New Organs

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

Cover

Our Savior's Lutheran Church,
Rockford, Illinois

Buzard Pipe Organ Builders,
Champaign, Illinois

Opus 23

 

Builder's statement

It has been a high honor to build the new organ for Our Savior's
Lutheran Church. The congregation is actively engaged in musical expression at
every service and their participation is extraordinarily high. The new organ is
a part of the congregation's ongoing growth and recent construction of a new
church building.

The Evangelical Lutheran Church of America is an inclusive,
living tradition which embraces diversity and newness, while fostering
liturgical expression through the Lutheran Book of Worship and its incredibly
rich musical tradition. It is truly a catholic, inclusive tradition, as are its
musics and requirements for an organ. Therefore, a balanced eclecticism must be
embraced when designing the organ. However, it is only through a single
artistic vision that such eclecticism can have integrity as the organbuilder's
individual style.

Our instruments are first and foremost accompanying organs.
Their primary roles are accompanying choirs, leading hymn-singing and lending
grandeur to ceremonial occasions. They are liturgy-spirited, but
literature-minded as well. A wide variety of solo literature played for
voluntaries and recitals is an essential requirement of an organ and is given
careful consideration when designing all our instruments. The true test of such
an instrument is its ability to sensitively accompany choral repertoire,
colorfully illuminate textual subtleties in the hymns and canticles, and
musically render the Bach "Magnificat" fugue at the close of service.

The abundance of 8-foot stops creates a blended full sound,
made more intense by each successively added stop as a crescendo is built. The
rich, warm "Buzard Trademark" strings are sufficient for leading a
congregation of 300 people, and the full Swell behind the box majestically
supports a choir without overpowering. The Festival Trumpet (a Tuba) can
regally herald the arrival of the Bishop or a bride, and it is orchestrally
appropriate to the full organ's accompaniment. The organ can text-paint the
hymns and accompaniments through registrations and subtle changes as the
meaning of the texts shifts. Within its modest stoplist are the resources to
effectively capture the sprightliness of Purcell, the spirituality of Howells,
and the intricacies of Bach's counterpoint.

The case of this organ is made of solid white oak with
walnut accents, and was designed in conjunction with the building's architects.
The facade pipes utilize flamed copper and polished tin, with the low 9 pipes
of the Pedal 16' Open Diapason made of poplar and cherry, lacquered in a color
which harmonizes with the other colors in the room. The Tuba is horizontally
mounted over the Great Organ and is made of flamed copper. The interior pipes
are made of 50% tin and lead, with 15% tin for some of the metal flutes. The
Great, Swell, and a portion of the Pedal divisions play upon 4 inches of wind
pressure. The low 10 pipes of the Pedal 16' Open Diapason and the 16' Bourdon
play on 41/4  inches, the Festival
Trumpet plays on 10 inches of pressure. The organ comprises 24 stops, 30 ranks,
across two manuals and pedal.

Thanks to the Buzard staff who have made this organ a
reality, and who turn hunks of wood and metal into living, breathing, and
singing creations worthy to praise and extol our Creator. John-Paul Buzard,
design, artistic direction, tonal finishing; Brian Davis, head voicer, manager,
tonal department, installation; Stephen P. Downes, tonal assistant,
installation; Charles Eames, general manager, engineering, installation; R.
Charles Leach, cabinetmaker, installation; Stuart Martin, cabinetmaker,
installation; Kenneth McCabe, cabinetmaker, wind system, installation; Jay K.
Salmon, office manager; Ray Wiggs, console & chest builder, installation;
Keith Williams, service department manager.

 

GREAT

                  16'
style='mso-tab-count:1'>          Lieblich
Gedeckt (wood)

                  8'
style='mso-tab-count:1'>             Open
Diapason (tin-facade)

                  8'
style='mso-tab-count:1'>             Flûte
à Bibéron  (metal)

                  8'
style='mso-tab-count:1'>             Gedeckt
Flute (ext 16')

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

                  4'
style='mso-tab-count:1'>             Spire
Flute

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

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

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

                  11/3'
style='mso-tab-count:1'>      Fourniture IV

                  8'
style='mso-tab-count:1'>             Minor
Trumpet (Sw 16')

                                    Tremulant

                                    Cymbalstern

                                    Chimes

                  8'
style='mso-tab-count:1'>             Festival
Trumpet (10≤ wind)

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

                                    Gt/Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    MIDI
on Great

SWELL

                  8'
style='mso-tab-count:1'>             English
Diapason

                  8'
style='mso-tab-count:1'>             Stopped
Diapason (wood)

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

                  8'
style='mso-tab-count:1'>             Voix
Celeste (TC)

