New Organs

Juget-Sinclair Organbuilders,
Montreal, Quebec, Canada
Opus 32, St. Mark’s Episcopal
Church, St. Louis, Missouri
Designed by the architectural firm of Nagel & Dunn and built in 1938, St. Mark’s Church in the City of St. Louis is famous as an outstanding example of the Moderne style, noteworthy for its Art Deco detailing, including a complete set of stained glass windows designed by Robert Harmon and executed by Emil Frei Studios. The building, seating around 200, is shaped like a shoebox on its side and—surprisingly for a building of its size—has a reverberation period of around four seconds. The original organ, an 8-stop G. Donald Harrison Æolian-Skinner, Op. 979 of 1939, consisted entirely of principals and flutes. Though the plenum was very impressive for its size—Emerson Richards described it as “the biggest little organ in the world”—it had no strings, reeds, or solo stops, and the balances between the manuals were very poor. By the early 2000s it was in urgent need of restoration.
In deciding what to do about the organ, the congregation found itself faced with a serious difficulty. The choir loft, the only practical position for a pipe organ in the building, is extremely shallow, and in order for the choir and organist to be able to get up the stairs into the gallery, the depth of the organ at the level of the gallery floor had to be restricted to a little over four feet. Furthermore, the west window is an extremely fine one, and it was unthinkable that the organ should obscure it. This meant that although there was some room for expanding the Great and Pedal divisions of the Æolian-Skinner to include reeds, strings, and solo stops, there was no way that the Swell could ever be enlarged, and this in turn meant that any enlargement would result in an even more poorly balanced instrument than before. While the vestry was wondering what to do about this, the church was most fortunate to receive a substantial legacy from the late Ruth E. Proehl, making possible the replacement of the organ by an entirely new one.
In 2005 the vestry appointed an organ committee composed of my wife, the Rev. Dr. Lydia Agnew Speller, rector; Robert S. Mullgardt, organist and choirmaster; and seven others. No fewer than five organists were members of this committee, including one who was also an architect and another, me, who was also an organ builder. Though unusual, having a committee composed of so many extremely well-informed and opinionated individuals is something of a two-edged sword, and the vestry wisely appointed Barbara Owen to be the organ consultant so as to keep order. In practice, no referee was needed since, perhaps surprisingly, we found ourselves in remarkable harmony and agreement throughout—but we were glad to have Barbara Owen on the team, since her very practical advice proved to be an invaluable resource at many points in the process of selecting our new organ.
The organ committee made the decision quite early on to look for a mechanical action organ, and for the next two-and-a-half years members of the committee visited dozens of tracker-action instruments throughout Missouri, Kansas, Illinois, Massachusetts, and Tennessee. Our final choice fell upon Juget-Sinclair Organbuilders of Montreal, whose organs at St. Andrew’s Episcopal Church in Wellesley, Massachusetts, and Second Presbyterian Church, Nashville, Tennessee, had impressed us as standing head-and-shoulders above any other instrument we visited. Juget-Sinclair proved an especially happy choice since Denis Juget, Stephen Sinclair, and the other members of their team showed themselves to be an exceptionally charming and interesting group of people with whom to work.
Juget-Sinclair came up with a brilliant solution to the church’s space problems. Like the old Æolian-Skinner, the new Juget-Sinclair organ is placed against the west wall of the church. By contrast with the old organ, a rather squat caseless organ that ran all the way across the church, the new instrument is divided in two cases, framing and showcasing Robert Harmon’s striking west window, The Massacre of the Innocents. The church is extremely lofty, and the new organ makes full use of the available height. Although the two cases are necessarily shallow at floor level, they are cantilevered out at impost level to accommodate a two-manual-and-pedal organ of twenty stops, more than we had thought possible.
The Grand-orgue occupies the south case above the impost, with the bellows beneath, and the Récit expressif occupies the north case, with the Pédale, including a full-length 16′ reed—which required a little mitering—underneath. The detached and terraced drawknob console is at the front of the gallery in the same position as the old one, and the trackers run under a new oak gallery floor between the console and the organ cases. The casework is of oiled solid quarter-sawn oak, with polished tin façade pipes drawn from the G.O. 8′ Montre and Pédale 8′ Principal. Much of the interior of the organ is also solid oak, as is most of the console, though the music desk is of burr maple inlaid with mahogany. The detailing of the console and cases makes use of Art Deco motifs found elsewhere in the building.
The church signed a contract with Juget-Sinclair at the end of 2007, and the installation and tonal finishing of the instrument took place between September and November 2009. The members of the Juget-Sinclair firm responsible for building Opus 32 were Robin Côté, François Couture, Dean Eckmann, Jean-Dominique Felx, Denis Juget, Céline Richard, Stephen Sinclair, and Jerome Veenendaal. The dedication took place at the Sunday Eucharist on November 22, when there was special music, and no fewer than six organists—all members of St. Mark’s—played the new organ.
The instrument has surpassed our wildest expectations. The many who have played it have included a number of very distinguished organists, and everyone who plays it comments on the excellent feel of the tracker action—personally I think it is the most comfortable organ I have ever played—and on how remarkable this is for a tracker with a detached console. Everyone also comments on the versatility of the organ, which though designed primarily with French Romantic repertoire in mind, manages also to be an excellent medium both for accompanying the Anglican liturgy and for playing Classical and Baroque organ music.
St. Mark’s is the third largest organ that the Juget-Sinclair firm has built. In spite of the less than perfect acoustics of their buildings, the two larger Juget-Sinclair organs at Wellesley (Op. 24) and Nashville (Op. 26) are both remarkable instruments. At St. Mark’s, however, equally fine tonal design and voicing design is coupled with excellent acoustics, resulting in a stunning sound such as might be expected from an instrument two or three times its size.
One Sunday morning a week or two after the organ was completed, I walked into the church and heard the strains of Bob Mullgardt playing the Franck
A-minor Choral. I did a double take. Was this St. Mark’s or was I listening to St. Sulpice? To help them in planning future instruments, the organ builders asked us to give them any feedback of an unfavorable kind coming from organists who play the St. Mark’s organ. So far we have been unable to oblige, since all the comments have been favorable.
A concert series featuring the new instrument was inaugurated with a dedicatory recital of music by William H. Harris, César Franck, W. A. Mozart,
J. S. Bach, Guy Bovet, and Marcel Dupré, given by Clive Driskill-Smith of Christ Church, Oxford, England, on April 18, 2010. If anyone would like to visit the organ, the organist and choirmaster, Bob Mullgardt, is always happy to welcome organists and others who contact him beforehand through the church office (314/832-3588).
—John L. Speller

