopp’s Sons of Canton, Ohio were installed in January 2009. The organ contains 21 stops, 26 ranks and 1,572 pipes, with preparations for a Great 8′ Erzähler Celeste and Swell 13⁄5′ Tierce. While the Great principal chorus is unenclosed, the Great flutes and string stops are enclosed, allowing for a greater degree of expression from both manuals.
The Great 22⁄3′ Quinte was not an original stop; this was created from the Pedal Mixture, which was not retained in the new stoplist. The principal chorus on the Great was revoiced to have a more prominent fundamental emphasis, which included reducing the dynamic output of the Mixture so that this stop now sits atop the ensemble without overpowering the listener with the original hard, glassy sound. The Swell 8′ Trompette was also programmed to play from the Great, replacing the duplexing of the Swell 8′ Hautbois from the original stoplist. The 16′ Posaune is now extended from the 8′ Trompette instead of the original 8′ Hautbois. The result is a smoother segue to this low octave of pipes.
A special thanks goes out to Jon Stoneman of Our Saviour’s Lutheran Church. His activities included the original planning of the organ project, removal and installation, providing volunteer help, technical advising throughout the project and providing home stays during the installation.
Members of the Marceau staff involved with the project included Sean Haley, René Marceau, Ruth Register, and Tom Skyler. Organbuilder Frans Bosman provided much needed technical assistance and support.
—René Marceau
5113 Russell Ave., NW
Seattle, WA 98107
206/521-0954
cell 503/522-2153
<[email protected]>

Our Saviour’s Lutheran Church,
Stanwood, Washington
Marceau & Associates Opus 27, 2009
GREAT
16′ Rohrbass (Sw)
8′ Principal (part façade)
8′ Gedeckt
8′ Erzähler
8′ Erzähler Celeste, TC
4′ Octave
4′ Spillflute
22⁄3′ Quinte
2′ Super Octave
11⁄3′ Mixture IV
8′ Trompette (Sw)
Chimes
Great to Great 16′
Swell to Great 16′
Swell to Great 8′
Swell to Great 4′
MIDI on Great
Zimbelstern

SWELL
8′ Rohrflute
8′ Viola
8′ Viola Celeste, TC
8′ Erzähler (Gt)
8′ Erzähler Celeste, TC (Gt)
4′ Principal
4′ Flute Douce
22⁄3′ Nasard
2′ Blockflute
13⁄5′ Tierce
1′ Plein Jeu III
16′ Posaune (ext)
8′ Trompette
8′ Hautbois
4′ Clarion (ext)
Tremulant
Swell to Swell 16′
Swell Unison Off
Swell to Swell 4′
MIDI on Swell

PEDAL
16′ Subbass
16′ Rohrbass (Sw)
8′ Principal (part façade)
8′ Rohrflute (Sw)
4′ Choralbass
4′ Rohrflute (Sw)
16′ Posaune (Sw)
8′ Trompette (Sw)
4′ Clarion (Sw)
Great to Pedal 8′
Swell to Pedal 8′
Swell to Pedal 4′
MIDI on Pedal

