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New Organs

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Lewis & Hitchcock,
Beltsville, Maryland
Chevy Chase United Methodist Church, Chevy Chase, Maryland

Like the Sound of a Great Amen
(So begins the description of the church organ in the booklet prepared for the dedication of the new building in 1954.) Perhaps no other single facet of a worship service provides at once so much pleasure and so great an inspiration as does its music. The traditional musical foundation in Christian churches is the pipe organ. Organ music opens and closes each service. It creates an atmosphere of reverence aurally, much as Gothic architecture—often aptly called “frozen music”—does visually. Chevy Chase Methodist Church can be as proud of its inspiring new organ as of the sanctuary itself. In the words of a music critic, writing of the thrilling dedicatory concert on December 5, 1954, our organ “is in every respect worthy of its attractive surroundings . . . It sounded like one of the best organs in Washington.”
This organ represented the height of organbuilding for its time. It had just about everything an organist could want then. But this was a time when music in the church was much less varied than it is now fifty-plus years later. In addition, several things conspired against the organ.
When the sanctuary was complete, it was judged to be too reverberant, and the organ to be too shrill. Curtains covered the organ chamber, and acoustical treatment was applied to the ceiling. We like to say that the most important stop on the organ is the room in which it is located. The organ became a jewel in a velvet box; many of the tone colors were swallowed up.
The organ was also built at the beginning of the “Organ Reform Movement,” when organs were being designed to have more clarity. One of the fashions then was to make the unisons thin and the octaves larger, which, while making the organ a bit clearer, often made them lack body. So many times in trying to accompany a soloist or choir the organ was either too soft or too loud; there was a missing medium level of sound.
Also, many stops seemed better suited to other divisions than where they were located. Couplers helped tie sounds together, but the organist had to do lots of strange maneuvering to make that happen, and it tied up manuals that were needed elsewhere.
When the age of the organ made a mechanical refurbishing necessary, we drew up plans of how to make the organ be the best it could be. The first thing was to fix the room, and that was done to great effect. All music benefits from the wonderful new floors and ceiling.
Then stops needed to be relocated to where they fit best. As the original console could not be expanded, a new console was designed, with all the latest technology available to the organist. Next, new stops were added to fill in missing sounds, all capped by the commanding Trompette en Chamade in the rear gallery.
The result is an instrument that is a joy to play and hear. All the stops are where they should be to perform the literature. A new middle layer of sounds makes it easy to accompany a soloist or choir. And the full sound of the organ can lift the congregation to new heights in hymn singing. Charles Wesley wrote “O for a thousand tongues to sing my dear Redeemer’s praise.” Now the organ does.
Linda Ellinwood was the musician who spearheaded this effort, working with Gerald Piercey on the tonal design. Grey Emmons served as the chair of the organ committee.
Text and pictures by Gerald Piercey; console picture by Randy Walker

M. P. Möller Opus 8839, 1954
Rebuilt by Lewis & Hitchcock, Inc.

GREAT
Chimes (21 tubes, in Choir)
8′ Diapason (new) 61 pipes
8′ Bourdon 61 pipes
8′ Viola 61 pipes
moved from Choir
8′ Flûte Harmonique 49 pipes
new & new chest,
1–12 from Pedal Bourdon
4′ Octave 61 pipes
4′ Rohrflute 61 pipes
22⁄3′ Octave Quint 61 pipes
2′ Super Octave 61 pipes
11⁄3′ Fourniture IV 244 pipes
new & new chest
8′ Bombarde (Choir)
Tremolo
Gt/Gt 16′–Unison Off–4′
8′ Trompette en Chamade 61 pipes
new & new chest, in rear gallery

SWELL
16′ Rohr Bourdon (ext 8′ Rohrflute)
8′ Diapason Conique 61 pipes
moved from Great on new chest
8′ Rohrflute 73 pipes
8′ Viole de Gamba 73 pipes
8′ Viole Celeste tc 61 pipes
4′ Principal 73 pipes
4′ Harmonic Flute 73 pipes
2′ Flautino 61 pipes
2′ Plein Jeu III (new) 183 pipes
8′ Trompette 73 pipes
former Clarion with new 1–12
8′ Oboe (new) 73 pipes
Tremolo
Sw/Sw 16′–Unison Off–4′
8′ Trompette en Chamade (Great)

CHOIR
8′ Gemshorn 61 pipes
moved from Great on new chest
8′ Cor de Nuit 73 pipes
8′ Dulciana 73 pipes
8′ Unda Maris tc 61 pipes
4′ Principal (new) 73 pipes
4′ Nachthorn 73 pipes
22⁄3′ Nazard 61 pipes
2′ Blockflute 61 pipes
13⁄5′ Tierce 61 pipes
1′ Cymbal III 183 pipes
moved from Swell on new chest
8′ Clarinet (new) 73 pipes
Tremolo
8′ Bombarde 73 pipes
former Swell Trompette moved,
revoiced, on new chest
Ch/Ch 16′–Unison Off–4′
8′ Trompette en Chamade (Great)

PEDAL
32′ Untersatz 32 notes
new, Walker Paradox unit
16′ Diapason 32 pipes
16′ Bourdon 32 pipes
16′ Rohr Bourdon (ext, Sw) 12 pipes
8′ Octave (ext 16 Diap) 12 pipes
8′ Bourdon (ext 16 Bourd) 12 pipes
8′ Rohrflute (Swell)
4′ Super Octave (ext) 12 pipes
4′ Flûte Harmonique (Great)
4′ Rohrflute (Swell)
2′ Diapason Conique (Swell)
32′ Bombarde 32 notes
new, Walker Paradox unit
16′ Bombarde (ext Ch Bomb) 12 pipes
16′ Bassoon (ext Sw Oboe) 12 pipes
8′ Trumpet (Choir Bombarde)
4′ Oboe (Swell)
8′ Trompette en Chamade (Great)
Couplers
Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Choir to Pedal 8′, 4′
MIDI on Pedal

MIDI on Swell

Swell to Great 16′, 8′, 4′
Choir to Great 16′, 8′, 4′
MIDI on Great

Swell to Choir 16′, 8′, 4′
Great/Choir Manual Transfer
MIDI on Choir
Pedal to Choir 8′

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New Organs

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Lewis & Hitchcock, Inc.,
Beltsville, Maryland
Hughes United Methodist Church, Wheaton, Maryland

The Newcomer brothers, Harold and Ed, were masters at “remanufacturing” organs. The Newcomer Organ Company of Washington, D.C., produced a number of these instruments, one of the finest of which they built for Hughes United Methodist Church of Wheaton, Maryland, in 1966. The windchests and pipes were mainly from E. M. Skinner and Möller organs, with new pipes by Möller and Trivo, and a new Möller three-manual drawknob console. The organ had 35 ranks in two chambers up front and an antiphonal above the rear balcony. Space was left in the chambers for additional stops, and knobs were prepared on the console.
In 1983 the Newcomer firm was purchased by Lewis & Hitchcock, and the two firms eventually merged. When some repairs due to age were required, discussions began about improving the chancel area and completing the organ. The final outline was:
1. The church would remodel the chancel, removing all carpet and installing hardwood floors. The choir pews would be removed and be replaced with chairs. The chamber grille cloth would be replaced, and the chamber ceilings and walls repaired where required.
2. The organ would be physically renewed as required. New blowers would be provided for the main and Antiphonal organs, and new rectifiers provided.
3. The organ console would be totally rebuilt with solid-state action, and be placed on a new, rolling platform, so that it could be located anywhere in the chancel area.
4. New and rebuilt pipework would be added to complete the specification, and some of the existing pipework moved to a more appropriate location.
5. A new Trompette en Chamade would be added to the Antiphonal division.
The completed instrument now totals 47 ranks. The organ is very versatile and able to provide support for soloists, choirs, and congregation. The new solid-state equipment occupies less space than the previous system, so a storage space for music and shoes was created in the left side of the console. The new oak parquet platform may be easily moved throughout the chancel area. The new systems include a transposer and multiple-memory combination action with settable crescendos, and a MIDI system with sequencer to record and play back performances. The remodeled chancel has improved the acoustics and has proved very useful for the wide variety of services held there.
The late Randy Skinner was chair of the organ committee that selected the Newcomer firm to provide the organ. Sharon Skinner, his daughter, was the chair of the trustees in charge of the rebuilding work. Organist Van Knauss worked with Gerald Piercey to plan the tonal changes and additions.
Many pictures of the work in progress in the factory and in the church may be found in the Rebuilt Organs section of the Lewis & Hitchcock website: <www.lhorgans.com&gt;.
Text and pictures by Gerald Piercey, Lewis & Hitchcock, Inc.

Hughes United Methodist Church, Wheaton, Maryland
Rebuilt by Lewis & Hitchcock, Inc.