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

                  4'
style='mso-tab-count:1'>             Harmonic
Flute

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

                  2'
style='mso-tab-count:1'>             Full
Mixture IV

                  16'
style='mso-tab-count:1'>          Bassoon
(full length)

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

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

                  4'
style='mso-tab-count:1'>             Clarion
(from 16')

                                    Tremulant

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

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

                                    Sw/Sw
16-UO-4

                                    MIDI
on Swell

PEDAL

                  32'
style='mso-tab-count:1'>          Subbass
(1-12 digital)

                  32'
style='mso-tab-count:1'>          Lieblich
Gedeckt (Gt) (1-12 digi-                                                                 tal)

                  16'
style='mso-tab-count:1'>          Open
Diapason (wood, flamed cop-                                        per,
polished tin)

                  16'
style='mso-tab-count:1'>          Bourdon
(wood)

                  16'
style='mso-tab-count:1'>          Lieblich
Gedeckt (Gt) (wood)

                  8'
style='mso-tab-count:1'>             Principal
(from 16') (tin-facade)

                  8'
style='mso-tab-count:1'>             Gedeckt
Flute (from 16')

                  4'
style='mso-tab-count:1'>             Choral
Bass (from 8') (tin-facade)

                  16'
style='mso-tab-count:1'>          Trombone
(ext Sw Trpt)

                  16'
style='mso-tab-count:1'>          Basson
(Sw)

                  8'
style='mso-tab-count:1'>             Trumpet
from 16')

                  4'
style='mso-tab-count:1'>             Clarion
(from Sw 16')

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

                                    Gt/Ped
8 4

                                    Sw/Ped
8 4

                                    MIDI
on Pedal

 

Festival Trumpet

Swell reed battery

 

Lauck Pipe Organ Company, Otsego, Michigan, has completed an
organ renovation project for Pillar Christian Reformed Church, Holland,
Michigan. The church's organ was originally built in 1900 by Barkhoff. In 1928,
Hinners installed an electro-pneumatic organ. Stolz Piano and Organ of Holland,
MI, was contracted in 1965 to provide a new console, recondition pipes and
replace the blower. In 1996 Lauck Pipe Organ Company installed a new 2-manual
console and completed an electric action rebuild as their Opus 42, which added
11 new ranks, repositioned the windchests, and returned the facade to the 1900
configuration. The present project added nine new ranks, including a third
manual division, revoicing and rescaling of old ranks, and a new three-manual
console. The firm's Opus 52 comprises 31 ranks, electric action. A service of
rededication took place on September 10 with guest organist Linda Hakken
performing. Jonathan Tuuk played the rededication concert on September 11.

 

GREAT

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

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

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

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

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

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

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

                                    Mixture
III

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

                                    Chimes

                                    Harp

                                    Gt/Gt
4

                                    Sw/Gt
16-8-4

                                    Ch/Gt
16-8-4

CHOIR

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

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

                  8'
style='mso-tab-count:1'>             Voix
Celeste (49 pipes)

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

                  4'
style='mso-tab-count:1'>             Flute
Harmonique

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

                  11/3'
style='mso-tab-count:1'>      Larigot

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

                                    Tremulant

                                    Ch/Ch
16-4

                                    Sw/Ch
16-8-4

SWELL

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

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

                  8'
style='mso-tab-count:1'>             Viola
Celeste (49 pipes)

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

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

                  2'
style='mso-tab-count:1'>             Octave
(12 pipes)

                                    Plein
Jeu III

                  16'
style='mso-tab-count:1'>          Bassoon
(12 pipes)

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

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

                  4'
style='mso-tab-count:1'>             Clarion
(12 pipes)

                                    Tremulant

                                    Sw/Sw
16-4

PEDAL

                  32'
style='mso-tab-count:1'>          Untersatz

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

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

                  16'
style='mso-tab-count:1'>          Lieblich
Gedeckt (ext, Sw)

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

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

                  8'
style='mso-tab-count:1'>             Gedeckt
(Sw)

                  4'
style='mso-tab-count:1'>             Choralbass
(ext)

                  16'
style='mso-tab-count:1'>          Bombarde
(ext, Gt)

                  16'
style='mso-tab-count:1'>          Bassoon
(Sw)

                  8'
style='mso-tab-count:1'>             Trompette
(Sw)

                  4'
style='mso-tab-count:1'>             Clarion
(Sw)

