New Organs

Martin Ott Pipe Organ Company, Inc., St. Louis, Missouri
Trinity Evangelical Lutheran Church, Spring, Texas
Opus 68, b. 1991

From the builder
Trinity Lutheran is a large Missouri Synod Lutheran Church located in Spring, Texas, north of Houston. The area was settled by Germans who brought with them their Lutheran faith and customs. The church, founded in 1874, is still located on its original property. As the church has grown, sanctuaries have been removed and new ones have been built. In 1991, our Opus 68 began as the hope of Melvin Schiwart, the music director at the time. Mr. Schiwart had been to Germany. He wanted a good quality German organ for Trinity Church, and his search led him to our firm. A mechanical action organ with a detached console was designed. Although the organ has German influences, it is an eclectic instrument in style and adapts well to its American environment. In 1994, the 49-rank, 39-stop organ was installed in the previous sanctuary’s balcony.
The church membership grew through the 1990s, and the organ continued to be an important part of worship. As plans were made for a new sanctuary, the congregation decided to relocate the organ into the new church. Moving the instrument to the new space enabled the church to keep ties with their past. The organ and the church bell were the only items moved from the old church to the new one. The cost for moving the organ was a small fraction of what a new instrument would cost.
From the very beginning, our firm was invited to participate in the design of the new worship space, specifically the layout of the balcony. We worked with architect John Gabriel, of Gabriel Architects, Inc., and acoustician Scott Riedel, of Scott R. Riedel & Associates, Ltd. The new sanctuary has 44,000 square feet and seats 1,325 parishioners in the nave. Of special concern was how the existing organ could be best incorporated in the new building both visually and acoustically. The music is performed from the “west balcony” opposite the chancel with the altar, pulpit, baptismal font and lectern. Mr. Gabriel designed the large new balcony to accommodate the organ, the choirs, and the orchestral musicians. He was enthusiastic about the organ project and understood the physical and logistic needs. The overall design of the organ remained unchanged. Crown molding was added to give the instrument a stronger visual presence in the new room. We also have added a 32′ Bombarde, a 32′ Untersatz, and a Zimbelstern with a rotating star. As the instrument was reassembled, we thoroughly cleaned every part. The reed pipes were disassembled and completely cleaned before reassembly.
Trinity Lutheran was very enthusiastic about the project. During the weeks we spent reconstructing the organ and voicing, many parishioners would visit to see the progress. Among these visitors was singer-songwriter Lyle Lovett, born near Trinity Church, who asked us many questions about organ building. Mr. Lovett attended Texas A&M University where he studied journalism and German. He also spent time in Germany for his studies. Through his conversations with me, Mr. Lovett learned that the Ravinia Festival in Chicago owned an Ott portative organ; and at the July 12, 2008 concert at this festival, Mr. Lovett used the organ for several pieces in front of a full capacity audience.
The revoiced and visually altered instrument at Trinity Lutheran Church certainly brings vigor in sight and sound to this new sanctuary. We have many people to thank for their assistance in the project: Senior Pastor Richard Noack, Dr. William Brusick, Mr. Melvin Schiwart, and all of the Trinity Lutheran parishioners who were supportive and helpful. I would like to thank all who worked on Opus 68.
1994: John Albright, Albert Brass, James Fantasia, Jeffery Fantasia, Richard Murphy, Earl Naylor, Martin Ott, Thorsten Ott, Mary Welborn. On-site help: new choir risers designed by Jack Rimes, built by Gerhardt Pipho and Melvin Schiwart; riser banisters by Rick Davis; pipe shades in organ towers painted by Duane Schiwart.
2008: James Cullen, Bill Dunaway, Marya Fancey, Larry Leed, Aleksandr Leshchenko, Eileen McGuinn, Earl Naylor, Martin Ott, Inna Sholka. On-site help: Paul Jernigan, Shawn Sanders.
—Martin Ott
Martin Ott Pipe Organ Company