GREAT
Chimes 21 tubes
16′ Quintaton 61 pipes
8′ Principal 61 pipes
8′ Hohlflute 61 pipes
4′ Octave 61 pipes
4′ Nachthorn 61 pipes+
rebuilt pipes on rebuilt chest
2′ Fifteenth 61 pipes
11⁄3′ Mixture III–IV 219 pipes
8′ Bombarde 17 pipes+
new, on new chest,
and Ped 16′ Bombarde
16′ Great to Great
8′ Great Unison Off
4′ Great to Great

SWELL
8′ Rohrflute 61 pipes
8′ Viol d’Gamba 61 pipes
8′ Voix Celeste TC 49 pipes
4′ Principal 61 pipes
4′ Flute Traverse 61 pipes
22⁄3′ Rohr Nazard 61 pipes
2′ Zauberflöte 61 pipes+
rebuilt, in place of RohrSordun
13⁄5′ Tierce (prepared)
2′ Plein Jeu III 183 pipes+
new, in place of Cymbal
16′ Fagott 61 pipes+
new, on new chest
8′ Trompette 61 pipes
8′ Hautbois 12 pipes+
new, and 16′ Fagott
4′ Clarion (prepared)
Tremolo
16′ Swell to Swell
8′ Swell Unison Off
4′ Swell to Swell

CHOIR
8′ Holz Gedeckt 61 pipes
8′ Flauto Dolce 61 pipes
8′ Unda Maris TC 49 pipes
4′ Koppelflute 61 pipes
2′ Blockflute 61 pipes
1′ Cymbal III 183 pipes+
moved from Swell, on new chest
8′ Krummhorn 61 pipes
Tremolo
16′ Choir to Choir
8′ Choir Unison Off
4′ Choir to Choir

ANTIPHONAL
8′ Melodia 61 pipes
8′ Dulciana 61 pipes
8′ Unda Maris TC 49 pipes+
rebuilt, on rebuilt windchest
4′ Octave 61 pipes
2′ Super Octave 61 pipes+
rebuilt, on rebuilt windchest
11⁄3′ Mixture III 183 pipes+
rebuilt, on rebuilt windchest
8′ Trompette en Chamade 61 pipes+
new, on new chest
8′ Trompette Harmonique 61 pipes
16′ Antiphonal Bourdon 32 pipes
8′ Antiphonal Bourdon (ext) 12 pipes

PEDAL
32′ Untersatz (prepared as electronic extension, resultant at installation)+
16′ Subbass 32 pipes
16′ Quintaton (Great)
16′ Lieblich Gedeckt 32 pipes
8′ Geigen Principal 32 pipes
8′ Bass Flute (ext Subbass) 12 pipes
8′ Lieblich Flute (ext 16 Lieb) 12 pipes
4′ Geigen Octave (ext) 12 pipes
4′ Flute (ext Subbass) 12 pipes
51⁄3′ Mixture II 44 pipes & 8′ Geigen Pr
32′ Bombarde (ext, 12 electronic notes)+
16′ Bombarde 32 pipes+
new, on new chest
16′ Fagott (Swell)+
8′ Bombarde (ext) 12 pipes+
new, on new chest
4′ Clarion (ext) 12 pipes+
new, on new chest

Couplers
8′ Great to Pedal
4′ Great to Pedal+
8′ Swell to Pedal
4′ Swell to Pedal
8′ Choir to Pedal
4′ Choir to Pedal
8′ Antiphonal to Pedal
4′ Antiphonal to Pedal
MIDI on Pedal+
16′ Antiphonal to Swell+
8′ Antiphonal to Swell+
4′ Antiphonal to Swell+
MIDI on Swell+
16′ Swell to Great
8′ Swell to Great
4′ Swell to Great
16′ Choir to Great
8′ Choir to Great
4′ Choir to Great
16′ Antiphonal to Great
8′ Antiphonal to Great
4′ Antiphonal to Great
MIDI on Great+
16′ Swell to Choir+
8′ Swell to Choir
4′ Swell to Choir
16′ Antiphonal to Choir+
8′ Antiphonal to Choir+
4′ Antiphonal to Choir+
Choir/Great Transfer+
MIDI on Choir+

+ = additions/changes

Pistons
Under Swell: General 1–4, Swell 1–6, SFZ
Under Great: General 5–8, Gt/Ped, Great 1–6
Under Choir: Set, Pedal 1–6, Choir 1–6, GC

Toe Controls
Left: Gen 1–4, Gen 5–8
Center: Ch/Sw/Cresc shoes
Right: Gt/Ped, Sw/Ped, Ch/Ped, ZIMB, SFZ, Ped 1–6

Left Drawer
MIDI Resource Center
MIDI IN/OUT/THROUGH ports
Sequencer to record and play back

Right Drawer
Memory Level Selector 1–99
Crescendo Selector 1–4
Transposer +/- 6 half steps

Lewis & Hitchcock, Inc.
10153 Bacon Drive
Beltsville, MD 20705
800/952-7473
www.lewisandhitchcock.com

New Organs

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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

New Organs

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Lewis & Hitchcock, Inc.,
Beltsville, Maryland
Wesley United Methodist Church, Vienna, Virginia
Wesley United Methodist Church of Vienna, Virginia, has a Wicks organ that was installed in 1966 and enlarged in 1971. The organ had begun to have problems in the switching system and combination action. Working with trustees Harvey Bowles and Dick Takamatsu and organist Jason Bowles, we developed a plan to rebuild the organ, including replacing the switching system and relays with a new multiplex system that would provide a large combination action, with accessories such as a transposer as well as a piston sequencer. New keyboards were recommended, for a better feel as well as reliable contact systems.
We also recommended the replacement of one rank of pipes that would not hold voicing. As plans went forward, the desire was expressed to add some digital stops, and eventually a full complement of digital stops was designed to complete the organ tonally. These were provided by the Walker Technical Company of Zionsville, Pennsylvania. As there was no space in the chambers for a large bass speaker, they provided a cabinet finished to match the organ grillework, which sits directly in front of it.
Besides all the standard accessories, there is a piston sequencer with Next and Previous pistons and toe studs, and a MIDI data file record and playback system. The result is a versatile instrument that easily provides the right sound for the music.
—Gerald Piercy

GREAT
16′ Violone (Walker Paradox System)
8′ Principal 61 pipes
8′ Bourdon 61 pipes
4′ Octave 61 pipes
4′ Spillpfeife 61 pipes
new pipes on existing chest
22⁄3′ Twelfth 61 pipes
2′ Fifteenth 61 pipes
8′ Trumpet (Walker)
Chimes (Walker)
Great to Great 16–UO–4
Swell to Great 16–8–4
Choir to Great 16–8–4

SWELL
16′ Rohr Gedeckt 61 pipes
8′ Geigen Diapason (Walker)
8′ Rohrflute (ext)
8′ Viole d’Gambe 61 pipes
8′ Viole Celeste (tc) 49 pipes
4′ Geigen Principal 61 pipes
4′ Nachthorn 61 pipes
2′ Piccolo 61 pipes
11⁄3′ Plein Jeu III 183 pipes
16′ Contre Trompette (ext)
8′ Trompette 61 pipes
8′ Vox Humana (Walker)
8′ Hautbois 61 pipes
4′ Clarion (ext)
Tremolo
Swell to Swell 16–UO–4

CHOIR
8′ Nason Gedeckt 61 pipes
8′ Erzahler 61 pipes
8′ Erzahler Celeste (tc) 49 pipes
4′ Koppelflute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Blockflute 61 pipes
13⁄5′ Tierce 61 pipes
8′ Krummhorn 61 pipes
Tremolo
8′ Harp (Walker)
4′ Celesta (Walker)
8′ Festival Trumpet (Walker)
Choir to Choir 16–UO–4
Swell to Choir 16–8–4

PEDAL
32′ Untersatz (Walker)
16′ Principal (Walker)
16′ Bourdon 32 pipes
16′ Rohr Gedeckt (Sw)
8′ Spitz Principal 32 pipes
8′ Bourdon (ext)
8′ Rohrflute (Sw)
4′ Spitz Principal (ext)
4′ Bourdon (ext)
2′ Octave (Gt 8′ Principal)
16′ Trombone (Walker)
4′ Hautbois (Sw)
Great to Pedal 8–4
Swell to Pedal 8–4
Choir to Pedal 8–4

25 registers, 27 ranks, 12 Walker voices

Eyeline console, white knobs for stops and division couplers, black knobs for intermanual couplers.
The existing console shell was retained. The manual keys, pistons, drawknobs, toe studs and all internal works are new. The pedalboard was rebuilt to new standards. The relay system was replaced with multiplex units.