Juget-Sinclair Organbuilders,
Montreal, Quebec, Canada
Opus 32, St. Mark’s Episcopal
Church, St. Louis, Missouri
20 stops, 23 ranks

Grand-orgue C–a3, 58 notes
8′ Montre
8′ Flûte à cheminée
4′ Prestant
4′ Flûte ouverte
2′ Doublette
11⁄3′ Fourniture IV
8′ Trompette

Récit expressif C–a3, 58 notes
8′ Bourdon
8′ Viole de gambe
8′ Voix céleste (TC)
4′ Principal
4′ Flûte douce
22⁄3′ Nazard
2′ Doublette
13⁄5′ Tierce
8′ Basson-Hautbois

Pédale C–-f1, 30 notes,
radiating and concave
16′ Soubasse
8′ Principal
4′ Octave
16′ Trombone

II/I I/P II/P
Tremblant Récit

Mechanical key action, electric stop action
1/9-syntonic comma temperament
Balanced swell pedal
Cuneiform bellows
3 inches wind pressure
10 General pistons, thumb and toe
6 thumb pistons to G.O.
6 thumb pistons to Récit
4 toe pistons to Pédale
Reversible pistons for the unison couplers, thumb and toe
Sequencer “forward” and “back” pistons, thumb and toe
General Cancel thumb piston
Combination Setter thumb piston
Solid-state combination action with 400 levels of memory
Photo credit: Stephen Sinclair