R. T. Swanson, Inc.,
Grand Ledge, Michigan
St. John’s Lutheran Church,
Saginaw, Michigan
The history of the pipe organ at St. John’s actually starts with an organ built by the Tellers-Kent Organ Company of Erie, Pennsylvania for St. Lorenz Lutheran Church of Frankenmuth, Michigan in 1930. When St. Lorenz bought a new Casavant pipe organ in 1967, their old instrument became available. William Kaltrider of Owosso, Michigan was engaged by St. John’s to build an organ by reusing much of the St. Lorenz instrument and providing a new console, electrical system and two new blowers. By 2000, many of the 1967 components were becoming increasingly unreliable. Another problem with the 1967 installation was that the organ pipes were installed in two cramped chambers on both sides of the balcony and they spoke through very small tone openings, resulting in a “muffled” tone quality.
In December 2001, St. John’s signed a contract with our company to build an essentially new pipe organ while salvaging as much of the previous instrument as was practical for reuse. Eighteen new windchests were built, allowing the most efficient layout for better tonal egress as well as better accessibility for tuning and maintenance. The action is electro-mechanical. The Swiss-made Meidinger blowers were connected to a new wind system that includes new reservoirs and schwimmers to regulate the wind supply.
Most of the pipes of the Great and Choir–Positive divisions are on windchests cantilevered out from the balcony rail by way of steel framework. The windchests and frames are clad in contemporary oak cabinetry stained to match the other oak in the sanctuary. Three ranks of the Choir–Positive are expressive and located in their own enclosure. Of the organ’s 25 ranks of pipes, 8 are new, 10 are from the St. Lorenz organ, and 7 are used ranks from other sources. All of the old flue ranks were reconditioned and revoiced in our shop. The Trumpet and Oboe ranks were reconditioned and revoiced by Trivo Company of Hagerstown, Maryland. The 8′ Cromorne was built and voiced by Eastern Organ Pipes of Hagerstown, Maryland. All new flue pipes were built by CMC Organ Pipes of Erie, Pennsylvania and voiced in our shop.
The console cabinet from 1967 was retained and refitted with new manual keyboards, stop tablets and the new ICS 4000 control system by Peterson Electro-Musical Products of Alsip, Illinois. The ICS 4000 system features a 99-level combination action and complete MIDI capabilities including record/playback.
Tonal egress from the existing organ chambers was improved by enlarging the tone openings and by installing all new expression shades. Preparations have been made for the future addition of a horizontal brass Trompette en Chamade, which will jut out from the center of the balcony railing.
A dedicatory organ concert on February 25, 2007 featured Professor Leonard Proeber from Michigan Lutheran Seminary in Saginaw.
—Richard Swanson

GREAT
8′ Principal +
8′ Doppelflöte *
8′ Gemshorn
4′ Octave +
4′ Doppelflöte (ext) *
22⁄3′ Twelfth TC +
2′ Fifteenth (ext Octave) +
11⁄3′ Mixture III +
8′ Trumpet (Sw)
Chimes
Great to Great 16′, UO, 4′
Swell to Great 16′, 8′, 4′
Choir to Great 16′, 8′, 4′
MIDI on Great

SWELL
16′ Bourdon
8′ Geigenprincipal
8′ Bourdon (ext) *
8′ Viole de Gambe *
8′ Voix Celeste *
4′ Geigenoctave (ext)
4′ Flûte Harmonique
2′ Piccolo (ext)
2′ Mixture III +
8′ Trumpet *
8′ Oboe *
4′ Clarion (ext)*
Tremulant
Swell to Swell 16′, UO, 4′
MIDI on Swell

CHOIR–POSITIVE
8′ Holzgedeckt
8′ Flauto Dolce (expressive)
8′ Flauto Dolce Celeste (expressive)
4′ Principal +
4′ Rohrflöte *
22⁄3′ Nazard TC *
2′ Octave (ext Principal) +
2′ Rohrpfeife (ext)*
13⁄5′ Tierce TC *
11⁄3′ Quinteflöte (ext 22⁄3′) *
8′ Cromorne (expressive) +
8′ Trompette en Chamade †
Tremulant
Chimes
Choir to Choir 16′, UO, 4′
Swell to Choir 16′, 8′, 4′
MIDI on Choir

PEDAL
32′ Resultant *
16′ Subbass *
16′ Bourdon (Sw)*
8′ Octave
8′ Bourdon (Sw)*
8′ Gemshorn (Gt)
4′ Fifteenth (ext Octave)
4′ Rohrflöte (Ch)*
2′ Twentysecond (ext Octave)
16′ Trombone (ext 8′)*
8′ Trumpet (Sw)*
4′ Clarion (Sw)*
Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Choir to Pedal 8′, 4′
MIDI on Pedal

* = pipework from the 1930 Tellers-Kent organ originally at St. Lorenz, Frankenmuth
+ = new pipework
† = preparation for future addition