Lewis & Hitchcock, Inc.
www.lhorgans.com

New Organs

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Fabry, Inc., Antioch, Illinois: Memorial Chapel, The Culver Academies, Culver, Indiana

Fabry, Inc., Antioch, Illinois
Memorial Chapel, The Culver Academies, Culver, Indiana

The nucleus of this organ is Möller Opus 8168, a 54-rank organ installed in the chapel in 1951. Various builders made some tonal modifications in the 1970s, but the organ returned to the care of Fabry, Inc. in 1978. Various ranks have been replaced since, often in an effort to resolve problems created by the work done in the 1970s. The entire electrical system was replaced with a Peterson ICS-4000, providing all relay connections, MIDI interface, adjustable crescendo pedals, adjustable “accent pedal” settings, ventils, and 256 levels of memory. The Möller individual pneumatic shade actions were replaced with Peterson 16-stage units (three for each expression enclosure). The Vox Humana enclosure was replaced with a new enclosure with shades and a Peterson shade action, operable from the console.
All tremolos were replaced with A. R. Schopp electric tremolos, including additional tremolos for the Great division and for the 7-inch pressure chest for the new reeds in the Choir.
The console was totally rebuilt by David Gustav Fabry, retaining the English ivory keyboards and some structural members. All new stop jambs were built in walnut, with accents in bloodwood and partitions between divisions in distressed maple. Nearly all external console woodwork was replaced, and the organ was fitted with a rebuilt pedalboard, featuring maple naturals and ebony-topped walnut for the sharps. Expression shoes (of walnut), divisional cancel bars (of distressed maple), switch plates for Chimes, Zimbelsterns, Vox Humana shades, and Pedal Divide, along with some external parts of the console, were laser engraved. All console pneumatics were replaced by Syndyne drawknob and Peterson rocker tablet actions.
David Gustav Fabry also constructed a new chest and modified an existing Choir chest to accommodate added stops and provide unit actions for one existing rank. Drawknobs and label plates were made by Hesco, Inc. of Hagerstown, Maryland. The Cor d’Amour and English Horn are patterned after the later work of E. M. Skinner. The new reeds and the Viola Celeste in the Choir were made by Eastern Organ Pipes, also of Hagerstown. The Doppelflöte was recycled from an 1892 instrument by William King and Son of New York City. Its bottom and top octaves (to yield a total of 73 pipes) were recycled from a similarly large-scaled Möller Melodia. The organ now possesses 58 ranks—3,625 pipes.
All cloth-wrapped wiring was replaced with PVC-coated wiring conforming to present-day codes. Connections between the console and the satellite cages in the chambers are done by Ethernet cables. Pouches and primaries were releathered in all but the Swell B chest (which had been replaced entirely after severe water damage in 1980). The Choir division was reconfigured with an expanded enclosure (and additional shades) to accommodate the new additions comfortably. The overall direction of the project was by David J. Fabry, assisted by Mike Pishioneri, Grant Ellis, Steve Ellis, and Phil Spressart, all from the Fabry company. The specification and details (including specific location of all controls on the console) were designed by John Gouwens, Academy Organist. Gouwens played the rededication recital on April 15, 2007. A CD recording of the enhanced instrument is in preparation.
—Phil Spressart

GREAT (Manual II)
16′ Quintaton 61 pipes
8′ Diapason 61 pipes
8′ Bourdon# 61 pipes
8′ Doppelflöte+ (enclosed w/Ch) 73 pipes
8′ Gemshorn 61 pipes
8′ Viola* (new duplex from Choir)
4′ Octave 61 pipes
4′ Harmonic Flute 61 pipes
(harmonic from f#2)
2′ Super Octave 61 pipes
2′ Piccolo# 61 pipes
(Zauberflöte, harmonic from low C)
Fourniture IV 244 pipes
Cymbel III 183 pipes
8′ Military Trumpet (from Choir)
Chimes# (Sw, immune to couplers)
MIDI on Great*
Great to Great 16′
Great Unison Off
Great to Great 4′
Tremolo*

SWELL (Manual III)
16′ Flûte Conique 85 pipes
8′ Geigen Diapason 73 pipes
8′ Rohrflöte# 73 pipes
8′ Flûte Conique (from 16′)
8′ Viole de Gambe 73 pipes
8′ Viole Céleste 73 pipes
8′ Salicional 73 pipes
8′ Voix Céleste (TC) 61 pipes
4′ Principal 73 pipes
4′ Flûte Triangulaire 73 pipes
2′ Fifteenth 61 pipes
Plein Jeu IV# 244 pipes
16′ Contra Oboe 85 pipes
8′ Trompette 73 pipes
8′ Oboe (from 16′)
8′ Vox Humana 61 pipes
Vox Humana Forte* (overrides Vox Humana shades setting)
4′ Clarion 73 pipes
Chimes# (not subject to couplers) 21 tubes
MIDI on Swell*
Swell to Swell 16′
Swell Unison Off
Swell to Swell 4′
Tremolo

CHOIR (Manual I)
16′ Flûte Conique* (new duplex, Swell)
8′ Viola 73 pipes
8′ Viola Celeste+ 73 pipes
8′ Cor de Nuit 73 pipes
8′ Erzähler 73 pipes
8′ Erzähler Celeste (TC) 61 pipes
4′ Prestant 73 pipes
4′ Koppelflöte 73 pipes
22⁄3′ Nazard 61 pipes
2′ Blockflöte 61 pipes
13⁄5′ Tierce 61 pipes
16′ Cor d’Amour+ 73 pipes
16′ Contra Oboe* (new duplex, Swell)
8′ English Horn+ 73 pipes
8′ Cor d’Amour* (from 16′)
8′ Clarinet 73 pipes
8′ Military Trumpet 73 pipes
(harmonic from middle c)
8′ Bombarde# (Pedal)
8′ Harp# (TC) (Deagan/Möller) 49 bars
MIDI on Choir*
Choir to Choir 16′
Choir Unison Off
Choir to Choir 4′
Tremolo

SOLO (Floating—all duplexes from other divisions)
8′ Doppelflöte* (Gt, enclosed w/ Ch)
8′ Viola* (Choir)
8′ Viola Celeste* (Choir)
16′ Cor d’Amour* (Choir)
8′ Cor d’Amour* (Choir)
8′ English Horn* (Choir)
8′ Oboe* (Swell)
8′ Bombarde* (from Pedal, 61 notes)
8′ Military Trumpet* (Choir)
Harp* (Choir)
Tremolo* (engages appropriate tremolos for all stops drawn on Solo)

PEDAL
32′ De Profundis* (Resultant from Bourdon and Flûte Conique)
16′ Contra Basse (open wood) 44 pipes
16′ Diapason (ext Gt 8′, open metal) 12 pipes
16′ Bourdon (wood) 44 pipes
16′ Quintaton (from Great)
16′ Flûte Conique (from Swell)
102⁄3′ Quint 44 pipes
8′ Octave (from Contra Basse)
8′ Principal 32 pipes
8′ Bourdon (from 16′)
8′ Quintaton (from Great)
8′ Flûte Conique (Swell)
62⁄5′ Grosse Tierce* (from Bourdon)
51⁄3′ Octave Quint (from 102⁄3′)
44⁄7′ Grosse Septième* (from Flûte Conique)
4′ Choral Bass 32 pipes
4′ Nachthorn# 32 pipes
Mixture III 96 pipes
32′ Voix de l’Abîme* (Resultant from Oboe and Cor d’Amour)
16′ Bombarde (full length, open metal) 73 pipes
16′ Cor d’Amour* (new duplex, Choir)
16′ Contra Oboe (Swell)
8′ Bombarde (from 16′)
8′ Oboe* (new duplex from Swell)
4′ Clarion (from 16′)
Pizzicato Bass* (8′ Octave, pizzicato relay)
Chimes#
MIDI on Pedal*
Zimbelstern# (two, selectable)

Couplers (rocker tablets)
Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Choir to Pedal 8′, 4′
Solo to Pedal* 8′, 4′
Swell to Great 16′, 8′, 4′
Choir to Great 16′, 8′, 4′
Solo to Great* 16′, 8′, 4′
Solo to Great Melody Coupler*
Swell to Choir 16′, 8′, 4′
Solo to Choir* 16′, 8′, 4′
Solo to Choir Melody Coupler*
Great to Choir* 8′
Pedal to Choir* 8′
Choir to Swell* 16′, 8′, 4′
Solo to Swell* 16′, 8′, 4′
Great-Choir Transfer*
Pedal Divide* (Pedal stops/couplers; adjustable break point)
Ventils* (changing function of Pedal 1–5 toe studs to divisional blind silencers)
All Tremolos Off*

+ Added ranks, 2007–8
* New duplex, extension, or control
# Stops replaced or added by Fabry, Inc. in earlier projects
Photo credit: John Gouwens

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A. E. Schlueter Pipe Organ Company, Lithonia, Georgia
New Orleans Baptist Theological Seminary
Monday, August 29, 2005, Hurricane Katrina made landfall. The levee system failed, and over 80% of New Orleans was flooded. For weeks, portions of the city remained under water, with heat and moisture completing the destructive cycle that Katrina began. While waiting for the water to dissipate, we knew that the damage to persons and property would be immense.
Our firm was called by the New Orleans Baptist Theological Seminary to evaluate and salvage the damaged instruments on the campus. Founded in 1917, the seminary sits on a 75-acre campus in the hardest-hit 9th Ward area of New Orleans. The Division of Church Music Ministries aims “to equip leaders for excellence in music ministry among Southern Baptists through performance, education, and technology.” Our charge was to assure that the musical resources were available for their mission.
What we found upon our arrival is perhaps best described by Seminary President Dr. Charles S. Kelly, Jr.:

Hurricane Katrina well and truly earned its designation as the worst natural disaster in the history of the United States. Our campus, like most of the city, was devastated. Our homes, many of our buildings, most of our grounds, and virtually all of our musical instruments were hit very, very, hard. The recovery process was long, difficult, and messy beyond anyone’s ability to describe. . . . What made our plight even more difficult was the massive damage to the rest of the campus and the severe losses sustained by our faculty, staff, and student families. The larger picture of what had to be done to reopen the campus and care for our families made allocation of the necessary dollars for the recovery of our lost and severely damaged instruments a very difficult thing to do.

