New Organs

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

St. John’s Catholic Church, Fenton, Michigan

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

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

— Karl Wilhelm Inc.

Facteurs d’Orgues-Organbuilders

Karl Wilhelm Opus 157

St. John’s Catholic Church

Fenton, Michigan

GREAT C–g’’’

16’ Bourdon

8’ Prinzipal

8’ Rohrflöte

8’ Flute Harmonique

4’ Oktave

4’ Spitzflöte

22⁄3’ Quinte

2’ Superoktave

8’ Cornet V (c’–d’’’)

11⁄3’ Mixtur IV

1’ Zimbel III

8’ Trompette

4’ Clairon


SWELL C–g’’’ (enclosed)

8’ Principal

8’ Gambe

8’ Celeste TC

8’ Hohlflöte

4’ Principal

4’ Flute Harmonique

2’ Waldflöte

22⁄3’ Cornet III (TF)

2’ Mixtur IV

16’ Basson

8’ Trompette

8’ Hautbois

Tremolo


RÜCKPOSITIV C–g’’’

8’ Prinzipal

8’ Gedackt

4’ Prinzipal

4’ Rohrflöte

22⁄3’ Nasard

2’ Doublette

13⁄5’ Terz

11⁄3’ Larigot

1’ Scharf IV

8’ Cromorne

Tremolo


PEDAL C–f’

16’ Prinzipal

16’ Subbass

8’ Prinzipal

8’ Bourdon

4’ Choralbass

22⁄3’ Rauschpfeife IV

16’ Posaune

8’ Trompete

4’ Clairon



Note:

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

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

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

Dobson Pipe Organ Builders, Lake City, Iowa

Calvary Lutheran Church, Brookfield, Wisconsin

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

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

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

—John Panning



Photo credit: Lynn Dobson


GREAT (58 notes)

16’ Bourdon

8’ Prestant

8’ Chimney Flute

4’ Octave

4’ Nachthorn

2’ Fifteenth

11⁄3’ Mixture IV

8’ Trumpet

Swell to Great


SWELL (58 notes, expressive)

8’ Gedackt

8’ Salicional

8’ Celeste FF

4’ Principal

4’ Traverse Flute

22⁄3’ Nazard

2’ Piccolo

13⁄5’ Tierce

11⁄3’ Quinte

8’ Oboe


PEDAL (32 notes)

16’ Subbass

16’ Bourdon (Gt)

8’ Principal

8’ Gedackt (ext)

4’ Choralbass (ext)

16’ Posaune

8’ Trumpet (ext)