Andover Organ Company, Methuen, Massachusetts
Hesston Mennonite Church,
Hesston, Kansas
Andover Organ Company has installed their Opus 116 in Hesston Mennonite Church, Hesston, Kansas. Mary Ann Boschmann was the chair of the organ committee. In November 2007 team leader Ben Mague, along with David Zarges, David Michaud and Tony Miscio, flew to Kansas to meet the North American Van Lines truck carrying Opus 116. Unloading was a snap with help from students of Hesston College. The mechanical installation was completed in three weeks. Tonal director John Morlock and voicer Don Glover completed the tonal work in February 2008.
The church is located on the Hesston College campus and serves as a worship center and concert hall for the college. The organ will be used as a teaching instrument as well as a service instrument. It is interesting to note that the hymns are sung four-part a cappella, so the organ is used primarily for preludes, postludes and accompanying anthems.
The case, designed by Donald H. Olson, is of solid red oak, stained to match the interior woodwork of the church. The front panels exactly duplicate the paneling of the sanctuary. The front pipes of the 8′ Open Diapason are polished copper. The pipe shades, designed and carved by Tony Miscio, are of cherry to match the contrasting wood of the console. The console has a third, coupling manual to give the two-manual organ three levels of sound, adding flexibility, especially on a teaching instrument. The keyboards have bone naturals and ebony sharps. The key action is mechanical, and the stop action is electric solenoids with a multi-level combination action by Solid State Organ Systems.
The new sanctuary is spacious with a seating capacity of just over 600. The weekend dedication celebration began on Friday, March 1, 2008, with an alumni dinner honoring the college’s financial supporters. After dinner, we adjourned to the sanctuary where Hesston College Professor John Sharp gave a short talk on the history of music in the Mennonite Church, entitled “The Devil’s Bagpipe or God’s Voice? The Organ in Historical Context.” This speech can be found online at <www.youtube.com&gt; by searching under Hesston or Andover Organ. College Organist Kenneth Rodgers then gave us a virtual tour of the organ in a pre-taped video showing and explaining the working of the organ from the inside out (also available on YouTube). A short concert followed with student organists Naomi Tice and Oliver Kropf, assisted by Stephanie Wyse, alto. Professor Rodgers then concluded the program with works by Locklair and Walther. On Sunday morning the organ was formally dedicated at the 10:00 am service; that evening, Ken Rodgers played the formal recital with the combined Hesston College and Hesston Mennonite Church choirs and the Hesston College Brass Ensemble. Professor Rodgers played works by Bruhns, Böhm, Mendelssohn, Vaughan Williams, Mäteling and Michel.
—Donald H. Olson

GREAT
8′ Open Diapason
8′ Chimney Flute
4′ Principal
4′ Silver Flute
22⁄3′ Twelfth
2′ Fifteenth
III Mixture
8′ Trumpet (prepared)

SWELL
8′ Violin Diapason
8′ Stopped Diapason
4′ Night Horn
22⁄3′ Nazard
2′ Fifteenth
13⁄5′ Tierce (prepared)
8′ Hautboy
Tremolo

PEDAL
16′ Subbass
8′ Principal
8′ Flutebass
4′ Choralbass
16′ Trombone (prepared)
8′ Tromba (prepared)
Couplers
Coupling Manual
Great to Pedal
Swell to Pedal

Fabry, Inc., Antioch, Illinois
Calvary Lutheran Church,
New Windsor, Illinois
Located in one of the many farming towns that populate western Illinois, Calvary Lutheran Church anchors this community and has done so for generations. The organ was showing its age, and the congregation undertook the task of looking for an organbuilder to fix and update the instrument. Fabry, Inc. inspected the organ and recommended a complete rebuild of the instrument and the addition of an exposed Great division. Originally, the instrument was a highly unified four ranks: an 85-note diapason, a 73-note string, a 73-note dulciana, and a 97-note bourdon. While this arrangement worked up until this time, the organ was buried in the chamber and the lack of variety severely hampered the organist.
After completely removing the instrument from the chambers, Fabry, Inc. undertook the task of rebuilding the organ from the blower up. After rebuilding all of the chests and reconfiguring the organ chamber, the organ was re-installed in a manner to facilitate ease of tuning and maintenance. All pipes were washed, and a Gamba Celeste and Trompette were added to the now fully independent Swell division. The restrictive cloth was removed from the grillework, allowing unfettered egress. An all-new Great division was added by hanging a chest on the wall below the tone opening. A Principal, Rohrflote and a two-rank Mixture were placed on the chest, giving the organ, and the congregation, the ability to lead and be led with confidence. All of this was made possible by rebuilding the console and adding a Peterson ICS-4000 combination action and relay. The addition of judicious couplers and additional pistons allows flexibility for the organist. The organ also received a new Zephyr blower as well as a new electric shade action and a new electric tremolo. David G. Fabry constructed all the new chestwork, laid out the new chamber arrangement, rebuilt the console and provided general direction. Installation involved the abilities of Steve Ellis. Final wrap up, voicing and tuning was handled by Philip A. Spressart.
Fabry, Inc. would like to thank Bertie Carlson and Pastor Jane McChesney.
—Phil Spressart