Our work on the campus involved the protection and removal of many of the significant music instruments including multiple grand pianos, a harpsichord, and the 1954 Möller (III/27) and 1966 Aeolian-Skinner Opus 1468 (IV/38) pipe organs. Of prime concern was protecting the instruments to prevent further damage. In addition to water, the storm brought massive amounts of airborne contaminants into the instruments, and, with heat, mold.
The Möller organ, located in the Sellers Music Building Recital Hall, was damaged when the roof gave way, flooding the organ with thousands of gallons of water that passed through the two chambers and filled the pitman chests and winding system. When we arrived several weeks later and opened the chests, there was still a significant amount of water in the organ.
The Aeolian-Skinner was damaged when the 150-mile-per-hour winds blew out the window behind the organ. For hours on end, the outside became the inside as the storm vented its fury on the Skinner. As with the recital hall organ, we found water in the organ many weeks after the storm.
It was inevitable that there would be long and intense negotiations with insurance companies about the losses and rebuilding. The enormity of Katrina simply overwhelmed insurers. One could go on at length about the negotiations and the efforts and education that were required with the insurance companies. Suffice it to say that at one point the insurers appraised the older, smaller Möller at a greater amount than the larger, newer Aeolian-Skinner.
The Möller organ’s status was very clear cut because of the extreme damage to the chassis and its utilitarian design. The Aeolian-Skinner and its disposition was a thornier issue. The damage to the organ was severe, but with heroic measures it could have been restored. The problem was that a true restoration would involve tremendous expense that could exceed the organ’s replacement cost. The insurance company did not understand that if you replace the chests, swell box, some pipework, the winding system, and the console with new materials, the organ would cease to be Opus 1468. While we fought for funds for restoration, the client and our firm resolved that either the Skinner would be unaltered and restored without change, or if changes were required, that the resources would be folded into a new instrument. As negotiations concluded, funds available for the Skinner were not sufficient for a true restoration.
In addition to wide-ranging discussions about how the instruments would be used, we also traveled with Dr. Becky Lombard, professor of music theory and keyboard studies, to hear many of our recent instruments. We evaluated how these differing specifications might relate to the needs of the seminary and the church music program. From these visits it became apparent that we would build two distinctly different instruments.

Sellers Recital Hall (III/34)
The recital hall organ is used primarily for teaching and for literature performance. Space was limited, but we felt that the organ could be enlarged to provide additional resources not present in the 1954 instrument. With the performance of literature being the goal, choices had to be made about meeting the requirements of specific periods—yet the stoplist couldn’t be too era-specific.
The decision was made to design an instrument that could create the colors of all periods of music history. We also had to consider accompaniment of voice, both solo and choral. In this diminutive hall with seating for around 100, we had to create a rich, full palette without overwhelming the performer or listener. Tonally, the voicing is in a very clean, unforced style. There is crispness to registrations that will promote clean, articulate playing.
This organ had to be able to transform itself into any number of service instruments that the student might encounter in music ministry. The organ we designed is three manuals with 34 ranks of pipe resources. It is equally tempered to accommodate contemporary worship and use with piano accompaniment, and also offers full MIDI capability. This was the first instrument delivered to the campus.

Leavell Chapel (IV/83)
The chapel organ was designed with a different focus. While literature will be performed regularly, the organ’s role in service playing determined the overriding design. Each week chapel services are held and the organ is called on to support congregational singing and to accompany soloists. Collaborative performances with the organ and piano are quite common. The organ is also used to play for services with small numbers in the congregation and, at the end of each semester, for a “packed house” during graduation ceremonies, so a wide dynamic range was needed. The chapel is a cavernous space with seating for over 2000.
When the Aeolian-Skinner was installed, it had 38 ranks with “prepared for” Choir and Positiv divisions and additional Pedal and Great registers that were never added. The room had been acoustically altered from its 1966 incarnation, and the gently voiced Great and Swell on the Skinner did not have the presence required for this hall. Because of other uses of the chapel, the room had been softened with acoustically absorbent material, and this was to remain in place.
The new organ was conceived as a four-manual with Great, Swell, Choir, and Solo divisions. It is located on the central axis of the room on a shelf. The dimensions of this space are 36 feet wide and 18 feet deep.
It was important to the school that the room remain visually unaltered; so, the old façade and casework were restored. The Skinner 16′ Sub Principal was revoiced into a 16′ Violone for the Great division. The college wanted to leave the window at the rear of the organ, which was a concern thermally and acoustically. To overcome this problem, the new windows were designed as insulated units rated to resist a storm stronger than Katrina. We placed the enclosed expression boxes across the rear span of the space with inward partitions to provide our own back chamber wall. With a height of over 16 feet, the expression boxes provide a forward focus for the organ in addition to the needed thermal barrier, while still allowing light through the windows above the organ.
In designing the specification and scaling, I wanted to provide the resources that would allow the performer a vast array of color and weight, suitable for any repertoire. The organ was built with the classical underpinnings of principal, flute, and reed chorus structure to support classical and sacred repertoire; in a bow to Romanticism, I included elements of the American romantic or symphonic organ. This blending provides an instrument that would be evocative of early American Classicism, albeit with cleaner and more articulate flue choruses.
In concert with this eclectic tonal design, an expressive, floating Solo division was included. Included in this division are some of the rarer high-pressure stops, including French Horn, English Tuba, Solo Gamba and companion Celeste, and the hauntingly beautiful 8′ Philomela and 4′ Flauto Major.
We were able to retain about half of the Skinner resources, which were revoiced and rescaled for the new instrument. Some stops were either too damaged, or the material suspect, to consider their reuse. The original Skinner reeds were French in design and small-scaled. We felt that the size and acoustic of the chapel, in conjunction with the stoplist design, would be better served with English shallots, thicker tongues, and higher wind pressures. In addition to chorus reeds, the organ has a full battery of high wind pressure solo reeds that were duplexed in a floating Trompeteria division at multiple pitches with separate couplers.
In keeping with the accompanimental nature of the organ, each division is designed around an independent 8′-weighted principal chorus. The divisional choruses, while differing in color, are designed to be compounded as a unified whole. The mixtures in this instrument are pitched lower than what might be found in many contemporary instruments. Where additional treble ascendency is required, secondary higher-pitched mixtures were also included in each division, scaled and voiced to serve as a functional foil to the divisional chorus without stridency.
The strings and flutes in the expressive divisions are designed to build weightless accompaniment for choral work, or massed in support of romantic or transcription repertoire. The organ features a divided string division located among the Swell, Choir, and Solo divisions, to be compounded by means of couplers. Ever present, to be blended with this string chorus, is the 8′ Vox Humana, which has its own enclosure and tremulant.
With the exception of some 32′ Pedal registers and percussions, the organ does not include digital augmentation. We wanted the organ to stand on wind-blown resources. In support of this decision, we added an additional register to the Pedal—the independent 16′ Wood Open. Installed to the right and left of the center organ core and on 7½ inches of wind pressure, it provides a solid fundamental that is truly felt in the room.
Our experience in servicing instruments in this region has made us aware of the need for stability in the materials and action choices, due to the temperature extremes and constant humidity. The organ chest action is electro-pneumatic slider, with all reeds on electro-pneumatic unit action. The flue pipes and the reed pipes are thus on actions that maximize the speech characteristics of each type of pipe. This also allows the flues and reeds to be placed on differing wind pressures and tremulants. The wind is regulated with dual-curtain valve, spring and weighted reservoirs.
The wind pressures on this instrument vary from 4 to 18 inches. To control these resources, the expression boxes are built 1½ inches thick, with interlocking shades. Multiple motors are used on the shade fronts to allow a full dynamic gradation. The four-manual, drawknob console, built of mahogany and ebony, includes features such as multiple-level memory, transposer, Great/Choir manual transfer, piston sequencer, programmable crescendo and sforzando, record/playback capability, and MIDI.