From the acoustical consultant
Trinity Lutheran approached Riedel for consultation in architectural acoustics and sound system design services in August 2001. Our goal for acoustic design was to develop a space that supports and enhances the Lutheran liturgy. Important considerations include reverberation period, HVAC noise control, noise control between spaces and from the outdoors, sound projection from the music area, support for musical ensemble and congregation hymn singing, and speech intelligibility.
The completed Trinity Lutheran sanctuary has a reverberation time, during unoccupied conditions, of 3.5 seconds. This generous reverberance provides excellent sound distribution and enhancement of organ and traditional choral tone. It also benefits Lutheran liturgical practices, encourages congregational sung and spoken participation, and gives a strong sense of listener envelopment.
Excellent speech intelligibility is achieved through innovative sound system technologies and careful design practices. Digitally steerable line array speakers provide very clear sound in this reverberant environment with minimal visual intrusion. A digital signal processor automates the system and replaces older multiple component technologies.
While the organ and traditional choir are an integral part of the congregation’s worship life, the growing use of contemporary instruments in Trinity Lutheran’s music ministry will necessitate a lower reverberation period at times. Treatment options have been presented to facilitate a more contemporary music service, and may be implemented by the client. These treatments include adding modest sound absorbing wall surfaces in select areas of the room.
A flutter echo reflection pattern is audible in the center aisle, resulting from the smooth, curved “barrel vault” ceiling profile favored by the architect. This curve focuses sound energy toward the center aisle of the room, such that the flutter effects are much less noticeable in the congregation seating areas. The overall room shape is cruciform, with organ and choir located at the end of the long axis of the space, in a rear gallery; this facilitates a full and even distribution of musical sound throughout the environment.
We are honored to be part of the Trinity Lutheran Church design team, and we are proud to have assisted in creating an environment that enhances the Ott organ, all in the service of the church.
—Scott Riedel
Scott R. Riedel & Associates, Ltd.

From the minister of music
In May 2007, I was blessed to receive a call from Trinity Lutheran Church in Spring, Texas. One month later, after serving as minister of music for fifteen years at Grace Lutheran in St. Petersburg, Florida, I accepted the call to Trinity. Like Grace, Trinity is a benchmark church in the community that puts a high value on the role of music in quality worship. Throughout the northwest Houston area, Trinity is known for its particular strength in traditional, liturgical worship. To this end, an instrument was sought that would be capable of leading and enhancing this style of worship. All roads inevitably led to Martin Ott.
I am blessed to be the recipient of the hopes, the dreams and the fortitude of a congregation and former minister of music who put such high value on quality music and the instrument that will lead it for generations. Although I had studied on a Holtkamp tracker organ, I had never had the privilege of playing a Martin Ott instrument until my pre-call interview in March 2007. The organ, located in the former sanctuary, looked and sounded spectacular; and yet, it was unfinished. The missing extensions of the two 32′ stops and the absence of any crown molding on the casework were testament to the inevitable expansion that still lay ahead. For myself, one who has been trained in and enjoys improvising on hymns and hymn tunes, the variety of colors and the wide dynamic range made this organ a especially thrilling instrument to play. As a composer, it is also fair to say that having an organ like this is like having a world-class orchestra at your disposal.
While the organ’s weekly mainstay is the leading of over a thousand worshippers in great works of hymnody, our music ministry also calls upon the organ to gently accompany a soloist, add equal support to a majestic brass choir, and blend into and uphold the mighty forces of a full orchestra and chorus. All of these our organ does effortlessly. In this way, I am confident that the Ott Opus 68 pipe organ can provide the style of high quality music that Trinity has come to expect and appreciate over its many years of great musical leadership.
But the blessings don’t end here. While it is a rare opportunity for an organist to meet the creators of their instrument, it is indeed even rarer to have the opportunity to work close at hand with them. Because of the relocation of the organ, I have had the distinct privilege of establishing a close-knit relationship with Martin Ott and his highly skilled team. Over the four months of planning and physically moving the organ, I began to see the care and craftsmanship and the sheer love that Martin has for his instruments and for the churches that will be led by them. During even the most stressful moments of the project, his focus and faith in the outcome never wavered. This instilled great comfort in all of us, knowing that the end result would be beyond everyone’s imagination.
As minister of music at Trinity Lutheran Church, I can speak for all when I say that we are indeed fortunate to have Martin Ott’s Opus 68, which has the potential to bring the highest level of both sacred and secular music to its listeners—leading worship, lifting song, inspiring creativity, enhancing the Word, and energizing the soul.
—William R. Brusick, D.Mus.
Minister of Music
Trinity Evangelical Lutheran Church, Spring, Texas