Photo credit: Phil Spressart

GREAT
8′ Principal new rank 7
8′ Rohrflote new rank 8
4′ Octave from rank 7
4′ Flute from rank 8
22⁄3′ Twelfth from rank 7
2′ Super Octave from rank 7
2′ Piccolo from rank 8
Mixture II new ranks 9, 10
8′ Trompette (from Swell)
Chimes 21 bars

SWELL
8′ Geigen Principal rank 1
8′ Stopped Flute from rank 2
8′ Gamba rank 3
8′ Dulciana rank 4
8′ Gamba Celeste new rank 5
4′ Principal from rank 1
4′ Flute from rank 2
22⁄3′ Nazard new, from rank 2
2′ Fern Flute from rank 2
2′ Doublette new, from rank 1
13⁄5′ Tierce new, from rank 4
Cymbal III new, wired
8′ Trompette new rank 6
4′ Clarion new, from rank 6
Tremolo

PEDAL
32′ Lieblich Bourdon new, wired
16′ Bourdon rank 2
16′ Lieblich Gedeckt from rank 2
8′ Principal from rank 7
8′ Gamba from rank 3
8′ Rohrflote from rank 8
4′ Choral Bass new, from rank 5
4′ Flute new, from rank 2
Mixture II new, fr ranks 9, 10
8′ Trompette new, from rank 6

Couplers & Accessories
MIDI to Great
MIDI to Swell
MIDI to Pedal
Swell to Great
Pedal to Great
Great to Pedal 8′
Swell to Pedal 8′

Pressure changer for 16′ Bourdon, rebuilt

Pipe & rank analysis
Rank 1 8′ Diapason 85 pipes
Rank 2 16′ Bourdon 97 pipes
Rank 3 8′ Gamba 73 pipes
Rank 4 8′ Dulciana 73 pipes

New ranks
Rank 5 8′ Gamba Celeste 49 pipes
Rank 6 8′ Trompette 73 pipes
Rank 7 8′ Principal 85 pipes
Rank 8 8′ Rohrflote 85 pipes
Ranks 9, 10 22⁄3′ Mixture II 122 pipes

Salmen Organ Company, 2007, Wessington Springs, South Dakota
The Yankton College Memorial
Organ at United Church of
Christ-Congregational,
Yankton, South Dakota
One cannot speak of the Yankton, South Dakota organ without mentioning a parallel project in Boulder, Colorado. We have been privileged to have recently worked with Organ Supply Industries as we built these two new
3-manual instruments for the United Church of Christ-Congregational, Yankton, South Dakota, and First Congregational Church, Boulder, Colorado. These congregations and the experiences with them are so nearly parallel that they deserve to be told almost as a single story. Both are thriving downtown congregations with historic buildings that had suffered the neglect of time. Both had existing instruments; while unique and somewhat interesting, neither served its congregation in a reliable and musical manner. Each church has a music program without rival in its own community. And each—while offering an array of meaningful and much needed social ministries—has also been an influential medium in which music and fine arts have been fostered and shared with a larger community.
When the opportunity arose to design new instruments for the Yankton and Boulder congregations, we took our typically conservative approach. This approach seeks to use viable existing materials in an environmentally and musically sound manner, while always keeping the stewardship of the congregation as a focusing factor in our design recommendations. Each of the congregations’ existing instruments had some beautifully crafted pipework from previous incarnations, mostly in which the true color and clarity of the stops had not yet been realized. Working with the architects and contractors for Yankton and Boulder, we were able to influence the outcome visually and acoustically of each of the historic conservation efforts.
Historic conservation, I believe, is an ideal approach to working with older buildings. It recognizes the historic integrity, inherent beauty, and original design intent of a structure; and while maintaining this character, it brings the building into full usefulness and compliance for today’s needs and service. It would seem that most historic American churches have suffered from decades-old attempts at modernizations. Too often, one will find ceilings covered in acoustically absorbent tiles as a perceived cure for a problem caused by the installation of a poor amplification system. In addition, one will usually find a sea of aging, thick carpet installed, often over a beautiful wooden floor. Paneling covers cracking plaster over lath.
Visually the rooms appear straight out of the 1950s post-WW II era. Gone are the encased instruments and decorative façades that complemented and graced the original building’s design. Quite often an inadequate or neglected pipe organ speaks through a tattered grille-covered opening. Fortunately for the Yankton and Boulder congregations, they were served with leadership from within and design teams from outside the congregation to recreate exciting new worship spaces—relevant to today while being faithful to their past. For me, worshipping with these congregations while working on their instruments has reinforced the UCC mantra, “God Is Still Speaking.” Yes, there is great historical importance to the biblical message and the message of sanctuaries of a more ancient time, but both are also being rediscovered today in a way that is fresh, relevant and new!
As an organbuilder, I have relied upon our friends at Organ Supply Industries as valued partners in our musical endeavors. Their business model of being our partner in production while never our competitor in the marketplace has served us and our clients well. For the past ten years, following the termination of a relationship with a national organ building firm, I have been able to work more closely with and appreciate the knowledge and craftsmanship of our friends at OSI in Erie. Their attitude is refreshing in that they are always looking for ways to serve us; they are creative in assisting us in finding solutions when some seem impossible; they openly embrace new concepts and layouts with the premise that “anything is possible”; most importantly from a strictly business perspective, we get what we want, when we need it, delivered as promised for a fair and open price. I believe that the partnership we enjoy with OSI has allowed us to deliver higher quality instruments for a lower price than was previously possible in our business.
—David Salmen