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

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

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

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

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

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

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

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

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

Juget-Sinclair Organbuilders,
Montreal, Québec, Canada
Second Presbyterian Church, Nashville, Tennessee

From the organbuilder
We were first contacted by Second Presbyterian music director Nancy Turner in early 2004. A visit to Nashville to meet the committee revealed a fine group of people with good ideas, but no church as yet. Building a new organ for a structure that doesn’t yet exist is quite different from the usual. We’ve developed a routine when we visit a church where we will be building: we make a pipe (a 2′ C Principal) that we bring with us to voice on site—on whatever is left of the outgoing organ—noting the wind pressure on the pipe itself. We then use the pipe as a starting point in prevoicing in the shop. This habit allows us the security of knowing we won’t be too far off.
Of course at Second Presbyterian we didn’t have that luxury, let alone the usual walk-through to get a feel for the acoustics. It is quite a different thing to base your efforts entirely on architectural plans and acoustician’s predictions. But we have a hidden ace: our shop is a reinforced concrete structure built in 1919, with 30-foot vaulted ceilings, so the acoustics are flattering. We pre-voice a little loud, leaving the cut-ups low. It sounds good enough for a little concert in the shop before the organ is packed up. We’re often surprised when we set up an organ in the church for the first time, and we hear how the voicing was left—That sounded OK in the shop?! This is our assurance that we’ve left enough room for on-site voicing.
Denis Juget started his shop in a former chicken coop in his back yard in Saint-Basile-le-Grand, Québec in 1994. It was a fairly large chicken coop, which allowed him to build seven practice organs, each one a little different, and a continuo organ. I joined him in 1998, and we moved the shop to Montreal, first in a 2500-square-foot space, then expanding to our present 5000 square feet. The team has slowly built up to eight. We take great pleasure in building very nearly everything ourselves from raw materials—from casting pipe metal to pipe making, from action parts to casework. We cast our own reed blocks and make our own shallots. We make pallet springs and roller arms. We are continually confronted with doubt about whether this practice is reasonable, but have never bothered with the calculation—confident, I suppose, that the costs are far outweighed by the hidden benefits. The first is complete freedom in design—an existing part doesn’t fit the bill? Imagine a new one! The second is the inestimable value of having a small team capable of this varied work. These eight people can do anything.
The Second Presbyterian organ is set in the choir loft and speaks down the central axis of the octagonal nave. The console is built in, but elevated three feet from floor level; risers for the choir butt against the front frame, and the pedalboard sits on the top riser. Down on floor level are the bellows and blower-box, with the Pedal division behind. The manual divisions are above, with the Grand-Orgue in front and the Récit expressif behind. There is no back to the Grand-Orgue case and only a partial roof above it to allow sound egress. The pedal Trombone 16′ resonators are full length and extend up behind the Récit swell box. A ceiling truss passes inches above the Récit roof, and the central tower of the Grand-Orgue pokes up between two trusses. Key action is mechanical, and stop action electric.
The wind system starts with a single-fold cuneiform bellows. Wind trunks are in quarter-sawn white oak. There are concussion bellows on each division, and the wind is quite solid. The tremulant is a vent perdu style—a departure from our usual “Dom Bedos” style. Offset pipes are winded by wooden channels. We avoid using flexible tubing, only for the fun of it, whenever we can, which is almost always.
The elevated console posed a design problem: the organ case tended to look squashed. We found that incorporating mirrored pipe flats had the effect of visually lengthening the case. Mirrored façades are usually made by joining two identical pipes at the foot and winding them secretly from behind so that they speak in unison. We didn’t need the extra power and space was not over-abundant, so this led to a façade arrangement that is possibly novel: we made the twinned pipes each play a different note. This gives an arrangement where the 12 notes of the octave are divided into eight groups! The interval between adjacent pipes is an augmented fifth. The Montre 8′ has five interior pipes: three full-length wooden basses (C, C#, D) and two interior pipes at the top (g#′′′, a′′′). The rest of the stop is in the façade, made up entirely of speaking pipes.