Installation and voicing
The removal, building, and installation of these instruments were herculean tasks. It is an understatement to say that the staff of the Schlueter firm took up residence in New Orleans. I simply cannot give enough credit to the leadership of our senior organ builders Marc Conley, John Tanner, Rob Black, and Bud Taylor for the untold hours of travel and work that they put into these projects. Organ building cannot be achieved as the result of any one individual, but requires a skilled team. These individuals continue to exceed expectations in the creation of art.
From the outset, we decided that these two instruments would be voiced in the rooms, with the pipes arriving to the installation only prevoiced to allow full latitude with cut-ups and any required nicking. All of the samples were set in the chambers on their windchests and then the pipes were removed from the chambers. We brought a portable voicing machine and layout tables into spaces adjacent to the organ chambers to voice the pipes prior to their reinstallation in the chambers for final voicing and tonal finishing. Because of the size of these two projects, it was necessary to work as a team in tonal finishing, led by Daniel Angerstein, with the able assistance of John Tanner, Marc Conley, Bud Taylor, Kevin Cartwright, Lee Hendricks, and Gerald Schultz. As with so much of our previous work, I want to single out Dan and his contributions. In the many weeks of tonal finishing, he patiently brought forth the organs as they had been envisioned by the client and the builder.

Final thoughts
As we designed the two organs, it became clear that the organs that were desired could not be afforded by the school with the balance of their settlements. Over the years, we have been privileged to gift resources to churches. As owners, my father and I looked inward and decided that the importance of a continuing role of the organ in worship was a worthy cause. This required us to consider a donation, and without revealing the dollar value of our gifts, suffice it to say that there is a four-manual, 83-rank instrument where there had been a 38-rank instrument, and a 34-rank instrument where there had been a 27-rank instrument.
We would like to thank Dr. Charles Kelly, Dr. Becky Lombard, and Dr. Kenneth Gabrielse for their contributions and support during this project. Thanks also to our dedicated staff, listed on our website (www.pipe-organ.com).
Our tonal philosophy is to “build instruments that have warmth not at the expense of clarity, and clarity not at the expense of warmth, and to serve God in our efforts.” We pray that in future years our gifts endorse the importance of the organ in worship, and we hope that our instruments will plant the seeds of worship through music, for future students who pass through this institution.
—Arthur Schlueter III

New Orleans Baptist Theological Seminary, Leavell Chapel, four manuals, 83 ranks
GREAT – Manual II (unenclosed)
16′ Violone (73 pipes) (1–24 façade)
8′ First Open Diapason (Pedal)
8′ Second Open Diapason
8′ Principal (1–12 façade)
8′ Stille Principal (from Cornet)
8′ Violone (ext, 12 pipes)
8′ Harmonic Flute (49 pipes)
(1–12 common bass)
8′ Bourdon
4′ Octave
4′ Diapason (Pedal ext, 12 pipes)
4′ Nachthorn
22⁄3′ Twelfth
2′ Super Octave
V Cornet TC
2′ Mixture VI
1′ Scharf IV
16′ Contre Trumpet (ext, 12 pipes)
8′ Trumpet
8′ Tromba Heroique (Choir)
8′ English Tuba (Solo)
Tremolo
Gt/Gt 16′–Unison Off–4′
SWELL – Manual III (enclosed)
16′ Lieblich Gedeckt (ext, 12 pipes)
8′ Geigen Principal
8′ Rohr Gedeckt
8′ Viola de Gamba
8′ Voix Celeste
8′ Dolce
8′ Dolce Celeste (54 pipes)
4′ Principal
4′ Harmonic Flute
22⁄3′ Nazard
2′ Flageolet
13⁄5′ Tierce
22⁄3′ Plein Jeu V
1′ Klein Fourniture IV
16′ Contra Bassoon (ext, 12 pipes)
8′ Trumpet
8′ Oboe
8′ Vox Humana
4′ Clairon
Tremolo
Sw/Sw 16′–Unison Off–4′
CHOIR – Manual I (enclosed)
16′ Gemshorn (ext, 12 notes)
8′ Principal
8′ Hohl Flute
8′ Gemshorn
8′ Gemshorn Celeste (49 pipes)
4′ Principal
4′ Koppel Flute
22⁄3′ Nasat
2′ Principal
13⁄5′ Terz
11⁄3′ Larigot
11⁄3′ Choral Mixture IV
8′ Clarinet
8′ Tromba Heroique (high pressure)
8′ English Tuba (Solo)
8′ Trompette En Chamade (Trompeteria)
Tremolo
Chimes (digital)
Harp (digital)
Zimbelstern (9 bells)
Ch/Ch 16′–Unison Off–4′
SOLO – Manual IV (enclosed)
8′ Philomela
8′ Gamba
8′ Gamba Celeste
4′ Flauto Major
8′ French Horn
8′ Tromba Heroique (Choir)
8′ English Tuba (high pressure)
Tremulant
Solo/Solo 16′–Unison Off–4′
TROMPETERIA – Manual IV
16′ Tromba Heroique (Choir)
8′ Tromba Heroique (Choir)
4′ Tromba Heroique (Choir)
16′ English Tuba (Solo)
8′ English Tuba (Solo)
4′ English Tuba (Solo)
8′ Trompette En Chamade (high pressure)
Trompeteria Unison Off
Trompeteria on Great
Trompeteria on Swell
Trompeteria on Choir
PEDAL
32′ Violone (digital)
32′ Bourdon (digital)
16′ Open Wood
16′ Principal (ext, 12 pipes)
16′ Violone (Great)
16′ Gemshorn (Choir)
16′ Subbass
16′ Lieblich Gedeckt (Swell)
8′ Octave Bass
8′ Violone (Great)
8′ Bass Flute (ext, 12 pipes)
8′ Spitz Flute
4′ Choral Bass
4′ Nachthorn
22⁄3′ Mixture V
32′ Harmonics (wired cornet series)
32′ Contra Trombone (digital)
16′ Trombone (ext, 12 pipes, enclosed in Ch)
16′ Contre Trumpet (Great)
16′ Contra Bassoon (Swell)
8′ Tuba (Solo)
8′ Tromba (Choir)
8′ Trumpet (Great)
4′ Tromba Clarion (Choir)

Standard couplers and MIDI

New Orleans Baptist Theological Seminary, Sellers Recital Hall, three manuals, 34 ranks

GREAT
16′ Pommer (Choir)
8′ Gedeckt Pommer (Choir)
8′ Principal
8′ Bourdon
4′ Octave
4′ Nachthorn
4′ Gedeckt (Choir)
2′ Super Octave
11⁄3′ Fourniture IV
16′ Contre Trompette (Swell)
8′ Trompette (Swell)
8′ Clarinet (Choir)
8′ Festival Trumpet (Pedal)
Tremolo
Chimes
Great 4′

SWELL (expressive)
16′ Contra Viola (ext, 12 pipes)
8′ Gedeckt
8′ Viola de Gambe
8′ Viola Celeste (49 pipes)
4′ Principal
4′ Spitzflute
22⁄3′ Nazard
2′ Blockflute
13⁄5′ Tierce
2′ Plein Jeu III–IV
16′ Basson-Hautbois (ext, 12 pipes)
8′ Trompette
8′ Festival Trumpet (Pedal)
8′ Hautbois
4′ Hautbois (ext, 12 pipes)
Tremolo
Swell 16′–Unison Off–4′

CHOIR (expressive)
16′ Pommer
8′ Koppel Flute
8′ Viola
8′ Viole Dolce
8′ Viole Dolce Celeste TC
4′ Principal
4′ Gedeckt (ext, 24 pipes, from 16′)
2′ Gemshorn
11⁄3′ Larigot
8′ Clarinet
8′ Festival Trumpet (Pedal)
Celesta (digital)
Harp (digital)
Tremolo
Choir 16′–Unison Off–4′

PEDAL
32′ Bourdon (digital)
16′ Principal (digital)
16′ Contra Viola (Swell)
16′ Sub Bass
16′ Pommer (Choir)
8′ Principal
8′ Viola (Swell)
8′ Bourdon (ext, 12 pipes)
8′ Gedeckt (Choir)
4′ Choral Bass (ext, 12 pipes)
4′ Bourdon (ext, 12 pipes)
4′ Viola (ext, 12 pipes)
32′ Posaune (digital)
16′ Contre Trompette (ext, 12 pipes)
16′ Hautbois (ext, 12 pipes)
8′ Trompette (Swell)
8′ Hautbois (Swell)
4′ Hautbois (Swell)
4′ Clarinet (Choir)