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    Ch/Ped
8-4

Orgues Létourneau Limitée, Saint-Hyacinthe,
Québec, has completed a new organ for the historic Chapel Royal of St.
Peter ad Vincula at H.M. Tower of London. The firm's opus 70, the instrument
features mechanical key action and both mechanical and electronic stop action.
The organ was designed to accompany the chapel's professional choir, as well as
provide leadership for worship services. It is built within the 1699 case by
Father Smith, which was restored in the Létourneau workshops to its
original dimensions. The facade pipes, composed of the 8' Open Diapason, are
made of 70% tin (as is the entire principal chorus) and are gilded with 24
carat gold by artisan Isabelle Hordequin. Manual naturals are covered with
bone, accidentals are ebony; pedal naturals of maple, accidentals of ebony;
manual/ pedal compass 56/32. The photo is reproduced by permission of Historic
Royal Palaces under license from the Controller of Her Majesty's Stationery
Office.

 

Crown copyright: Historic Royal Palaces

GREAT

                  16'
style='mso-tab-count:1'>          Bourdon
(stopped wood)

                  8'
style='mso-tab-count:1'>             Open
Diapason

                  8'
style='mso-tab-count:1'>             Chimney
Flute

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

                  4'
style='mso-tab-count:1'>             Conical
Flute

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

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

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

                  11/3'
style='mso-tab-count:1'>      Mixture IV

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

                                    Tremulant

SWELL

                  8'
style='mso-tab-count:1'>             Violin
Diapason

                  8'
style='mso-tab-count:1'>             Stopped
Diapason (stopped wood)

                  8'
style='mso-tab-count:1'>             Viola
da Gamba

                  8'
style='mso-tab-count:1'>             Voix
Celeste (TC)

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

                  4'
style='mso-tab-count:1'>             Open
Flute

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

                  11/3'
style='mso-tab-count:1'>      Nineteenth

                  2'
style='mso-tab-count:1'>             Mixture
IV

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

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

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

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

                                    Tremulant

PEDAL

                  16'
style='mso-tab-count:1'>          Contrabass
(open wood)

                  16'
style='mso-tab-count:1'>          Bourdon
(stopped wood)

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

                  8'
style='mso-tab-count:1'>             Bourdon
(1-12 stopped wood)

                  4'
style='mso-tab-count:1'>             Choral
Bass

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

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

 

R.T. Swanson, Inc., of Grand Ledge, Michigan, has built a
new organ for the chapel of Michigan Lutheran Seminary, Saginaw, Michigan. The
school is affiliated with the Wisconsin Evangelical Lutheran Synod. Its main
purpose is to train students in grades 9 through 12 who are anticipating
careers in the teaching and pastoral ministries. The organ will be used for
daily chapel services and as a teaching and practice instrument.

The two-manual organ comprises 20 ranks, 1186 pipes located
in a shallow chamber created from what was previously second level storage
space. Action is electro-mechanical. All pipes are new with the exception of
the Subbass, Holtzgedeckt/Gedecktbass, and Hohl-flöte, which are recycled
pipes which were revoiced to blend with the new. Facade pipes are polished zinc
and are from the bass 17 of the Great 8' Principal and the bass 18 of the Pedal
8' Octave. The console is located on a rolling platform on the chapel's main
floor and features a 32 memory combination action and out only MIDI. Compass is
61/32. The organ dedication was on August 26 and featured a performance by
Leonard Proeber.

GREAT

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

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

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

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

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

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

                  2'
style='mso-tab-count:1'>             Mixture
IV

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

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

                                    Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    MIDI
on Gt

SWELL

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

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

                  8'
style='mso-tab-count:1'>             Gemshorn
Celeste TC

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

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

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

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

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

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

                                    Sw
16-UO-4

                                    MIDI
on Sw

PEDAL

                  32'
style='mso-tab-count:1'>          Resultant

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

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

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

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

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

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

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

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

                                    Gt/Ped
8, 4

                                    Sw/Ped
8, 4

                                    MIDI
on Ped

 