Key action is suspended, with floating square rails to compensate for dimensional changes. Trackers are kept taut by tensioner bellows to avoid bounciness. The pedal coupler does not play through—with I/P and II/I couplers both on, a note played in the pedal will play manual I but not II. Consequently, we have to lighten the manual I keys with springs so that, with I/P and II/I couplers both on and a note held down in the pedal, that same note played on Manual II doesn’t stay down or repeat slowly. Key action is designed and built to be responsive and reliable, and to have a weight appropriate to the instrument without being overly heavy when coupled. Pedal action uses our parallel motion pedal pallets, which provide copious wind.
The combination action is by Laukhuff, with general and divisional pistons as well as a simple sequencer. Drawknobs and thumb and toe pistons are by Harris, slider solenoids by Heuss, and control cards by Laukhuff. Rather than a tutti, there are two toe pistons, which are settable reversibles and could be used for anything one would want to come and go with a push of a piston, such as appels d’anches.
Swell action is mechanical, with a simple and direct linkage. It uses ball-bearings wherever possible, including at both ends of each swell shade. We use the most common source of high quality bearing we can find: rollerblade bearings. We go to great lengths to make the swell box as airtight as possible. The swell box sits on top of the Récit wind chests, and all the basses are inside the box. The shades are very closely fit in their opening, and carefully adjusted to ensure good dynamic range. The geometry of the action is designed so that much more subtlety of swell shade movement is given at the ppp end to compensate for mechanical swell action’s natural tendency to have half the dynamic range in the first 1/4 of swell pedal motion. This geometry would normally feel strange underfoot as it would become suddenly light at the closed end. We install a brake that again compensates for this effect. It all ends up being worthwhile; the feeling and precision of a carefully regulated mechanical swell action is unmatched.
Pipe scales in this instrument are not variable, but mathematical, and often with a constant added, which has the effect of narrowing the scale in the middle of the keyboard or fattening it at the ends. Scales are based on our own experience, but informed by historical examples. Samples of any new reed scales are built and voiced in the shop before the stop goes into production. The Viole de gambe 8′ and Voix céleste 8′ are slotted. The céleste is placed just behind the Basson-Hautbois 8′ on the chest to avoid acoustical conflict. The Flûte douce 4′ is in cherry. Principals and manual reeds are in hammered tin, and flutes are in hammered lead. We order our lead ingots with the necessary impurities already added, which gives stability to the high lead pipes (11⁄2% tin). We also use that same lead in all our alloys, so they all have some trace amounts of copper, antimony, and bismuth. The façade is also hammered, in 75% tin. Our pipes are made so that the metal at the top of the pipe is considerably thinner than around the mouth and at the foot. We feel that this is crucial to the long term stability of the pipework, as it takes a lot of weight off of the top and adds thickness to the bottom, where it is needed. Open pipes are cone tuned (except the slotted strings), and stopped flutes are tuned at the ears as they have soldered caps so that they will never slip. The Trombone 16′ is full length, with pine resonators, wooden boots, and leathered brass shallots.
John Brock recorded the instrument for the Raven label, exploring a wide range of repertoire. The CD is entitled Second Wind—a reference to the fire and rebuilding—and we hope it aptly demonstrates the success of the rebuilding program.
Working on this instrument with Denis Juget and me in the shop were Robin Côté, François Couture, Céline Richard, Jean-Dominique Felx, and Jerome Veenendaal. Turned stop knobs and all engravings were by recorder maker Jean-Luc Boudreau. Raymonde Champagne designed the pipe shades. The celtic cross was gilded by Jean-Claude Vonesch.
A special thank-you is in order to John Brock, Nancy Turner, Allen Townsend, and everyone at Second Presbyterian for all their assistance and understanding during the whole project. It’s impossible to overestimate the value of providing “conditions favorable to organbuilding.”
—Stephen Sinclair