Standard couplers and MIDI

On a personal note
“New Orleans Spared”—Such was the erroneous headline of the newspaper in Savannah, Georgia, on the morning after Hurricane Katrina. At the time, the Schlueter firm was completing the organ at First Presbyterian Church in Savannah (featured in The Diapason, April 2006). My father, members of the installation crew, and I had stared anxiously at the news the previous evening and wondered about our friends in New Orleans and outlying areas. Our firm has worked in the aftermath of a number of major hurricanes and storms in recovery and restoration efforts. Unlike these other disasters, every day the situation in New Orleans grew steadily worse.
Almost exactly one year prior to Katrina, we had completed the rebuilding, relocation, and enlargement of the IV/74 instrument for the First Baptist Church in New Orleans. We made many acquaintances during this period, and through the Internet we were able to find many of our friends who had fled to other cities and states. We prepared for what would face us when the water receded and we could make our way into the city.
It was surreal as the shop vehicles were packed with our own stores of food, water, fuel and medicine for the trip. As we neared the Gulf Coast, the sheer enormity of the disaster began to unfold. We crossed Lake Pontchartrain’s 24-mile causeway on a road that had been reduced to a single lane, following the collapse of entire spans of the eastbound lanes. As we arrived in the evening, the scene before us was a macabre black hole that enveloped the city. From the elevated roadway, the marginally lit downtown of New Orleans was surrounded by a dark, lightless void for miles and miles, indicating the extent of the flooding. We arrived in the city under martial law, and had to learn the intricacies of identification and going through armed checkpoints.
With the daylight, the enormity of the flood was overwhelming. Driving into the 9th Ward, you could see watermarks that were many feet over one’s head. Homes, businesses, and structures sported the hieroglyphics of spray paint, with X’s, O’s and slashes to indicate that the structures had been searched and what had been found. Traveling around places once familiar, we found abandoned cars, collapsed buildings, and most distressingly, an absence of life. When we talked with people we knew and asked what we could do, the answer was always the same, “Pray for us.”
In the ensuing months that stretched out over two years for the three instruments we worked on, we became emotionally involved with the city and its people. We came to New Orleans to work on behalf of the First Baptist Church of New Orleans and the New Orleans Baptist Theological Seminary, and to restore part of their community. When we visit today, there are still signs of Katrina that only the passage of time will erase, but undeniable is the resilience of the people as they seek to rebuild their community. It is our hope that our response to Katrina on behalf of this community exemplifies “laborare est orare.”
—Arthur Schlueter III

 

 

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A. E. Schlueter Pipe Organ
Company, Lithonia, Georgia
First United Methodist Church, Atlanta, Georgia