From the pastor
The dream for a fine pipe organ at Trinity Lutheran Church began in the mid 1980s with our former (now retired) minister of music, Melvin Schiwart. His vision was that we would have a mechanical key action instrument ideally suited to lead robust congregational singing. In response to Mr. Schiwart’s leadership and vision, the congregation decided to establish a special organ fund to bring the project into reality.
Mr. Schiwart interviewed a number of leading organ builders in the United States and in Europe. In the early 1990s the congregation selected Martin Ott of St. Louis, Missouri, to design and build Trinity’s pipe organ.
Martin Ott’s Opus 68 was installed in our former sanctuary in 1994. In June 2008 it was moved into Trinity’s new 1425-seat sanctuary. The organ was expanded with additional stops and enhanced with beautiful casework.
The sanctuary has a classic basilica design and is constructed with internal surfaces that provide a rich reverberation. These features optimize the blessing that is the organ. Martin Luther commented that music often inspired him to preach. I must say that a rousing presentation by a capable organist of Ein feste Burg, At the Lamb’s High Feast We Sing or Crown Him with Many Crowns has definitely inspired my preaching on more than one occasion!
The wonderful marriage of our organ and our new building has yielded many blessings. Our current minister of music, Dr. William (Bill) Brusick, and our pastors enjoy our worship planning sessions. It is fun and energizing to find creative ways to maximize the impact of this superb instrument.
Leading worship in the Name of the Trinity is a high and holy calling. Our magnificent organ is integral to our worship and enhances our worship immensely. It is a great treasure and we are keenly aware that we must exercise faithful stewardship of it to the glory of Jesus Christ.
—Rev. Dr. Richard C. Noack
Senior Pastor
Trinity Evangelical Lutheran Church, Spring, Texas

Trinity Evangelical Lutheran Church, Spring, Texas
39 stops, 49 ranks, 4 extensions

HAUPTWERK (Manual II)
16′ Bordun 56 pipes oak
8′ Prinzipal 56 pipes 75% tin
8′ Rohrflöte (1–12 Bdn) 44 pipes 40% tin
4′ Oktave 56 pipes 75% tin
4′ Nachthorn 56 pipes 40% tin
22⁄3′ Quinte 56 pipes 50% tin
2′ Oktave 56 pipes 75% tin
Mixtur IV–V 255 pipes 75% tin
8′ Trompete 56 pipes 50% tin
8′ Horizontale Trompete 56 pipes 80% tin
4′ Schalmei 56 pipes 75% tin
Zimbelstern  5 Schulmerich bells

SCHWELLWERK (Manual III)
8′ Viola 56 pipes 50% tin
8′ Viola Celeste tc 44 pipes 50% tin
8′ Holzgedackt 56 pipes oak
4′ Prinzipal 56 pipes 50% tin
4′ Gemsflöte 56 pipes 40% tin
Sesquialter II mc 64 pipes 40% tin
2′ Oktave 56 pipes 50% tin
Scharf III–IV 214 pipes 75% tin
16′ Dulzian 56 pipes spruce
8′ Trompete 56 pipes 75% tin
Tremulant