Great to Pedal

Swell to Pedal



Tremulant

Zimbelstern

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

Dobson Pipe Organ Builders, Ltd., Lake City, Iowa
Church of St. Peter Claver,
West Hartford, Connecticut
Dobson Pipe Organ Builders, Lake City, Iowa, has completed its Op. 85 for the Church of St. Peter Claver in West Hartford, Connecticut. The parish, founded in 1966, erected a church in 1969 to the designs of John Riley of the firm of Russell, Gibson and von Dohlen of West Hartford. Peter Claver, a Jesuit priest, spent forty years in Cartagena, Colombia, in the early 1600s, ministering to slaves shipped there from Africa. To recall this service, the design of the church evokes the hold of a ship, an image familiar to slaves, with light being admitted from a latticed skylight above.
As originally built, St. Peter Claver was supplied with an electronic organ and wall-to-wall carpeting. But the organ project, undertaken in 2006 at the initiative of Tim Stella, St. Peter Claver Director of Music, and Ezequiel Menendez, Director of Music at the Cathedral of St. Joseph in Hartford, was part of a renewal of the church building, including enhancements such as a tile floor. The musicians, originally located at the front near the altar, were given a dedicated space at the rear of the church. While this proved advantageous in many ways, it required the organ to be placed under the lowest point of the ceiling, with the added vexation of two roof trusses passing through the space. Because the ceiling is low, the case design is a horizontal, rather than vertical, composition. The Great Prestant 8′, the organ’s single principal stop at 8′, wouldn’t fill the façade from side to side, so Lynn Dobson created groups of pipes that float in front of a neutral wooden screen. The organ case, made of white oak with a natural finish, is slightly folded in the middle like a book, making a very shallow V that fits gracefully into the corner and embraces the choir. The screen behind the horizontal wooden ribs is a muted blue, while the exposed pipes of the Pedal Bourdon 16′ are painted a burgundy color.
Though the organ budget was not large, the church renovations significantly improved the acoustic, greatly enhancing the effectiveness of the organ and all musical sounds created in that space. The stoplist provides all of the basics: a complete principal chorus on the Great, a lesser chorus capped by the principal-like Gemshorn on the Swell, a variety of flutes including the ingredients for a jeu de tierce on the Swell, a pair of strings, and a reed in each division. In addition to the normal unison couplers, there is a Swell to Great 16′ coupler, which greatly increases registrational possibilities. Principals, strings and reeds are made of 75% or 52% tin; flutes are made of 30% tin or poplar. The organ is voiced on 75 millimeters wind pressure, supplied by a blower within the organ case and regulated by a large weighted reservoir. Mechanical key and stop actions are provided for the manuals, and electric action for the two Pedal stops. The console is detached; built of white oak like the case, the console interior and music rack are trimmed with American black walnut and veneered with Carpathian elm burl.
The organ was dedicated in November 2007, and Ezequiel Menendez, assisted by his wife Mercedes Featherston, presented a dedicatory recital on October 20, 2008 that included works by Mendelssohn, Zipoli, Couperin, Hollins, Franck, Piazzolla, Ginastera and Bach.
—John Panning, Tonal Director
Dobson Pipe Organ Builders

GREAT – 58 notes
8′ Prestant
8′ Chimney Flute
4′ Octave
2′ Fifteenth
11⁄3′ Mixture IV
8′ Trumpet
Swell to Great 16′
Swell to Great 8′

SWELL – 58 notes (enclosed)
8′ Gedackt
8′ Salicional
8′ Celeste FF
4′ Principal
4′ Open Flute
22⁄3′ Nazard
2′ Gemshorn
13⁄5′ Tierce
8′ Oboe

PEDAL – 32 notes
16′ Subbass
8′ Bourdon (Subbass)
16′ Fagotto
8′ Trumpet (Fagotto)
Great to Pedal
Swell to Pedal

Tremulant (affects entire organ)

Designing an organ presents many challenges, many of which are related to making the instrument fit tonally and visually into the building which will be its home.

Fratelli Ruffatti, Padua, Italy

Buckfast Abbey, 

Devon, United Kingdom

The sound

Designing an organ presents many challenges, many of which are related to making the instrument fit tonally and visually into the building which will be its home. The challenges connected with our recent installation at Buckfast Abbey, Devon, England, were, in many ways, out of the ordinary. We were asked to design two instruments of considerable size, tonally interconnected, for a building of moderate size and very kind acoustics that amplify sound in a dreamlike fashion. While it was not difficult to design an instrument to play a variety of literature, much attention was required to scaling the sound to the building without sacrificing the proper characterization of the many different stops.

The tonal palette was based on an initial draft by Matthew Martin, international recitalist, former organist at the London Oratory and now Fellow and Director of Music and College Lecturer at Keble College, Oxford. Further adjustments were coordinated between Philip Arkwright, Organist and Master of the Music at Buckfast Abbey, and Fratelli Ruffatti.

The main instrument, of four manuals and pedal, is located on two sides behind the choir stalls and partially on the triforium level (the upper arcaded gallery) above. Specifically, Great, Positivo (in the Italian style, hence the name), Swell, and Pedal are housed inside solid oak cases at nave level, while the Solo division is placed at triforium level, along with a whole series of “special effects” playable from the Positivo, some of which belong to the early Italian tradition.

The second instrument, comprising two manual divisions with full pedal, is located in the west gallery and partially in the triforium level areas that are closest to the west gallery. Two nearly identical four-manual consoles have been provided, one in each location. The difference between the two is that the Quire console is equipped with an electric lift that adjusts the height of the keydesk and stop jambs by more than four inches (10 centimeters). This feature, along with the two height-adjustable benches (one for concert use, and one for teaching purposes), makes it very easy for any organist to find comfortable playing space. 