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

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

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

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

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

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

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

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

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

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

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

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

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

27 registers, 34 ranks, 4 Walker digital voices

Redman Pipe Organs,
Fort Worth, Texas
St. Vincent’s Cathedral Church, Bedford, Texas
The first organ for St. Vincent’s Episcopal Church in Euless, Texas, was a tracker-action instrument of 18 stops and 23 ranks. It had an entirely mechanical stop action and attached keydesk. I designed the new casework, and we still use it as our logo organ design. The organ was constructed utilizing some recycled windchests and other parts from a Hook & Hastings, originally built for Kavanaugh Methodist Church in Greenville, Texas. The organ had been replaced and broken up for parts. We also utilized some recycled pipes from an 1860 Odell, originally built for Trinity Episcopal Church in New Orleans. Stinkens and Giesecke supplied burnished front pipes of 90% tin and other new pipes. The organ was finished in 1972 and voiced in the neo-baroque manner popular at that time.
While a student at the University of North Texas in Denton, Texas, I had come under the influence of Otto Hofmann of Austin, Texas. Otto had been doing pioneering work in building mechanical-action organs and finished the first permanent installation of this type of instrument in 1956 at Matthews Memorial Presbyterian Church in Albany, Texas.
These were very exciting times in organbuilding, with the rediscovery of tracker-action organbuilding in the USA. After finishing degrees at the University of North Texas and Southern Methodist University, I spent seven years in full-time music ministry. All the while, however, I couldn’t leave organbuilding alone and assisted with several projects, including the first new tracker in the Dallas-Fort Worth area at St. Stephen United Methodist Church in Mesquite, Texas. Finally, the opportunity came to build the organ for St. Vincent’s, and I became a full-time organbuilder.
In 1989, St. Vincent’s built a splendid new church building in nearby Bedford, Texas. We enlarged the organ with new windchests, a vertical extension of the casework, detached three-manual console, and electric stop action. Frank Friemel designed this reconstruction as our Opus 59 with 22 stops and 29 ranks of pipes. Additions included a Salicional and Vox Coelestis in the Swell. A Schalmei replaced the original Krummhorn Regal, and a pedal Mixture replaced the original 2' Flute. The organ was revoiced for the new room, and the sound was broadened and smoothed from the original concept. Further additions were planned and prepared, including a Rückpositiv of eleven stops.
In 1994, the organ was further expanded with new 16' Pedal towers and an entirely new Pedal division. Giesecke provided new 90% burnished tin principal pipes, and we found that the metal matched the pipes from 1971, which had held their appearance very well. Other additions included the 16' Lieblich Gedeckt, 8' Spitzflute, Cornet, and a new and larger 8' Trompete in the Great. The Swell received a new 16' Fagott, and an Oboe replaced the Schalmei. The Pedal now included a 32' Bourdon and a new and larger 16' Posaune.
Finally, in 2007, the organ has been completed according to Frank Friemel’s design as Opus 87, with the new Rückpositiv and a new Festival Trumpet, provided by Schopp. Its intention is to crown the chorus, but not to obliterate it. I believe it does that very well. The other stops of the Rückpositiv provide a more intimate sound than that from the Great and Swell, since it is nearest the ear. Based on a 4' Principal, they provide contrast and fullness as well. The larger and fuller Krummhorn fills that needed stop in the organ. We also used a single 11'3' stop here, instead of a mixture, to provide more registration possibilities along with enough brilliance to the division. The Gemshorn and Celeste are of the classic type, which are flutes with string overtones. They provide a nice contrast to the string celeste in the Swell. Swell shades give additional flexibility to the division.
Many have commented that the organ has “grown up” and matured. This has happened because of the desire of the congregation to have the finest organ possible and to implement the changing esthetics in organ building. It is perhaps a study in how an organ can be enlarged and expanded to meet the demands of a different time and place.
Those who worked on this project include Roy Redman, Frank Friemel, Andrew Packard, Wesley Miller, Joel Grey, Carl Fischer, Joseph Watson, Chris Wilson, and Jake Morris.
—Roy Redman
Redman Pipe Organs
816 East Vickery
Fort Worth, Texas 76104
817/332-2953
[email protected]