Historical sketch of organ music at First Congregational Church
The Civil War had ended, and Yankton was a frontier town of approximately 400 inhabitants. Immigrants came to take advantage of the Homestead Act, signed into law by President Lincoln in 1862. Imagine that—160 acres of free land for those brave enough to leave the Old Country and come to Dakota Territory. The people who came were religious and wanted a church.
The Congregational Church was organized here on April 6, 1868, at the home of A. G. Fuller by the Rev. E. W. Cook from Wisconsin. On November 6, 1868, Rev. Joseph Ward and his bride Sarah arrived in Dakota Territory as missionaries. Services were held two days later (November 8, 1868) in the lower level of the Dakota Territorial Capitol Building. Thirty-three people attended.
A charter member of this congregation was J. B. S. Todd, a cousin of Mary Lincoln, wife of the president. At the Christmas Eve service, he pinned a note on the Christmas tree, which read: “lots for the church.” On Christmas Day, Rev. Ward, one of the trustees, and J. B. S. Todd went to see the lots. They chose the lots this church still occupies today. Some members questioned, “Who would attend a church so far from town? . . . way out on the prairie!”
The earliest church was built of wood and dedicated July 17, 1870. It is reported to have had a “hand-organ.” The present brick church was built in 1904 and dedicated May 14, 1905.
In 1880 Rev. Ward founded Yankton College. It was the first institution of higher learning in the Dakota Territory. It had a School of Theology, which graduated German-speaking Congregational ministers, who served many communities in the Dakota Territory and beyond.
Yankton College had a highly respected Conservatory of Music, which originally used the (brick) church sanctuary as its concert hall. Staff included musicians such as Dr. Lee N. Bailey, Ida Clawsen Hunt, J. Laiten Weed, Dr. Evelyn Hohf, Floyd McClain, Lewis Hamvas, Gene Brinkmeyer, Stan Rishoi, and others. Dr. Hohf and Mr. Brinkmeyer were organists of this church for many years.
The first pipe organ in Yankton was installed in First Congregational Church. Records reveal that the congregation voted to form a “Committee on Music” on January 5, 1882. In 1888 a Johnson tracker organ was installed. A recital was given on September 6 of that same year, with an offering of $52.90 received.
In 1905 this organ was enlarged and placed in the present brick church building. In 1957 the organ was modernized, and the console moved to the choir loft. The tracker action was changed to an electrically controlled system. This project cost $14,000. In 1980 the organ was enlarged and renovated to three manuals for a cost of $40,000 by Eugene Doutt of Watertown, South Dakota.
During the historic renovation of the sanctuary in 2004, it was necessary to remove all organ pipes and parts because of construction dust. The organ was removed in October 2003 by David Salmen of Salmen Organs & Farms, Wessington Springs, South Dakota. Among the pipes saved and put in storage, until a new organ could be built and safely installed, were some that were part of the original 1888 organ.
Plans for a new organ were on hold until the Yankton College Board of Trustees announced a $100,000 named grant in appreciation for the support given by this congregation to the college over many years. The grant challenged the congregation to pledge an equal amount. Plans that were on hold were now put into action. The organ chamber had to be prepared with new walls, proper insulation, new wiring, and a new floor. This added to the daunting tasks addressed so conscientiously by the renovation committee.
On January 9, 2005, a semi-trailer loaded with over 2,000 pipes arrived at the church; it was unloaded by a host of excited members. David Salmen began the installation of the new Yankton College Organ. The three-manual organ with 33 ranks of pipes and a beautiful new console was installed. The visible (black) expression shutters and a few pipes dating to the original 1888 organ were reminders that the organ had yet to be completed. For nearly three years the members of the congregation worked together to pay down the remaining building renovation debt and raise the funds to complete the new organ.
February 2008 again found the congregation assembled to unload another semi-trailer of pipes, windchests, reservoirs, and the casework necessary to complete the organ. The organ now contains 46 ranks of pipes.
It has truly been a labor of love and sacrifice for the members of this congregation, who love to sing with the majestic accompaniment of a pipe organ. Music has always been central in worship to this church. The 45-member Adult Choir enjoys this fine instrument as they prepare not only to lead Sunday worship, but also for special masterworks concerts and cantatas.
We remain ever grateful to Yankton College, the J. Laiten Weed Endowment, and to the generous members and friends of this congregation for their support. Yankton College Conservatory graduates Ted and Jennifer Powell are the present organist and choir director. Chelsea Chen played the dedicatory recital.
We look forward to the next 100 years as we continue the tradition of wonderful music to the glory of God, which began at the First Congregational Church, way out on the prairie in Dakota Territory 120 years ago.
—Brooks and Vi Ranney