As G. Donald Harrison, the Englishman who became tonal director of Aeolian Skinner, once stated, “To me, all art is international; one can draw from the best of all countries. I have used the technique at my disposal to produce instruments which I consider suitable for expressing the best in organ literature.” This instrument indeed embraces this philosophy. The requirements for the seven initial worldwide organbuilders that were asked to submit specifications included the need for the instrument to support a wide repertoire of accompanied music, as well as to successfully perform a wide range of organ literature. Such requirements were not taken lightly and, drawing from decades of experience and from different traditions, as Harrison advocated, Ruffatti introduced several tonal features that are new or rare to find in England, with the aim of sparking interest for improvisation and creative registration for the international repertoire. 

It is along these lines that the Gallery Organ was designed. It draws from the French Romantic tradition of Cavaillé-Coll. Dedicated studies were conducted on several organs in Paris and other locations in order to ensure as close a proximity as possible to the Cavaillé-Coll style, by carefully copying pipe measurements and voicing methods, without pretentious claims of authenticity. The instrument is designed as a two-manual, but it can also be used as a large cohesive division, part of which is under expression, that can be played against, or in tandem with, the main Quire Organ. 

Along the same line of thought, the Italian Positivo was introduced in the Quire. With the tonal consistency of an early Italian instrument and the trademark low-pressure voicing, it provides all tonal resources needed to faithfully perform classical Italian literature from the Renaissance up to the early Romantic period, an ingredient that is indeed rare to find in an instrument in England. It is also ideal for playing in alternatim with the monastic choir. This is not just a nice “toy” to have, but serves convincingly as a Positiv division, in dialogue with the Great for access to a broader classical repertoire.

Another note of interest concerns the Solo division, which includes stops that have been drawn from the Skinner tradition, as well as other orchestral stops of Ruffatti design.

One of the aspects characteristic of Fratelli Ruffatti is that we manufacture almost everything in house, including flue and reed pipes. This is the best guarantee for quality control. At the same time, it provides the opportunity to carefully select all the ingredients that are necessary in the mind of the tonal designer. The difference is in the details. Being able to pass any requirements that experience dictates on to the pipe shop enables the voicers to exactly tailor the sound to the room, resulting in that perfect blend for which Ruffatti is famous.  

Versatility is only partially the product of having a variety of stops on hand; what really makes the difference is the ability of each stop to combine successfully with all others to produce countless tonal combinations. Open-toe voicing for principals and flutes is the key, as it favors blending of sounds, as well as promptness and precision of speech, an aspect that is of paramount importance, especially when there is no close proximity of the player to the pipes (as there would be with a mechanical action instrument). An old misconception still flies around, deriving from the early neo-Baroque times of the Orgelbewegung, or Organ Reform Movement of the mid-twentieth century, where the open-toe voicing technique was sometimes used to produce excessively harsh sounds. Open-toe voicing is instead quite versatile, ideal for the effective voicing of a rank of pipes in a variety of styles, regardless of the chosen wind pressures. 

Materials for the construction of pipes include the ultra-shiny alloy of ninety-five percent tin, used for the pipes in the façade as well as for a high number of larger internal pipes. Its structural strength and incredible resonance properties make it ideal for pipes of larger size. Other internal pipes are made with a tin percentage ranging from 75 to 30 percent.

Many pipes are made of wood, including the resonators of the two majestic 32′ reeds, the Bombarde, and the Fagott. Only the finest African Sipo mahogany has been used, varnished inside and out to enhance resonance. The Pontifical Trumpet, which projects horizontally from the front of the Gallery Organ, has highly polished solid brass resonators.

This organ was featured in the press for the first time in the March 2018 issue of the British magazine Organists’ Review with an article by Philip Arkwright, Organist and Master of the Music at Buckfast Abbey. It was inaugurated on April 20, 2018, with a splendid concert performed by Martin Baker, Organist and Master of Music at Westminster Cathedral, which I had the good fortune to witness. The improvisation that closed the performance was stunning: a perfect demonstration of creativity and a kaleidoscopic use of musical color.