POSITIV (Manual I)
8′ Holzprinzipal 56 pipes oak
8′ Bleigedackt 56 pipes 25% tin
4′ Rohrflöte 56 pipes 40% tin
22⁄3′ Nasat 56 pipes 50% tin
2′ Nachthorn 56 pipes 40% tin
13⁄5′ Terz 56 pipes 75% tin
11⁄3′ Quinte 56 pipes 75% tin
Zimbel III–IV 180 pipes 75% tin
8′ Krummhorn 56 pipes 50% tin
8′ Horizontale Trompete (from HW)
Tremulant

PEDAL
32′ Untersatz (ext Subbass) 12 pipes spruce
16′ Prinzipal 30 pipes 75% tin
16′ Subbass 30 pipes oak
8′ Oktavbass (ext Prinz 16′) 18 pipes 75% tin
8′ Pommer (ext Subbass) 12 pipes oak
4′ Choralbass 30 pipes 50% tin
Mixtur IV 120 pipes 75% tin
32′ Bombarde (ext16′) 12 pipes spruce
16′ Posaune 30 pipes spruce
8′ Trompete (from Hauptwerk)
4′ Schalmei (from Hauptwerk)

Couplers
Schwellwerk/Hauptwerk
Positiv/Hauptwerk
Schwellwerk/Pedal
Hauptwerk/Pedal
Positiv/Pedal

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois
First Presbyterian Church,
Lexington, Kentucky

From the organ builder
Organ projects take a long time. In the case of this undertaking, it can perhaps be said that this project has taken 110 years! It was in 1897 that the W. W. Kimball Co. of Chicago installed a two-manual and pedal tubular pneumatic action pipe organ in First Presbyterian Church. In 1936, Kimball revisited their then 40-year old instrument, converting the action to electropneumatic action and making some minor tonal changes. Subsequent alterations and repairs, not up to the quality of the original work, led to the decision to pursue a comprehensive rebuilding.
It was in May 2004 that Buzard Pipe Organ Builders first inspected the organ and met with the church’s organ committee. Our enthusiasm for the project and approach to the particular requirements of the project were a good fit with the church’s desires, and after jointly refining our vision a contract was signed on June 6, 2005 for a complete rebuilding of the church’s pipe organ. The organ was removed to the Buzard factory in February 2006, with re-installation beginning just about a year later and taking about two months on site.
This project is not a restoration. Many changes had already been made to the instrument over its first 100 years, and although the organ made some nice sounds, it could not provide the full tonal palette that is desired for what this instrument is called upon to do. In addition, the mechanical systems of the organ were neither in good condition nor adaptable to the tonal changes being made.
The new wind system retains and supplements the original Kimball reservoirs and tremolos, with new wooden wind trunks throughout the organ. A completely new console and switching system have been crafted, incorporating preparations for future installation of an Antiphonal division in the gallery (the location of the church’s first pipe organ).
New electric pull-down slider and pallet windchests have been constructed for the straight manual stops, and new electropneumatic action windchests have been constructed for the unit stops. A new building frame and structure has been constructed behind the original casework, with new enclosures incorporating the Kimball shutter frames.
Twenty-five stops of Kimball pipework have been retained, supplemented with 11 ranks of new pipework. All of the existing pipes have been carefully repaired and revoiced, and all the new pipes were custom scaled and built for this project under the watchful eyes (and ears) of the Buzard Company’s tonal director, Brian K. Davis, with all tonal finishing completed on site by Mr. Davis and Mr. Buzard. The visible façade pipes, containing basses of the 16′ and 8′ Diapasons, have been brilliantly decorated using the original patterning.
The organ is now in as-new condition, ready to sound forth in its second century with both bold new voices and sounds that echo from its past. Everything old is new again!
—Keith Williams and David Brown
Buzard Pipe Organ Builders
Service Department