From the consultant
In 2004 I was engaged by the organ committee of Second Presbyterian Church, Nashville, to assist them in the search for an organ to replace the one they had lost when their church burned the previous year. They were interested in an organ of good quality that would have the flexibility to support congregational singing, accompany the church’s choirs, and perform a reasonably wide range of styles of organ music. The plans for the new church building included approximately 300 seats, with organ and choir in a fairly spacious rear gallery and the promise of better-than-average acoustics. It was obvious that a building like this didn’t need an extremely large organ, and we were confident that they could find the right organ within their prescribed budget.
Church organist Nancy Turner and I set about gathering information from and about organbuilders in whom we were interested. Early on the name of Juget-Sinclair surfaced. I had once had an opportunity to play one of their excellent 3-stop practice organs, but that was the extent of our knowledge of their work. However, the reports we got from people who knew their instruments were so promising that we decided to investigate further. After trips to see and play Juget-Sinclair organs in Birmingham, Alabama, and Hickory, North Carolina, the committee was convinced that this was what they wanted, and a contract was soon signed for the organ.
The result is an instrument of first-rate quality. The early reports that we got on Denis Juget and Stephen Sinclair’s work had been correct: they do whatever it takes to “get it right.” The organ is a real jewel in its setting, and it does all the things that the organ committee had hoped for, i.e., it supports congregational singing (the congregation sings enthusiastically), it offers flexibility in choir accompaniment, and it plays a wide range of organ literature very convincingly. It’s also a very responsive instrument, one that encourages the player in the best of ways.
It seems to me that the good organs of the world share several important characteristics, namely, a captivating, sometimes dramatic sound resulting from good pipe scaling and voicing, an attractive visual element, a reliable and responsive mechanism, and a cohesive sense of style. Juget-Sinclair has managed to achieve all of this in this modest organ. It was a pleasure working with them.
—John Brock

Grand-Orgue
8′ Montre
8′ Flûte à cheminée
4′ Prestant
4′ Flûte conique
2′ Doublette
11⁄3′ Fourniture IV
8′ Trompette

Récit expressif
8′ Bourdon
8′ Viole de gambe
8′ Voix céleste
4′ Principal
4′ Flûte douce
22⁄3′ Nazard
2′ Flûte
13⁄5′ Tierce
2′ Plein jeu IV
8′ Basson-Hautbois

Pédale
16′ Soubasse
8′ Flûte ouverte
4′ Octave
16′ Trombone

Couplers: II/I - I/P - II/P
Tremblant Récit

Juget-Sinclair Organbuilders
2250, rue Pitt, #307
Montreal, QC H4E 4H1

514/932-9898
www.juget-sinclair.com

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

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

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

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

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

_________________________________________________________________________________

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

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

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

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

Orgues Létourneau Limitée, Saint-Hyacinthe, Québec, Canada, Opus 93

The Abbey of Gethsemani, Trappist, Kentucky

With roots tracing back to the 11th century Cistercian monks in France, the Abbey of Gethsemani was first established in Trappist, Kentucky in 1848. Today, the abbey is a vibrant and thriving community with 65 monks, hosting retreats year-round and supporting their work by mail-order and Internet sales of homemade fruitcakes, cheeses and bourbon fudge. Divine worship continues to be the foundation of the Trappist community and their activities, with the cycle of seven prayer services observed daily.
When confronted with the need to replace their previous pipe organ, the monks embarked on an exhaustive process to choose an organ builder. While a fine tonal result was an obvious priority, equal importance was placed on commissioning a mechanical-action instrument that was both comfortable to play and built to the highest standard of quality.

The end result of their search is the 29-rank instrument pictured here. The instrument’s simple casework is made from solid red oak and was designed to complement the abbey’s unadorned architecture. The façade displays pipes from the 16' Montre stop, made from 70% polished tin. Completed in December 2003, the organ serves daily, accompanying the abbey’s services, and was dedicated in a series of recitals by Philip T. Hines, Jr. and W. Dudley Oakes.

The organ’s console en fenêtre has bone and ebony keyboards and offers mechanical key action. The stop action is electric and boasts a 16-level piston capture system by Solid State Organ Systems of Alexandria, Virginia.