A journey and a transformation
When I accepted the position of organist at St. Vincent’s Church in 1984, I was already acquainted with the organ. It was only the third mechanical-action instrument in the Dallas-Fort Worth area, and many organists had made a visit.
Roy Redman had designed and built the instrument, which sat on the floor at the rear of the small church, snuggled against the 17-foot ceiling. This ceiling appeared to be made of pressed string, an inexpensive building material not uncommon in the early ’60s. No matter how many gallons of paint were applied, it still absorbed sound. In this environment, the organ more or less made itself known, but the choir, seated in a corner next to it, had no chance.
In 1985, St. Vincent’s parish committed to build an entirely new campus for the church and school on nearby property in the Fort Worth suburb of Bedford. A tall rectangular building in basilica style was designed by architect Jim Bransford. The choir and organ were to go in a rear gallery with enough height for 16' pedal pipes. A portion of the capital campaign fund was set aside to modify the organ for use in the new building. The then-rector, Father Louis Tobola, was eager for the room to be good for music, and agreed with Roy Redman’s advice to use hard surfaces throughout, and to use double sheetrock, glued together, for the interior walls and ceiling.
The new church was completed in 1989, and the organ was removed from the old property to the Redman shop. A year and a half later, now with a 4' Principal in the Swell and new windchests for the Great and Swell to allow for additional stops, it was re-installed. There had not been enough money in the original campaign to upgrade the Pedal, so it was a bit “top-heavy.”
A second capital campaign raised $60,000 for the Pedal organ. With that amount, we could build the cases and action and have the beautiful tin 16' Principal, but nothing else. Or we could have the cases and all the other Pedal pipes, but no beautiful façade. In a great leap of faith by the vestry, $40,000 was taken from reserves to enable us to fill the Pedal towers in 1994. Now with two 16' manual stops, and a 32' in the Pedal, the transformation of the organ has been amazing.
A transformation of the role of the parish was also begun in 1995, when Bishop Jack L. Iker named St. Vincent’s as the pro-Cathedral of the Diocese of Fort Worth. At the end of 2007, the standing committee of the diocese made our cathedral status permanent.
Though I never gave up hope for the Rückpositiv division, it was many years in coming. At last, in 2007, an anonymous donor contacted Roy and told him to go forward with its design, and to include an en-chamade trumpet on the main case—a stop that many in the choir and congregation had been hoping for. Frank Friemel managed to squeeze ten stops into the Rückpositiv, including swell shades behind the 4' Principal, yet the case is only 38 inches deep; and he made a beautiful arrangement of the horizontal trumpets. The Festival Trumpet stop is commanding, but not overpowering, and, happily, when I play it, it makes people smile.
In its lovely acoustical environment, the organ now possesses great warmth as well as excitement. I feel very fortunate to be on the bench.
—Barbara Burton
Music director and organist
<www.stvc.org&gt;

Cover photo: Dan Hatzenbuehler, Hatzenbuehler Photography (www.hatzphoto.com&gt;

1971
Opus 4

GREAT
8' Principal
8' Rohrgedeckt
4' Octave
4' Holzflote
2' Blockflote
11'3' Mixture IV
8' Trompete
Zimbelstern
SWELL
8' Holzgedeckt
4' Rohrflote
2' Principal
22'3' Sesquialtera II
1' Zimbel III
8' Krummhorn
Tremulant
PEDAL
16' Subbass
8' Principal
4' Choralbass
2' Flute
16' Fagott

1991
Opus 59

GREAT
8' Principal
8' Rohrgedeckt
4' Octave
4' Holzflote
2' Blockflote
11'3' Mixture IV
8' Trompete
Tremulant
Zimbelstern
SWELL
8' Holzgedeckt
8' Salicional
8' Vox Coelestis
4' Principal
4' Rohrflote
2' Spitzflote
22'3' Sesquialtera II
1' Scharf III
8' Schalmei
Tremulant
PEDAL
16' Subbass
8' Principal
4' Choralbass (new)
2' Mixture III
16' Posaune

1994
Opus 66

GREAT
16' Lieblich Gedeckt
8' Principal
8' Rohrgedeckt
8' Spitzflote
4' Octave
4' Holzflote
22'3' Cornet II
2' Octave
11'3' Mixture IV
8' Trompete (new)
Tremulant
Zimbelstern
SWELL
8' Holzgedeckt
8' Salicional
8' Vox Coelestis
4' Principal
4' Rohrflote
2' Spitzflote
22'3' Sesquialtera II
1' Scharf III
16' Fagott
8' Oboe
Tremulant
PEDAL
32' Bourdon
16' Principal
16' Subbass
8' Octave
8' Gedeckt
4' Choralbass
2' Mixture III
16' Posaune (new)
8' Trompete
4' Schalmei

2007
Opus 87

GREAT
16' Lieblich Gedeckt
8' Principal
8' Rohrgedeckt
8' Spitzflote
4' Octave
4' Holzflote
22'3' Cornet II (from G2)
2' Octave
11'3' Mixture IV
8' Trompete
Tremulant
Zimbelstern
SWELL
8' Holzgedeckt
8' Salicional
8' Vox Coelestis
4' Principal
4' Rohrflote
2' Spitzflote
22'3' Sesquialtera II
1' Scharf III (new breaks)
16' Fagott
8' Oboe
Tremulant
PEDAL
32' Bourdon
16' Principal
16' Subbass
8' Octave
8' Gedeckt
4' Choralbass
2' Mixture III
16' Posaune
8' Trompete
4' Schalmei
RÜCKPOSITIV (enclosed)
8' Bordun
8' Gemshorn
8' Gemshorn Celeste (tenor C)
4' Principal (unenclosed)
4' Spillflote
22'3' Nasat
2' Flachflote
13'5' Terz
11'3' Quinte
8' Krummhorn
Tremulant
8' Festival Trumpet (mounted on
central tower)

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