From the organ consultant
In March 2004, I was invited by the director of music and arts, Marlon Hurst, to advise the organ committee of the First Presbyterian Church with regard to their organ. On visiting the church, I found a rather decrepit instrument, originally built in 1897 by the noted Kimball firm, which had subsequently been repaired, patched, altered and added to on several occasions by various people. Kimball had electrified the action (originally tubular) and replaced the console in 1936, but both action and console were now rapidly deteriorating, resulting in dead notes, loose pedal keys, and an erratic combination action. Examination of the interior revealed obsolete windchests, a patchwork electrical system with components ranging from the 1936 electrification to recent solid-state, a replacement (and slow) swell shade motor, inoperative top-note pedal extensions, leaky windlines patched with duct tape, recently recovered reservoirs and winkers, and evidence of some re-leathering of primaries.
Even visually, the organ had been changed, the casework darkened, and the display pipes (along with much of the rest of the church interior) painted a dull off-white to match the sanctuary’s then rather drab interior. Tonally, there had been a few substitutions, along with various additions and extensions on offset chests, most of them done at different times and by different people. The original Kimball pipework was, however, reasonably intact and in good condition, although generally in poor tonal regulation and tune, some stops showing evidence of less than successful revoicing attempts. Yet despite the gradual disintegration of the organ’s original integrity, this pipework, with all its defects, still gave a strong and admirable impression of the original rich Kimball sound.
The committee had been wrestling with various approaches, from possible restoration to more patchwork repairs and additions to total replacement. After discussion with this very motivated committee, a more attractive option emerged. Because of all the changes and additions, restoration as an authentic Kimball was really out of the question. More patchwork could be dismissed on the basis of the dubious results it had achieved in the past. An entirely new organ was an option, but the most costly one. And then there was the matter of all of that excellent Kimball pipework with its distinctive character, which all of us agreed that we liked. Since the faults of the organ as it stood were primarily mechanical, we eventually agreed to focus on a new option, that of retaining and respectfully treating the Kimball pipework, possibly with a few carefully integrated new stops, but replacing all of the mechanical components with new, excepting perhaps the console shell and a few reservoirs. The hoped-for result would be a reliable and essentially new organ with a “vintage” sound.
The committee’s eventual choice of the Buzard firm was based not only on their favorable impressions of the quality of the firm’s work, but also on the builder’s willingness to make the most of the Kimball pipework in a tonal design that also included some additions to expand the overall usefulness of the organ in the church’s very active and vital music program.
Because the organ project was to be integrated into a larger plan of renovating and redecorating the church interior under the direction of Terry Byrd Eason, making more space for the choir was strongly recommended by all involved and was included in this plan. Once a builder had been chosen, he and the architect worked together on renovating the organ chamber and certain other details. Eventually it was discovered that Kimball’s display pipes had originally been colorfully stenciled, and, with the enthusiastic agreement of all involved, restoration of this element was added to the project and executed by Kristin Farmer, one of the most highly respected practitioners of this rather arcane art-form. Along with the restoration of the pulpit furniture to its original finish and a warmer and more historically authentic color scheme, the stenciled pipes have added considerably to the visual interest of the room.
Throughout the three years of the organ project, the committee and I were in regular communication as questions arose and some minor changes were considered. Indeed, I will have to say that Marlon Hurst and his committee comprised one of the most conscientiously dedicated groups that I have ever worked with. That their dedication paid off abundantly was demonstrated on Sunday, April 29, 2007, when the organ and the beautifully refurbished sanctuary—complete with improved acoustics—were dedicated in a unique festival of psalms, hymns and spiritual songs that included hymn-singing, choral music and organ music (both solo and with brass) impressively performed by John D. Schwandt. In one nicely orchestrated and well-attended event, the organ was put through its paces in all of its varied functions, and came through with flying colors. Its Kimball antecedents were clearly present in the warm foundations, lush strings and colorful solo stops, now all well-regulated again. Buzard’s new mixtures dovetailed seamlessly into the well-balanced choruses and the powerful new Tromba rank proved a successful “climax” stop. Musicians, clergy, architect, consultants and builders alike came away happy with what had been accomplished. But of greatest importance will be the far-reaching effects of a more welcoming sanctuary and a well-crafted and versatile organ for the church’s future worship and outreach.
—Barbara Owen
organ consultant