—Andrew Forrest

Orgues Létourneau Limitée

Saint-Hyacinthe, Québec

GRAND-ORGUE

16' Montre

8' Montre

8' Flûte à cheminée

8' Salicional

4' Prestant

4' Flûte conique

22?3' Nazard

2' Doublette

13?5' Tierce

11?3' Fourniture IV–VI

8' Trompette

Tremblant

Récit au Grand-Orgue

RÉCIT EXPRESSIF

8' Viole de gambe

8' Voix céleste

8' Bourdon

4' Prestant

4' Flûte à fuseau

2' Doublette

22?3' Cornet III

8' Hautbois

Tremblant

PÉDALE

16' Montre (G-O)

16' Soubasse

8' Prestant

8' Bourdon

4' Basse de chorale

16' Bombarde

8' Trompette

Grand-Orgue à la Pédale

Récit à la Pédale

Bedient Pipe Organ Company, Roca, Nebraska

Opus 71, Amistad Chapel, United Church of Christ Church House, Cleveland, Ohio

Opus 71, a Phoenix model from our Legacy Line, is a modest instrument with grand tonal possibilities. It is designed to lead liturgy, hymn singing and to play a significant amount of organ literature.
Eighteenth- and 19th-century organs of France and Germany inspire the design of the organ.
The organ case is constructed of Honduras mahogany and includes decorative pipe shades of iroko wood. The twenty-three pipes in the façade are speaking pipes and part of the Principal 8' stop. Their mouths are gilded with 23-karat gold leaf. The keyboard naturals are covered with blackwood, and the accidentals are of white maple. The pedal keys are made of oak, and the accidentals are capped with moradillo.

The fourteen sets of pipes in the organ produce twelve individual stops and total 807 pipes. The custom-designed iroko wood pipe shades incorporate maritime elements reflecting African captives’ revolt during transport to the United States on the slave ship, Amistad.

—Gene Bedient

GREAT

8' Principal (tc)

4' Octave

2' Octave

II Sesquialtera

II–III Mixture

SWELL (enclosed)

8' Salicional

8' Gedackt

4' Spitzflute

2' Flute

8' Trumpet Treble

8' Cromorne Bass

PEDAL

16' Subbass

8' Flute

Couplers

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

Casavant Frères, Saint-Hyacinthe, Quebec, Canada

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Didier Grassin

Jacquelin Rochette

Casavant Frères

A note from the college organist

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

John R. Near

Professor of Music

Casavant Opus 3838

3 manuals, 42 stops


Grand Orgue

16' Montre

8' Montre

8' Violoncelle

8' Bourdon

8' Flûte harmonique

4' Prestant

4' Flûte ouverte

4' Doublette

22?3'Cornet III

11?3' Fourniture IV–V

16' Bombarde

8' Trompette

4' Clairon

Récit Expressif

8' Diapason

8' Bourdon

8' Viole de gambe

8' Voix céleste (TC)

4' Octave

4' Flûte octaviante

2' Octavin

2' Plein jeu V

16' Basson

8' Trompette harmonique

8' Hautbois

8' Voix humaine

4'' Clairon harmonique

Tremblant

Positif

16' Bourdon doux

8' Principal

8' Cor de nuit

4' Prestant

4' Flûte à fuseau

22?3' Nazard

2' Quarte de nazard

13?5' Tierce

11?3' Larigot

1' Mixture IV

8' Trompette

8' Cromorne

Tremblant

Pédale

32v Soubasse

16' Montre (G.O.)

16' Contrebasse (prepared)

16' Soubasse

16' Bourdon doux (Pos.)

8' Octavebasse

8' Contrebasse (prepared)

8' Bourdon

4' Octave

4' Flute (prepared)

32'Contre Trombone

16' Trombone

8' Trompette

4' Clairon



Pos/G.O.

Réc./G.O.

Réc./Pos.

Tirasse G.O.

Tirasse Pos.

Tirasse Réc.