The opening organ series also includes concerts by Vincent Dubois, titular organist of Notre Dame Cathedral, Paris; David Briggs, Artist-in-Residence at St. John the Divine, New York City; Matthew Martin, Director of Music at Keble College, Oxford; Richard Lester, international recitalist; and in-house organists Richard Lea and Matthew Searles.

—Francesco Ruffatti

 

Architecture and technical features

The east and west organs at Buckfast Abbey are aesthetically quite different. The east organ (Quire) is intended to be discreet, as the client’s desire was that the front of the building should not have the imposing presence of an intricate organ design. For this reason we chose a very simple layout for the façade, with pipes recessed into three arches that crown the stalls on both sides of the Quire. The pipes are hardly visible from the center of the building, but clearly show the brightness of the tin they are built from when they are seen from the side.

The central pipe of each bay, with its diamond-shaped embossing, reflects the light in all directions, providing a touch of richness within the simplicity of the design scheme.

The west organ (Gallery) gave us the opportunity to offer a more sophisticated architectural solution. The full visibility of the splendid stained glass windows being paramount, we built two symmetrical oak organ cases against the side walls of the gallery, with tunnels to grant access to the balcony from the doors in the back corners. The aim was for a design of lightness and richness at the same time—not an easy task, as the two qualities are normally in conflict.

To achieve this goal, we chose a case design where the façade pipes are not topped by a ceiling. Instead, there is an alternation between bays having pipes with unobstructed tops and pipes with carved elements defining the top line. The richness is provided by the carving, which is also used to separate façade pipes within the same bay. In the general scheme, it gives visual continuity to the various bays. These elements have been hand-carved from European oak by a gifted artist, from a Ruffatti design inspired by the intricate and elaborate carved wood of the Abbey’s choir stalls. Even the panels of the lower part of the case are enriched by carvings in the Gothic style. 

The sunlight coming through the stained glass windows is reflected by the shiny surface of the tin pipes, adding a touch of color to the façade, an effect that is remarkably spectacular.

The signature Ruffatti horizontal trumpets, with their flared brass bells, extend from the lower part of the cases, projecting their shining beauty into the Abbey’s central bay.

The most frequent comment we have received on the design is that the organ looks like it has always been there. I believe that this is the biggest compliment that can be paid to the designer, because it proves that the organ belongs to the building, without imposing its presence. The initial aim has been reached: a light yet elegant result.

On the strictly technical side, African Sipo mahogany is widely used for functional parts, such as all of the windchests. The main units are of the slider type, which are controlled by solenoids of the latest generation, featuring self-adjusting power for the initial stiffness of the slider movement and reduced power at the end of the travel, for maximum silence.

The twin consoles feature identical controls and can be played simultaneously, as they often are. The control system is operated by the organist from a touch-screen panel, and it offers a large number of functions. The huge memory provides separate password-protected storage folders for many organists, where stop combinations, personal crescendo, and tutti settings can be stored. The system also features, among many other useful tools, a transposer, a record/playback function, and on-board diagnostics, a useful tool for maintenance.

The height adjustment of the keydesk of the Quire console is controlled by a push button, operating a heavy-duty electric motor. Adjusting the level of the keydesk allows maximum comfort for the player, regardless of that person’s physical height and build.

The organ is distributed over several locations and, true to Ruffatti philosophy, uses several different wind pressures to optimize the tonal result of the various stops. As a result, nine separate blowers, twenty traditional reservoirs, and nine schwimmers have been used to provide adequate and stable wind at the many different pressures, ranging from 40 to 185 mm.