From the director of music and arts
The consideration of a major renovation—or replacement—of the pipe organ proved to be the impetus for examining other areas of concern in the 1874 sanctuary—issues of acoustics, chancel design, lighting, structural integrity and aging HVAC systems. Much like the maintenance history of the organ, each of these areas had received varying degrees of attention and improvement during the past century, but none of the improvements had been made in the context of a comprehensive plan.
With the identification of such a potentially comprehensive restoration project to the organ and sanctuary, a long range planning team (LRPT) was formed with the charge to thoroughly investigate the needs of the sanctuary and organ in the context of the overall ministry of the congregation. The LRPT enlisted the services of two consultants who would prove to be crucial to the direction of the project: Terry Byrd Eason, liturgical design consultant; and Barbara Owen, organ consultant.
Ms. Owen visited the church in March, 2004 and spent a day examining all aspects of the organ. The LRPT was reluctant to completely replace the instrument since it was installed during the same general period of construction as the church’s sanctuary. Furthermore, the warm Kimball sounds were valued by both the church’s members and music staff. Given Ms. Owen’s high estimation of the integrity of the existing Kimball pipes, it was decided that the church would seek a builder who would agree to build a new mechanical instrument, and who would combine the best of the existing Kimball pipe work with certain ranks of new pipes in a tonal scheme that would broaden the tonal palette and provide more timbral cohesiveness in the instrument.
At Ms. Owen’s recommendation, proposals and bids for the rebuilding project were solicited and received from five regional organ builders. In turn, trips were made to Atlanta, Cincinnati and Indianapolis to listen to representative work of each builder who submitted a proposal. Under the continued (and always impartial) guidance of Barbara Owen, we narrowed the field to two builders. A larger organ committee was formed to visit representative rebuilding work of our two final candidates. After hearing the tonal work of John-Paul Buzard, the committee unanimously agreed that it was Mr. Buzard’s work and proposal that best matched the goals stated by the LRPT.
In February 2006, the organ was sent to the Buzard shop. In the year following, the church underwent a restoration that included a complete redesign of the chancel and choir areas, the replacement of the church’s HVAC systems—including the re-routing of the HVAC ductwork for both efficiency and acoustic purposes—a complete scaffolding of the sanctuary to repair and replace sagging plaster in the drop-vaulted ceiling, the addition of new lighting and sound/recording systems and, most important to the organ project, the replacement of wall-to-wall carpeting in the chancel and nave with an oak hardwood surface. The combination of plaster repair and the installation of a hardwood floor in the choir, chancel and nave created an acoustic space that is now resonant and warm—an ideal environment for congregational song and prayer, choral singing and “the playing of the merry organ.”
At some point in the mid-20th century, the organ façade pipes (a functioning 16′ Open Diapason) had been painted over to match the color of the sanctuary walls. There was some photographic evidence from the early 20th century that the façade had originally been stenciled, though the details of the pattern were not discernible from the quality of the extant photographs. As the paint was being stripped from the pipes, the “shadow” of the original ornate stenciling pattern was discovered—and it was found intact to such a degree that its restoration was made possible.
Careful consideration was given to the color choices so that they would be consonant with the overall color scheme in the sanctuary. It was further decided that a large wooden cross, designed by Terry Byrd Eason, would be commissioned to hang in front of the façade pipes.
After all of the planning and careful consideration that led to the selection of a builder had been completed, we could only rest in the faith that we had been thorough in our process and that we had made the right choice in John-Paul Buzard. When John-Paul completed his work on the organ in April 2007, it was confirmed that we had chosen well. His respect for the pre-existing voicing found in the Kimball pipes guided his approach to the voicing of the entire instrument. Now, the old pipework blends with the new in a seamless way that is at once identifiably Kimball, while being skillfully broadened beyond the constraints of late 19th-century American tonal philosophies.
The end result of the project is that we have preserved the best of what we had inherited from our predecessors and have provided for those who worship in this place now and in the years to come an instrument that is capable of accompanying a wide variety of choral and congregational song, and on which can be faithfully played the broad spectrum of historic and modern organ repertoire. Soli Deo Gloria.
—Marlon Hurst, director of music and arts
Tina Wagoner, organist
Dr. Ben Arnold, Sara Holroyd, Jack Lansill, Renée Smith, organ committee