Atlanta First United Methodist Church was originally organized as Wesley Chapel in 1847, and has maintained a long tradition of excellence in worship. The present church was built in 1903, when Mr. Asa Candler purchased the former church site for the headquarters of Coca-Cola. After moving to the new location, the church changed its name to Atlanta First United Methodist Church. Many Methodist luminaries have served this congregation, including the venerable Pierce Harris.
The first pipe organ known to be installed in the church was a two-manual Roosevelt in 1885. When the present church was built, this instrument was moved. In 1919, the organ was re-actioned and rebuilt by Möller. Further changes occurred in 1953 when the organ was enlarged to 46 ranks by another firm. A new façade was built from new and existing pipes in a “pipe fence” array; while commanding in stature, the new façade did not pay homage to the architecture of the building and was poorly constructed. Fortunately, during the 1950s work, ten stops from the former Roosevelt instrument were retained; unaltered, they could be considered for inclusion in the new 2008 instrument. Over the succeeding years, the organ was rebuilt as sections failed and generally kept in working order. The organ provided the basic needs for service playing, but, quite simply, was too small for the space.
Jump forward to 2003 when senior pastor Rev. Wayne Johnson commissioned a feasibility task force to redefine the church’s mission and plan for future ministry. As with many downtown churches, the community around the church was displaced as office buildings replaced homes. Yet this church saw opportunity. The feasibility task force determined it needed to continue its television ministry, continue its education through the Candler School (founded at Atlanta FUMC, but now only affiliated through the denomination), and renovate and restore the church building. It was noted that the organ needed to be addressed as part of the building infrastructure. The task force engaged an architect to provide possibilities for the chancel renovation. J. Donald Land, director of music and organist, led the charge to consider the organ and its renovation or replacement.
A. E. Schlueter Pipe Organ Company was one of several firms interviewed for the project. We viewed this as a real opportunity to build an instrument of significance in our hometown. It is not often that an opportunity develops to build a “Magnum Opus” in the same city as a firm’s location. The Schlueter family decided that the building of this instrument was more important than simple financial gain. Trust that our pencils were very sharp because of this unique opportunity to create art. In our interview, we discussed with the committee the opportunity for an organ of multiple divisions and a wide palette of colors, in an organ case that would complement the church. Specific emphasis was placed on preserving the stewardship of the past. In our design, pipework from the two previous instruments was incorporated in the various departments of the organ.
Quality organbuilding is never the result of one individual but of the synergy of a team. In this respect, our firm was ably assisted by the Atlanta First United Methodist Church clergy, music staff, church staff, and feasibility task force. These individuals readily gave of their time and talents and provided invaluable assistance from the inception of the organ project to its installation and tonal finishing. Specifically we would like to recognize Dr. Bob Smith, chair of the feasibility task force, who was charged with the selection of the architect and organbuilder; J. Donald Land, director of music and organist; Wally Colly, church liaison; senior pastor Rev. Wayne Johnson, deceased, whose vision propelled this project forward even in his absence; and current senior pastor Dr. Jim Ellison.
As part of the building renovation, the choir loft was to be lowered (it was eight feet above the pulpit). This meant that the organ case would need to begin from a much lower plane than the actual organ chamber. We designed the lower case walls to begin below the main organ chassis and act as a reflective shell for the choir. The interior layout of the organ was designed to allow the choir to hear the organ without taking the full brunt of large registrations. In effect, the organ “blooms” just forward of the choir loft.
At the center point of the organ, the chamber is only nine feet deep, so modest cantilevers were designed into the organ case to grow the chamber space without creating a large shelf above the choir that would hamper hearing the organ. Visually, these forward pipe towers give the illusion of a more forward presence.
The engineering that developed would require the organ divisions to be stacked one on top of another. Often stacked organs rely on the division above to form the ceiling for the lower division. This is a problem because the sound speaks into windlines, reservoirs or schwimmers, organ actions, or other parts. It is also mechanically difficult to service the above division because of the sea of pipes located below it; this is often remedied by placing additional perch boards over the pipes, thus adding more impediments to sound reflection. Our solution was a careful design that built dedicated floors and ceilings in each division.
The layout of the organ finds the Swell, String and Choir divisions located on the bottom level. The Solo and Great divisions are located in the top level of the organ, with the Pedal in an open two-story chamber in the center of the case. The Great is enclosed with a ceiling that allows it to speak into the center of the case and to blend with the lower divisions in the chancel, rather than going completely over the musicians’ heads. This purposefully built chamber has proved very effective in coalescing the many divisions of the organ and eliminates geographic specificity of the individual organ stops. The rear of the church houses the Antiphonal, Antiphonal Pedal and Trompetteria divisions of the organ. The Antiphonal is situated at the same height as the Great organ, thus promoting tuning stability.
Because the church has a very active television ministry, there was a concern about the console being exposed and commanding behind the pulpit. A lift was designed that allows the console to be lowered to reduce its visual signature, and, when not needed for other church events, the console can be lowered down and rolled into a side parking location. The platform then can be raised to increase the available space in the chancel.
The console and organ case are constructed of quarter-sawn white oak. We made a conscious effort to incorporate elements of the church building into the console and organ case. Our design engineers, Howard Weaver and Robert Black, saw to it that arches, quatrefoils, and acanthus leaves became part of our vocabulary. It was clear that portions of the organ case would require large grille openings to provide maximum divisional egress into the room. We did not desire to use cloth grilles in the organ case. These impede airflow, are long-term maintenance issues, and affect sound. We designed wood grilles with an open quatrefoil pattern, which allow both the free passage of sound and airflow for tuning stability.
In designing the console, we were very concerned about the ergonomics of its layout. Those who have had the opportunity to sit at larger consoles are aware of their visual and physical challenges. To overcome some of the issues of actually reaching the playing surfaces, we foreshortened the organ sharps as the keys ascended from Manual I to Manual V. The keyboards are not sloped, but with subtle adjustment to the manual relationships even Manual V is comfortable to reach. A similar consideration was given to the pedalboard and expression shoes, which were designed using proportions normally found in our three-manual consoles. Special attention was given to the layout of the pistons, toe studs, drawknobs, and tilting tablets. The end result is that all of the controls can be used and seen without the leaning and craning about that occurs on a large console. It is a very comfortable console to play.
Some interesting facts about the organ:
• the organ contains 93 ranks with 5,360 pipes represented in nine divisions;
• in excess of 10,000 board feet of lumber were used to build this instrument;
• the organ contains over 10 miles of wiring for switching and control;
• the organ uses wind pressures that range from 3½" to 11";
• the main manual windchests are slider, with reeds on electro-pneumatic windchests;
• three divisions of the organ are located in the rear chambers;
• the Trompette en Chamade in the rear of the sanctuary is made from brass;
• the organ weighs over 44,000 lbs.;
• the front organ case stands over 43 feet tall;
• the instrument contains pipes of lead, tin, zinc, brass, and wood;
• the wind for the organ is created by three blowers;
• the organ is controlled with a five-manual console.
The tonal design of this organ was the result of many discussions. Prior to scaling this instrument, organist Don Land and I were able to visit a number of recent instruments built by our firm. Doing this in a short time frame was very helpful to determine tonally where we had gone and where we were going. Don brought in local organists Tom Alderman, David Stills and Richard Morris for their input to the specification and console layout. Tom Alderman worked as a consultant to Don. As a triumvirate, we worked through the myriad of decisions involving the final stoplist, drawknob layout, couplers, pistons, toe studs, and other controls. In the end, I recognize that I was offered a tremendous level of trust and generally an unfettered hand in the tonal design and scaling of the organ.
As the final specification became the math of scales, halving ratios, metal thickness, mouth widths, cut-ups, and languid bevels, I had the good fortune of having Daniel Angerstein and John Tanner to look over my notes. We have worked together on many projects over the years.
For tonal finishing, I was very ably assisted by a team led by Daniel Angerstein, with the assistance of John Tanner, Lee Hendricks, and Bud Taylor. I want to thank Daniel, John, Lee, and Bud for their input regarding division balance, dynamics, color, neutrality, fundament, harmonics, chiff (or lack of), treble ascendancy, and so many other factors. There must always be a final arbiter of design and direction and, in those instances where I followed a different path or tonal treatment, the civility for further discourse remained. I would like to personally single out Daniel Angerstein for his contribution to this project.
It is the daily give and take and discussion that allows art to flourish. It is a rule of organbuilding that you will not make everyone happy with your choices and decisions. The most important question is not “what will others think?” but “have I completed the work to the best of my ability and the charge or commission that I was given by my client to achieve their vision?” As a builder, it is important always to remember what the service role of the instrument will be, and that in the end, the instrument you are building is a tool for worship and is part of the church fabric. Just as your thumbprints are on the instrument, so must be the thumbprints of the church members.
On a project of this size, one challenge was keeping the organ in tune and making adjustments called for during tonal finishing. To make this happen, the voicers would work from 8 am to noon and then break. During lunch hour, members of our staff would take the opportunity to “punch-list” final items and adjustments. When the voicers returned, the room again would settle into the silence of single tones and “louder, softer, more flue, less flue,” etc. After the voicers left in the evening, the crew was again released to make adjustments until 9 pm, when the tuning crew arrived to perform the nightly vigil of preparing the organ for the voicers in the morning. Where stops required work beyond a reasonable ability to perform it in the chamber, we would prepare sample Cs and remove the stop for voicing in our shop. The completed stop would then be installed into the organ for final finishing. This ballet of work went on for weeks on end, and I wish to thank the dedicated members of my staff for the completion of this instrument and for the internal support provided from one staff member to another.
Special recognition must go to our craftsmen, Marc Conley and Robert Black, who were ever present in overseeing the design, engineering, and building of all of the myriad parts that constitute an instrument of this stature. They ensured that the final fit and finish met our standards of quality in engineering and execution. Marc served on the “sharp end of the stick” and worked untold hours at the church to see the project to its completion.
Tonally, this instrument reflects our desire to create organs that possess warmth and clarity. In this room, which promotes clarity of tone and gentle unforced voices, we found wonderful bass presence but the need for an ascendant treble. In the tonal design, all of the divisions of the organ are based on an 8' principal chorus. We differentiated these principal choruses, in addition to the vast array of flutes, strings, and mutations to allow the performance and support of many schools of repertoire. The organ was designed with numerous strings and celestes. It is an absolute joy to hear a transcription on the organ or the subtle undergirding of a choir. With the plethora of solo reeds in the organ, we were able to provide differing reed choruses in the various divisions and pure ensemble function for some of these departments. The organ has reeds designed after English, German, and French styles. The completed instrument pays homage to the important organbuilders and organbuilding styles of the past but is not a copy of any particular builder or style.
This instrument was designed to play a role in all musical styles of worship, from traditional to contemporary. To support the non-traditional role, the instrument is equipped with MIDI capability and a separate chamber audio system. This allows other tones not normally associated with the organ to be generated and controlled by the console. In this manner the organ can blend its voices with other sounds and participate in services that might normally exclude the pipe organ.
Early on, the client had discussed the inclusion of some digital voices in the organ. There was a desire for some stops in the organ that would be considered secondary or tertiary in nature and were the type of stops that might normally be drawn out of a MIDI sound module. They did desire that these stops be voiceable and individually tunable, which specifically excluded MIDI voices. In our interview, we were asked if we would consider working with Walker Technical Company in the installation of these voices. Even though the majority of our experience had been limited to 32' and 16' extensions and percussions, we were aware of the high quality of engineering and sound quality provided by Walker.
As we considered the inclusion of digital voices, the primary question was how? It is probable that, in consultation with the client, we could have left prepared-for stops in the console, to be completed by a third party without our direct involvement. In effect, the stops could have been added in a “don’t ask, don’t tell” fashion, which we considered unpalatable. I am well aware that this method of installing digital stops has allowed some firms to remain “intellectually honest,” but I consider this method to be, at best, morally untenable. If you are providing for additions to the organ in the console and relays, which forces a digital solution because the chamber, winding system, or structure could never accommodate the proposed installations, you cannot pretend you simply did not know, and worse, you have ceded part of your tonal vision to a third party. We considered that if this were the desire of the client, we would work to ensure as seamless an integration of the adjunct stops as possible and to consult on the stops and their voicing.
One fundamental concern with the inclusion of digital stops is where does one start and where does one end once the genie is “out of the bottle.” Our consideration was simple—even though there was a possibility to use digital voices, we strongly desired the organ to be able to stand on its own with the speakers and amps unplugged. There were instances where it would have been much easier to leave out that additional 16' register of pipes in lieu of a digital voice. I am proud to say we resisted this temptation and made organbuilder choices.
Bob Walker worked directly with our firm and Daniel Angerstein in voicing and tuning these stops, and we were very pleased with the final results. Where we desired the voicing and balances to be altered and changed, Mr. Walker was accommodating and worked to achieve a result in keeping with our overarching tonal philosophy for this instrument. The digital stops are as seamless as we had hoped, and the stops contribute around the periphery, as planned by the client, without overtly placing their presence on the stoplist. To the critics, I would say that our firm approached this instrument with integrity of design, and you can indeed play the organ successfully without any digital stop. There are now 93 ranks of wind-blown pipes where there were 46 ranks, and we have completed the tonal vision of our clients in a unified, cohesive manner.
In the end, how do we view this project? In truth, we are still overwhelmed by the opportunity presented to us and the fine work completed by our staff. It is as if we have been so close to the project it is difficult to see what we have done. Analytically, we are aware that the instrument is stunning to hear and see, and yet it will take time to back away far enough from the façade, console, and thousands of pipes to see and hear what others already know of this instrument.
Personally, I do know this—our firm was gifted with an opportunity to build an instrument that we could only have dreamed of at the beginning of our career. We are grateful for the trust placed in us by Atlanta First United Methodist Church and so very fortunate to have the talented and skilled staff that we enjoy. Our tonal philosophy is to “build instruments that have warmth not at the expense of clarity and clarity not at the expense of warmth.” We are thankful to have been given such a grand canvas upon which to express our tonal ideals.
In summation, I would like to thank my father and our company founder, Arthur E. Schlueter, Jr. He is the foundation upon which our company was built and continues to thrive. His continuing role as artist, mentor, and president provides the ongoing oversight of our firm. I am humbly proud to call him both Boss and Dad, as we together work to build instruments for worship.
—Arthur E. Schlueter III

A.E. Schlueter Pipe Organ Company wishes to thank its staff including:
Arthur E. Schlueter Jr., president
Arthur E. Schlueter III, vice president/tonal and artistic direction
John Tanner, vice president of production/tonal finisher
Howard Weaver, senior design engineer
Rob Black, master cabinet-maker/organ engineer
Marc Conley, production supervisor
Bud Taylor, assistant production supervisor
Shan Dalton, office manager
Bob Parris, executive assistant
Barbara Sedlacek, office support
Mike Norris, woodshop foreman
Tony DiLeo, console builder
Bob Black, BSME, mechanical engineer
Joe Sedlacek, console wiring
Jeffery Chilcutt, CAD operator
Michael DeSimone, leathering and assembly
Dustin Carlisle, organ assembly
Sam Polk, organ assembly, tuning assistant
Kelvin Cheatham, organ assembly
Wilson Luna, assembly and wiring
Norma Renteria, leathering, assembly and wiring
Rockshawn Owens, organ assembly
Ruth Lopez, leathering and assembly
Kevin Cartwright, tuning & tonal assistant
Bob Weaver, leathering, assembly, tuning and service
Othel Liles, electrical engineer
Patty Conley, relay wiring
Herb Ridgely, Jr., sales & support
Mike Ray, electronics technician
David Stills, sales & support
Rick Stewart, sales & support
Dave Kocsis, program manager

The cover photo is by Michael Mitchell of Creative Expressions. Other photo credits as indicated.