Photo credit: David Salmen

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The Yankton College Memorial Organ at United Church of Christ-Congregational, Yankton, South Dakota
Salmen Organ Company, 2007
Wessington Springs, South Dakota
3 manuals, 36 stops, 46 ranks

GREAT
16′ Bourdon (Choir)
8′ Principal 61 pipes
8′ Harmonic Flute 61 pipes
8′ Bourdon (Choir)
8′ Chimney Flute (Swell)
4′ Octave 61 pipes
2′ Flachflute 61 pipes
IV Fourniture 244 pipes
8′ Tromba (Choir)
8′ Basson (Choir)
8′ Posaune (Pedal)
Cymbelstern
Tremulant
Great-Great 16-UO-4
Swell-Great 16-8-4
Choir-Great 16-8-4
Pedal on Great Continuo
MIDI I
SWELL
8′ Montre 61 pipes
8′ Chimney Flute 61 pipes
8′ Viola 61 pipes
8′ Voix Celeste (TC) 49 pipes
4′ Principal 61 pipes
4′ Hohlflute 61 pipes
22⁄3′ Nasard 61 pipes
2′ Blockflute 61 pipes
13⁄5′ Tierce 61 pipes
IV Plein Jeu 244 pipes
16′ Bombarde 85 pipes
8′ Trompette 61 pipes
8′ Bombarde (ext)
8′ Hautbois 61 pipes
4′ Bombarde Clarion (ext)
8′ Festival Trompette preparation
Tremulant
Swell-Swell 16-UO-4
Choir-Swell 8
MIDI II

CHOIR
16′ Bourdon 73 pipes
8′ Diapason 61 pipes
8′ Bourdon (ext)
8′ Spitzflute 61 pipes
8′ Flute Celeste (TC) 49 pipes
4′ Geigen Octave 61 pipes
4′ Koppelflute 61 pipes
22⁄3′ Twelfth 61 pipes
2 Fifteenth 61 pipes
13⁄5′ Seventeenth 61 pipes
IV Scharf 244 pipes
16′ Basson 73 pipes
8′ Tromba 61 pipes
8′ Clarinet 61 pipes
16′ Posaune (Pedal)
8′ Posaune (Pedal)
Tremulant
Choir-Choir 16-UO-4
Swell-Choir 16-8-4
Pedal on Choir 8
Great/Choir Transfer
MIDI III