Regarding the restoration of the stenciled façade
The exciting call from Terry Byrd Eason (liturgical design consultant for the First Presbyterian Church, Lexington project) came in early January 2007. He explained that he was working with a church that had an 1897 Kimball façade, which needed to be re-stenciled with its original patterns. The façade had been painted over several times, but was now thoroughly stripped down to the bare zinc. He assured me that the Kimball designs were all on the pipes, etched into the zinc. Not being one who is afraid of a challenge, I took on the job.
The pipes arrived via an 18-wheel tractor-trailer—all 41 of them! My mind could only think, “where am I going to put all these pipes?” And they were huge. Eventually we got them all stored away.
The process began with just looking at the pipes. I wanted to recreate the façade accurately, but having no idea of the original, I was hesitant to just dig in immediately. So I “looked” at the pipes for two weeks. I laid the pipes from each flat side by side, and walked past them several times a day. Finally, I began to comprehend the original layouts and relationships of designs—from one pipe to another and from one flat to another.
I traced the designs, drew them on paper, and then cut stencils. Some stencils were 51″ long and 15″ wide! When the stencils were ready to use, the pipes, one by one, were primed and sanded to a smooth finish. A scale stick was made for each of the pipes so the designs would be placed back in the exact original position.
Colors for the pipes were selected by Terry Byrd Eason to match the walls and interior colors of the sanctuary, leaving the exact disposition of the colors to my discretion. Luckily, in working with the pipes I did find indications of the original colors hidden in nooks and crannies of the pipes. Bright red and green were found, telling me that we were in keeping with the original spirit of the façade design.
First the body of each pipe was painted with five different colors and banded with 24-carat gold. Second, the stencils were applied, some applied by pouncing with a stencil brush while others were gold leafed. These leafed designs had to be traced on the pipes with a pencil, and the gold size was applied with an artist’s brush. The mouths of all the pipes were gold leafed. The bodies of the pipes were nearly completely covered by stenciled designs, and hand painting was required in some areas.
After nine weeks of painting (I saw the sunrise many days), the pipes were finished and ready to go home to Lexington. They now stand proudly in their home and will once again play for at least one hundred years.
My thanks to Terry Byrd Eason for his expert help and to David Brown of Buzard Organ Builders who did the tracings of the original designs.
—Kristin Farmer

John-Paul Buzard Pipe Organ Builders
First Presbyterian Church, Lexington, Kentucky
28 straight stops, 35 ranks
(with preparation for 7-stop, 9-rank Antiphonal division)

GREAT (Manual II)
Underlined stops enclosed
4″ wind pressure
12 stops, 15 ranks
16′ Double Open Diapason* (façade 7–30; 1–6 from Bourdon)
8′ First Open Diapason* (façade 1–15)
8′ Second Open Diapason* (from 16′)
8′ Viola da Gamba
8′ Doppel Flute*
8′ Dulciana*
8′ Unda Maris*
4′ Principal*
4′ Flute d’Amour*
22⁄3′ Twelfth
2′ Fifteenth*
Mixture IV
8′ Trumpet*
8′ Trombas (from Pedal)
Tremulant
Chimes (25 notes, old tubes, new action)
Great to Great 4-UO
Enclosed Great to Great 16-UO-4
Swell to Great 16′, 8′, 4′
Antiphonal to Great 8′