GREAT (Manual II, unenclosed)
32' Contre Bourdon (Pedal)
16' Bourdon (Pedal)
16' Violone 73 pipes
8' First Open Diapason 61 pipes
8' Second Open Diapason 61 pipes
8' Violone (ext)
8' Harmonic Flute 49 pipes
(common bass from Rohrflote)
8' Rohrflote 73 pipes
5-1/3' Gross Quint 61 notes+
4' Octave 61 pipes
4' Prestant 61 pipes
4' Rohr Flute (ext)
3-1/5' Gross Tierce 61 notes+
2-2/3' Twelfth 61 pipes
2' Super Octave 61 pipes
2' Waldflote 61 pipes
2-2/3' Cornet III 183 notes+
1-1/3' Fourniture V 305 pipes
2/3' Scharf IV 244 pipes
16' Contra Trompete 85 notes+
8' Trompete (ext)
4' Clarion (ext)
16' Trombone (Solo)
8' Tromba (Solo)
8' Festival Trumpet (Solo)
Tremulant
Chimes (enclosed with Solo)
Cymbalstern
Great to Great 4'
MIDI on Great A
MIDI on Great B

SWELL (Manual III, enclosed)
16' Lieblich Gedeckt 73 pipes
8' Violin Diapason 61 pipes
8' Traverse Flute 61 notes+
8' Stopped Flute (ext)
8' Viola de Gambe 61 pipes
8' Viola Celeste 49 pipes
8' Viol Dolce Celeste II 122 notes+
8' Flute Celeste II 122 notes+
4' Prestant 61 pipes
4' Harmonic Flute 61 pipes
4' Unda Maris Celeste II 122 notes+
2-2/3' Nazard 61 pipes
2' Flageolet 61 pipes
1-3/5' Tierce 61 pipes
2' Plein Jeu Grave IV–VI 330 pipes
2/3' Plein Jeu Acuta III–IV 208 pipes
16' Bombarde 61 notes+
16' Contre Fagotto 85 pipes
8' Trompette 73 pipes
8' Oboe 61 notes+
8' Vox Humana 61 notes+
4' Clarion (ext 8')
4' Fagotto Clarion (ext 16') 24 pipes
Tremulant
Swell to Swell 16'
Swell Unison Off
Swell to Swell 4'
MIDI on Swell A
MIDI on Swell B

STRING ORGAN
(Manual III, enclosed with Swell)
16' Viol Celeste II 122 notes+
8' Viol d’Orchestra 61 notes+
8' Viol Celeste Sharp 61 notes+
8' Viol Celeste Flat 61 notes+
8' Dulcet Celeste II 122 notes+
4' Violina Celeste II 122 notes+
4' Dulcet Celeste II 122 notes+
8' Vox Mystique 61 notes+
Tremulant
String Unison Off

CHOIR (Manual I, enclosed)
16' Quintaton 61 notes+
8' Weit Principal 61 pipes
8' Voce Umana 61 notes+
8' Bourdon 61 pipes
8' Gemshorn 61 pipes
8' Gemshorn Celeste 49 pipes
8' Unda Maris II 122 notes+
4' Principal 61 pipes
4' Nachthorn 61 pipes
2-2/3' Nasat 61 pipes
2' Wald Flute 61 pipes
1-1/7' Septieme 61 notes+
1-3/5' Terz 61 pipes
1-1/3/ Quint 61 pipes
1' Sifflote 61 pipes
8/9' None 61 notes+
2' Choral Mixture IV 244 pipes
1/2' Terz-Cymbal III–IV 208 pipes
16' Corno di Bassetto 61 notes+
8' Clarinet 61 pipes
16' Dulzian 61 notes+
8' Holzregal 61 notes+
4' Rohr Schalmei 61 notes+
8' Tromba (Solo)
8' Harp 73 notes+
4' Celesta (ext)
Tremulant
Choir to Choir 16'
Choir Unison Off
Choir to Choir 4'
MIDI on Choir/Pos A
MIDI on Choir/Pos B

ANTIPHONAL (Manual I, enclosed)
16' Bourdon 97 pipes
8' Principal 61 notes+
8' Gamba 61 pipes
8' Salicional 61 pipes
8' Voix Celeste 49 pipes
8' Gedeckt (ext)
8' Flute Celeste II 122 pipes
4' Principal 61 pipes
4' Harmonic Flute 61 pipes
2-2/3' Nazard (ext 16')
2' Blockflote (ext 16')
2' Mixture IV 244 pipes
16' Contre Trumpet 61 notes+
8' Harmonic Trumpet 61 pipes
8' Flugel Horn 61 pipes
Tremulant
Antiphonal to Antiphonal 16'
Antiphonal Unison Off
Antiphonal to Antiphonal 4'

SOLO (Manual IV, enclosed)
8' Major Open Diapason 61 notes+
8' Violincello 61 pipes
8' Violincello Celeste 49 pipes
8' Doppelflote 61 pipes
8' Flauto Mirabilis 61 notes+
4' Claribel Flute 61 pipes
4' Eclat V 305 notes+
8' Tromba 61 pipes
8' English Horn 61 pipes
8' Harmonic Trumpet 61 pipes
8' Festival Trumpet 61 notes+
8' French Horn 61 notes+
16' Tuba Magna 73 notes+
8' Tuba Mirabilis (ext 16')+
4' Tuba Clarion (ext 16')+
Tremulant
Solo to Solo 16'
Solo Unison Off
Solo to Solo 4'
MIDI on Solo A
MIDI on Solo B

TROMPETTERIA
(Manual V, enclosed with Antiphonal in gallery)

8' Tuba Mirabilis (Solo)
16' State Trumpet 85 notes+
8' State Trumpet (ext)+
4' State Trumpet (ext)+
2' Tierce Mixture V 305 notes+
16' Trompette en Chamade TC
8' Trompette en Chamade 61 pipes
4' Trompette en Chamade 49 notes

PEDAL (unenclosed)
32' Contre Diapason 32 notes+
32' Contre Bourdon 32 notes+
32' Contre Violone 32 notes+
16' Principal 44 pipes
16' Wood Open 32 notes+
16' Violone (Great)
16' Bourdon 44 pipes
16' Lieblich Gedeckt (Swell)
16' Quintaton (Choir)
8' Octave (ext 16')
8' Violone (Great)
8' Bourdon (ext 16')
8' Gedeckt (Swell)
4' Choralbass 32 pipes
4' Nachthorn 32 pipes
4' Rohr Flute (Great)
2' Octavin 32 pipes
2-2/3' Mixture V 160 pipes
32' Contre Bombarde 32 notes+
32' Contre Basson 32 notes+
16' Ophicleide 32 notes+
16' Trombone 12 pipes
16' Bombarde (Swell)
16' Contre Fagotto (Swell)
16' Corno di Bassetto (Choir)
8' Festival Trumpet (Solo)
8' Bombarde (ext 32')
8' Tromba (Solo)
4' Clarion (Solo)
4' Clarinet (Choir)
MIDI on Pedal A
MIDI on Pedal B

ANTIPHONAL PEDAL (enclosed)
32' Echo Bourdon 32 notes+
16' Principal 32 notes+
16' Bourdon (Antiphonal)
8' Octave 32 notes+
8' Gedeckt (Antiphonal)
16' Contre Trompette (Antiphonal)

+ Walker stops

Coupler Rail
Great to Pedal 8, 4
Swell to Pedal 8, 4
Choir to Pedal 8, 4
String to Pedal 8
Antiphonal to Pedal 8
Trompetteria to Pedal 8
Solo on Pedal (couplers follow through)
Swell to Great 16, 8, 4
Choir to Great 16, 8, 4
String to Great 8
Antiphonal to Great 16, 8, 4
Trompetteria to Great 8
Solo on Great (couplers follow through)
Swell to Choir 16, 8, 4
String to Choir 8
Antiphonal to Choir 8
Trompetteria to Choir 8
Solo on Choir (couplers follow through)
Antiphonal to Swell 16, 8, 4
Trompetteria to Swell, 8
String on Solo 8 (couplers follow through)
Trompetteria to Solo 8

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