PEDAL
32′ Resultant
16′ Principal 32 pipes
16′ Subbass 32 pipes
16′ Bourdon (Choir)
8′ Oktav 44 pipes
8′ Diapason (Choir)
8′ Chimney Flute (Swell)
8′ Bourdon (Choir)
4′ Oktav (ext)
4′ Chimney Flute (Swell)
II Mixture 68 pipes
16′ Posaune 73 pipes
16′ Bombarde (Swell)
16′ Basson (Choir)
8′ Posaune (ext)
8′ Bombarde (Swell)
4′ Posaune (ext)
4′ Basson (Choir)
4′ Clarinet (Choir)
Great-Pedal 8-4
Swell-Pedal 8-4
Choir-Pedal 8-4
MIDI IV

---------------------------------------------------------

First Congregational Church,
Boulder, Colorado
Salmen Organ Company, 2007
Wessington Springs, South Dakota
3 manuals, 41 stops, 51 ranks

GREAT
16′ Rohrflute (Swell)
8′ Principal 61 pipes
8′ Harmonic Flute 49 pipes
(1–12 from Bourdon)
8′ Bourdon 61 pipes
8′ Rohrflute (Swell)
8′ Gemshorn (Choir)
8′ Flauto Dolce* 61 pipes
8′ Flute Celeste* 49 pipes
4′ Octave 61 pipes
4′ Spillflute 61 pipes
2′ Flachflute 61 pipes
IV Fourniture 244 pipes
16′ Basson (Choir)
8′ Tromba 61 pipes
8′ Basson (Choir)
8′ Festival Trumpet preparation
Tremulant
Sawyer Cymbelstern
Great-Great 16-UO-4
Swell-Great 16-8-4
Choir-Great 16-8-4
Pedal Continuo on Great
MIDI on Great
* located in Swell

SWELL
16′ Rohrflute 73 pipes
8′ Montre 61 pipes
8′ Rohrflute (ext)
8′ Salicional 61 pipes
8′ Voix Celeste 49 pipes
4′ Prestant 61 pipes
4′ Hohlflute 61 pipes
22⁄3′ Nasard 61 pipes
2′ Blockflute 61 pipes
13⁄5′ Tierce 61 pipes
IV Plein Jeu 244 pipes
16′ Bombarde 85 pipes
8′ Trompette 61 pipes
8′ Hautbois 61 pipes
4′ Bombarde Clarion (ext)
16′ Festival Trumpet preparation
8′ Festival Trumpet preparation
Tremulant
Swell-Swell 16-UO-4
Choir-Swell 8
MIDI on Swell

CHOIR
16′ Gemshorn 73 pipes
8′ Geigen Principal 61 pipes
8′ Doppel Flute 49 pipes
(1–12 from Stopt Diapason)
8′ Stopt Diapason 61 pipes
8′ Gemshorn (ext)
8′ Gemshorn Celeste 49 pipes
4′ Octave 61 pipes
4′ Koppelflute 61 pipes
22⁄3′ Twelfth 61 pipes
2′ Fifteenth 61 pipes
13⁄5′ Seventeenth 61 pipes
IV Scharf 244 pipes
16′ Basson 73 pipes
8′ Posaune (Pedal)
8′ Basson (ext)
8′ Clarinet 61 pipes
8′ Festival Trumpet preparation
Tremulant
Choir-Choir 16-UO-4
Swell-Choir 16-8-4
Pedal on Choir
Great/Choir Transfer
MIDI on Choir

PEDAL
32′ Resultant
16′ Contra Bass 32 pipes
16′ Subbass 44 pipes
16′ Gemshorn (Choir)
16′ Rohrflute (Swell)
8′ Oktav 44 pipes
8′ Subbass (ext)
8′ Gemshorn (Choir)
8′ Rohrflute (Swell)
4′ Oktav (ext)
4′ Rohrflute (Swell)
4′ Gemshorn (Choir)
II Mixture 64 pipes
16′ Posaune** 73 pipes
16′ Bombarde (Swell)
16′ Basson (Choir)
8′ Posaune (ext)**
8′ Bombarde (Swell)
4′ Posaune (ext)**
4′ Basson (Choir)
8′ Festival Trumpet preparation
Great-Pedal 8-4
Swell-Pedal 8-4
Choir-Pedal 8-4
MIDI on Pedal
** located in Choir