—Piero Ruffatti

 

Builder’s website: www.ruffatti.com/en/

Church’s website: www.buckfast.org.uk/

 

QUIRE ORGAN

Location: Quire and Triforium 

POSITIVO (unenclosed–Manual I)

8′ Principale 61 pipes

8′ Bordone 61 pipes

8′ Voce Umana (tenor G) 42 pipes

4′ Ottava 61 pipes

4′ Flauto Veneziano 61 pipes

2′ Decimaquinta 61 pipes

11⁄3′ Decimanona 61 pipes

22⁄3′ Sesquialtera II 122 pipes

2⁄3′ Ripieno III 183 pipes

8′ Cromorno 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Glockenspiel (tenor C) 30 bells

Tremulant

Nightingale 5 pipes

Cymbelstern 12 bells

Drum 3 pipes

6′ Bagpipe F 1 pipe

4′ Bagpipe C 1 pipe

22⁄3′ Bagpipe G 1 pipe

GREAT (unenclosed–Manual II)

16′ Bourdon 61 pipes

8′ Principal 61 pipes

8′ Bourdon 61 pipes

8′ Spitzflöte 61 pipes

4′ Octave 61 pipes

4′ Blockflöte 61 pipes

22⁄3′ Quint 61 pipes

2′ Superoctave 61 pipes

11⁄3′ Mixture IV 244 pipes

1⁄2′ Terz Zimbel III 183 pipes

8′ Trumpet 61 pipes

4′ Clarion 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Sub Octave

Unison Off 

SWELL (enclosed–Manual III)

8′ Flûte à Cheminée 61 pipes

8′ Gemshorn 61 pipes

8′ Viole de Gambe 61 pipes

8′ Voix Céleste (tenor C) 49 pipes

4′ Prestant 61 pipes

4′ Flûte Creuse 61 pipes

22⁄3′ Nazard 61 pipes

2′ Octavin 61 pipes

13⁄5′ Tierce 61 pipes

2′ Plein Jeu IV 244 pipes

16′ Basson 61 pipes

8′ Trompette Harmonique 61 pipes

8′ Hautbois (ext 16′) 12 pipes

4′ Clairon Harmonique (ext 8′) 12 pipes

Tremulant

Sub Octave

Unison Off

Super Octave

SOLO (enclosed–Manual IV)

16′ Lieblich Bourdon 61 pipes

8′ Orchestral Flute 61 pipes

8′ Doppelflöte 61 pipes

8′ Salicional 61 pipes

8′ Unda Maris (tenor C) 49 pipes

8′ Flûte Douce 61 pipes

8′ Flûte Céleste (tenor C) 49 pipes

4′ Flauto d’Amore 61 pipes

22⁄3′ Harmonic Nazard 61 pipes

2′ Harmonic Piccolo 61 pipes

13⁄5′ Harmonic Tierce 61 pipes

8′ Bassett Horn 61 pipes

8′ Vox Humana 61 pipes

8′ Pontifical Trumpet* 61 pipes

8′ Abbatial Trumpet** 61 pipes

Tremulant

Sub Octave

Unison Off

Super Octave

* mounted horizontally from the front of the Gallery Organ cases, divided at both sides. Not affected by couplers

**located in the Triforium, unenclosed. Not affected by couplers

PEDAL

32′ Contra Bourdon digital

16′ Contrabass 32 pipes

16′ Subbass 32 pipes

16′ Bourdon Great

16′ Lieblich Bourdon Solo

102⁄3′ Quintflöte 32 pipes

8′ Octave 32 pipes

8′ Flûte Ouverte 32 pipes

51⁄3′ Nazard (ext 102⁄3′) 12 pipes

4′ Superoctave 32 pipes

2′ Flûte 32 pipes

22⁄3′ Mixture IV 128 pipes

32′ Fagott 32 pipes

16′ Bombarde 32 pipes

16′ Basson Swell

8′ Trompette (ext 16′) 12 pipes

4′ Schalmei 32 pipes

 

GALLERY ORGAN

Location: West Gallery

GRAND-ORGUE
(unenclosed–floating) 

16′ Bourdon 61 pipes

8′ Montre 61 pipes

8′ Flûte Harmonique 61 pipes

8′ Bourdon 61 pipes

4′ Prestant 61 pipes

4′ Flûte Octaviante 61 pipes

22⁄3′ Cornet III (tenor G) 126 pipes

2′ Doublette 61 pipes

2′ Plein Jeu III–V 264 pipes

8′ Clarinette 61 pipes

8′ Pontifical Trumpet Solo

8′ Abbatial Trumpet Solo

Tremblant

Sub Octave

Unison Off

EXPRESSIF (enclosed–floating)