Salmen Organ Company
38569 SD Hwy. 34
Wessington Springs, SD 57382
Telephone: 605/354-1694
Cell: 605/354-1694
Fax : 605/539-1915
E-mail: [email protected]
Web: www.salmenorgans.com

In December 2003,
Levsen Organ Company, Buffalo, Iowa, started the rebuild of the 3-manual Wicks pipe organ at First United Methodist Church in Peoria, Illinois. As the church underwent changes during a remodeling project so did the organ. First United Methodist Church contracted Levsen Organ Company to rebuild and digitize the console and relays, add a 32' Contra Bourdon, an 8' polished copper Trompette en Chamade, and a Zimbelstern, bringing the organ to three manuals, 77 stops and 63 ranks. It is easily the largest and most versatile organ in the Peoria area. The organ contains many varied voices and ensembles. It is an excellent worship instrument and well suited for recitals. The additions made to the organ greatly increased its dynamic and tonal range. Levsen Organ Company was honored to do the rebuild and additions to the organ at First United Methodist Church.

—Rodney Levsen.

First United Methodist Church, Peoria, Illinois.

1977 Wicks, 3 manuals, 62 ranks, 72 stops.

2004 Levsen Organ Company rebuild, 3 manuals, 63 ranks, 77 stops.

GREAT

16' Spitzflöte (12 pipes).

8' Spitzflöte*.

8' Principal.

8' Bourdon.

4' Octave.

4' Koppelflöte.

2' Super Octave.

IV Mixture (244 pipes).

8' Trumpet.

8' Trompette En Chamade (Pos).

4' Clarion.

Chimes (25 tubes).

16' Great to Great.

Great Unison Off
4' Great to Great.

*All manual stops 61 pipes unless indicated otherwise.


SWELL

16' Contra Viola (12 pipes).

8' Montre.

8' Rohrflöte.

8' Viola Pomposa.

8' Flauto Dolce.

8' Viola Céleste.

8' Flute Céleste (49 pipes).

4' Prestant.

4' Nachthorn.

22/3' Nazard.

2' Octavin.

1' Sifflöte.

III–V Plein Jeu (226 pipes).

16' Bombarde (1–12, 5" wind).

8' Trompette

8' Trompette En Chamade (Pos).

8' Regal.

4' Clarion.

Tremulant.

16' Swell to Swell.

Swell Unison Off.

4' Swell to Swell.

CHOIR.

16' Erzähler (12 pipes).

8' Erzähler.

8' Erzähler Céleste (49 pipes).

8' Waldflöte.

4' Spitz Geigen.

4' Spillflöte.

22/3' Nasat.

2' Flachflöte.

13/5' Tierce.

8' English Horn.

8' Trompette En Chamade (Pos).

8' Clarinet.

8' Major Trumpet.

8' Trumpet (Gt).

4' Trumpet (Gt).

Tremulant.

Chimes.

16' Choir to Choir.

Choir Unison Off.

4' Choir to Choir

FLOATING POSITIV

16' Gemshorn T.C. (ext)

8' Gedeckt Pommer

8' Gemshorn

4' Principal

4' Gedeckt (ext)

2' Octave

11/3' Larigot

IV Cymbal (244 pipes)

8' Krummhorn

Tremulant

8' Trompette En Chamade

PEDAL

32' Subbass (12 pipes)

16' Principal*

16' Contra Viola (Sw)

16' Subbass

16' Spitzflöte (Gt)

102/3' Gross Quint (Sw)

16' Erzähler (Ch)

8' Bourdon

8' Viola (Sw)

8' Octave

8' Spitzflöte (Gt)

4' Flute (12 pipes)

8' Erzähler (Ch)

4' Choralbass

IV Mixture (128 pipes)

32' Contra Bombarde (12 pipes)

16' Bombarde (Sw)

16' Posaune

8' Trompette En Chamade (Pos)

8' Trumpet (Gt)

8' Trompette (12 pipes)

8' Krummhorn (Pos)

4' Klarine (12 pipes)

4' Clarion (Gt)

4' Krummhorn (Pos)

Chimes (25 tubes)

*All pedal stops 32 pipes unless indicated otherwise


MIDI

MIDI 1

MIDI 2

MIDI 3

MIDI 4



Zimbelstern