8′ Violoncelle 61 pipes

8′ Violoncelle Céleste (TC) 49 pipes

8′ Cor de Chamois 61 pipes

8′ Cor de Chamois Céleste (TC) 49 pipes

4′ Prestant 61 pipes

8′ Trompette 61 pipes

4′ Clairon 61 pipes

Tremblant

Sub Octave

Unison Off

Super Octave

 

PÉDALE

16′ Soubasse 32 pipes

16′ Bourdon Grand-Orgue

8′ Basse 32 pipes

8′ Bourdon (ext 16′) 12 pipes

4′ Flûte (ext 16′) 12 pipes

32′ Bombarde* 32 pipes

16′ Bombarde (ext 32′)* 12 pipes

8′ Trompette (ext 32′)* 12 pipes

* located in the Gallery Organ Triforium

 

Positivo special effects located in the Quire Organ Triforium

 

Solo located in the Quire Organ Triforium

 

Four-manual movable Quire console, with electric height-adjustment for keyboards and stop knobs

Four-manual movable Gallery console

The consoles can be used simultaneously to perform repertoire for two organs

 

CONSOLE CONTROLS

Identical for both consoles

 

COUPLERS (tilting tablets)

Solo to Swell 16-8-4

Expressif on Manual III

Solo to Great 16-8-4

Swell to Great 16-8-4

Positivo to Great 8

Grand-Orgue on Manual II

Gallery* on Manual I

Solo to Positivo 16-8-4

Great to Positivo 16-8-4

Swell to Positivo 16-8-4

Solo to Pedal 8

Swell to Pedal 8

Great to Pedal 8

Positivo to Pedal 8

Grand-Orgue to Pedal 8-4

Expressif to Pedal 8-4

* Grand-Orgue and Expressif combined

 

Reeds Off (for entire organ)

Mixtures Off (for entire organ)

 

Gallery* on Manual I on key cheek

Grand-Orgue on Manual II on key cheek

Expressif on Manual III on key cheek

*including both Gallery Organ manual divisions

 

Quire Organ Tutti

Full Organ Tutti

Pédale Off on key cheek

 

Sustain for Solo, Swell, Great, Positivo

 

Great and Pedal combinations coupled

Grand-Orgue and Pédale combinations coupled

 

All Swells to Swell

 

Quire Organ On – on key cheek

Gallery Organ On – on key cheek

 

Record and Playback

 

COMBINATION ACTION:

Twelve general pistons for Quire and Gallery organs

Eight Quire Organ divisional pistons

Six Gallery Organ divisional pistons

Set, General Cancel

Previous (-), Next (+) in several locations

Thousands of memory levels for the “common memory area”

Thousands of private memory folders accessible by password or magnetic sensor

 

Touch-screen control panel featuring multiple functions, including:

• Transposer

• Five “insert combinations” possible between each general piston for all available folders

• Option of automatic re-numbering of combinations after inserts have been introduced 

• In addition to conventional piston storage, both the common area and the individual folders offer:

Storage of piston sequences in “piece”-labelled folders

Storage of several “piece”-labelled folders to form “concert”-labelled folders

 

Swell, Expressif, Solo expression pedals

 

Crescendo Pedal: standard and multiple personalized settings 

 

MIDI In, Out, Through

 

SUMMARY OF PIPE MATERIALS:

95% tin alloy for all façade and most larger pipes inside

Bagpipes in the Positivo with walnut resonators, blocks and shallots in the traditional style

 

All other wooden pipes, including 32′ reed resonators, made of African Sipo mahogany

Principal choruses 75% tin alloy 

Flutes: 8′ octaves 95% tin alloy, rest 30% tin alloy (spotted)

Reeds, Strings: 8′ octaves 95% tin alloy, rest 52% tin alloy (spotted)

 

SUMMARY OF WIND PRESSURES:

 

QUIRE ORGAN

Positivo 40 mm for Principal chorus, 50 mm for flutes and reed

Great 80 mm for all stops, 95 mm for offsets only

Swell 90 mm for all stops, 100 mm for offsets only

Solo 160 mm for all stops except Pontifical and Abbatial trumpets, 185 mm

Pedal 100 mm and 80 mm upperwork

 

GALLERY ORGAN

Grand Orgue 90 mm

Expressif 100 mm

Pédale 120 mm

 

STATISTICS

81 real stops

100 ranks of pipes

5,542 pipes and 42 bells

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

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

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

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

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

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

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

Photo credit: David McCleary

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

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

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

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

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

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

Bedient Pipe Organ Company, Roca, Nebraska
Residence of Elaine Mann,
Chippewa Falls, Wisconsin
In August, Gene Bedient installed and voiced Bedient Opus 82 at the home of Elaine Mann, Chippewa Falls, Wisconsin. Ms. Mann is organist at Grace Lutheran Church, Eau Claire, Wisconsin. She has written following the installation: “I just want you to know how happy I am with the organ. It is a dream come true.”
The intent was to design and build a small, encased organ with sensitive but not fragile suspended action, an ideal instrument for practicing. It features keyboards with natural playing surfaces of blackwood and accidentals of hard maple. The 30-note concave-radiating pedalboard has oak and maple playing surfaces. Wind is supplied from a small wedge bellows that is located in the top of the organ case.

MANUAL I
8′ Rohrflute (58 pipes)

MANUAL II
8′ Gedackt 8 (46 pipes; 1–12 common with Rohrflute)

PEDAL
Manual II/Pedal

 

R. T. Swanson, Inc.,
Grand Ledge, Michigan
Salem Lutheran Church,
Owosso, Michigan
Salem Lutheran Church was established in 1862, and its current edifice was built in 1893. The church’s first pipe organ was built by the Reuter Organ Company of Lawrence, Kansas in 1922 as Opus 70. This two-manual, 11-rank instrument was installed in a chamber located to the left of the chancel and above the sacristy. In 1964, William Kaltrider of Owosso, Michigan, relocated the organ to the rear gallery and added a new console and seven new ranks.
Deteriorating leather and other problems caused the church to request a proposal from our company. We agreed to build an essentially new organ of 21 ranks, reusing three ranks of the 1922 pipework and all seven ranks of the 1964 pipework. All of the old pipework was reconditioned and revoiced in order to blend with the new. While the 1964 console was recycled, it was refitted with new manual keyboards with rosewood naturals and maple sharps and new drawknobs. A new solid-state combination action and relay system were provided, which feature full MIDI capability. Action is electro-mechanical.
The new casework was designed to be in architectural harmony with the 1893 structure and is cantilevered into the room in order to provide better projection for the Great division. The new Swell enclosure helps focus and project the Swell division’s tone. Wind pressures are 3″ for the Great and 4½″ for the Swell.
—Richard Swanson

GREAT
16′ Rohrflöte (ext 8′)
8′ Principal
8′ Rohrflöte
8′ Gemshorn
4′ Octave
4′ Hohlflöte
22⁄3′ Twelfth
2′ Fifteenth
11⁄3′ Mixture III
8′ Trompete
Chimes
MIDI on Great
Great to Great 16, UO, 4
Swell to Great 16, 8, 4

SWELL
8′ Holzgedeckt
8′ Viole de Gambe
8′ Voix Celeste TC
4′ Principal
4′ Spitzflöte
22⁄3′ Nazard TC
2′ Octave (ext 4′ Principal)
2′ Spitzflöte (ext 4′ Spitzflöte)
11⁄3′ Larigot (ext 22⁄3′)
13⁄5′ Tierce TC
Tremulant
8′ Hautbois
MIDI on Swell
Swell to Swell 16, UO, 4

PEDAL
32′ Resultant
16′ Subbass
16′ Rohrbass (Gt)
8′ Octave
8′ Bassflöte (ext 16′ Subbass)
8′ Gemshorn (Gt)
4′ Superoctave (ext 8′ Octave)
4′ Flöte (ext 16′ Subbass)
2′ Twentysecond (ext 8′ Octave)
16′ Posaune (ext Gt 8′ Trompete)
8′ Trompete (Gt)
4′ Hautbois (Sw)
MIDI on Pedal
Great to Pedal 8, 4
Swell to Pedal 8, 4