ANTIPHONAL (Manual I)
(in balcony, preparation in console & switching)
7 stops, 9 ranks
8′ English Open Diapason
8′ Melodia
8′ Flûte à Bibéron
4′ Principal
4′ Suabe Flute
Mixture III
8′ Corno di Bassetto
8′ Trombas (from Pedal)
Antiphonal Unison Off
Great to Antiphonal 8′, 4′
Enclosed Great to Antiph. 16′, 8′, 4′
Swell to Antiphonal 16′, 8′, 4′
Cymbalstern (toe piston)
SWELL (Manual III)
Enclosed, 4″ wind pressure
12 stops, 16 ranks
16′ Lieblich Gedeckt*
8′ Violin Diapason*
8′ Stopped Diapason*
8′ Salicional*
8′ Voix Celeste* (GG)
4′ Principal*
4′ Harmonic Flute
2′ Flautina*
Sesquialtera II*
Mixture IV
8′ Cornopean
8′ Oboe*
Swell to Swell 16-UO-4
Antiphonal to Swell 8′

PEDAL
Trombone enclosed
4″ wind pressure
4 stops, 4 ranks
32′ Bourdon (ext, 1–12 digital)
32′ Lieblich Gedeckt (ext, 1–12 digital)
16′ First Open Diapason*
16′ Second Open Diapason* (Gt)
16′ Bourdon*
16′ Lieblich Gedeckt (Sw)
8′ Principal*
8′ Bass Flute* (ext, 12 new pipes)
8′ Bourdon (ext)
8′ Gedeckt Flute (Sw)
8′ Violoncello*
4′ Choral Bass*
4′ Open Flute (ext Bdn, 24 new pipes)
16′ Trombone
8′ Trombas (ext)
4′ Clarion (ext)
16′ Antiphonal Gedeckt (ext)
16′ Antiphonal Bassoon (ext)
Great to Pedal 8′, 4′
Enclosed Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Antiphonal to Pedal 8′

An asterisk (*) denotes pipework retained from the existing organ and restored for the new tonal context.

Photo credit: John-Paul Buzard

 

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

A. E. Schlueter Pipe Organ
Company, Lithonia, Georgia
New York Avenue Presbyterian Church, Washington, D.C.
The rich history of the New York Avenue Presbyterian Church is intertwined with the history of the United States, as it has played an important role during many crucial junctures of our history. The church traces its heritage to Scottish artisans who worshiped on the grounds of the White House as it was being constructed in the 1790s. As a regular worshipper during the Civil War, President Abraham Lincoln rented his own pew. From the early twentieth century it became customary for presidents to attend services on Lincoln Day and sit in Lincoln’s pew. Eighteen sitting presidents have worshipped at New York Avenue Presbyterian Church, and the cornerstone of the present church was set by President Truman.
Reverend Dr. Peter Marshall preached many famous sermons to a large national audience during World War II. During the annual Lincoln Day service in 1954, the Reverend George Docherty preached a sermon entitled “One Nation Under God,” calling for the addition of the phrase “under God” to the Pledge of Allegiance to the flag. The congregation that day included President Eisenhower, who, with his friends in Congress were prompted to add the phrase to the Pledge of Allegiance. Dr. Martin Luther King preached from their pulpit during the 1960s civil rights struggle. This church has long had social justice and responsibility at its very core, which cannot be adequately summarized in just a few lines.
I want to thank the church leadership, musicians, and members of the organ committee for their unwavering support of the Schlueter firm and me. So often when I had an idea, or desired to consider a change, the response invariably was “You are the organbuilder—we trust you. Do what you think is right.” Their measured dialogue, input, and trust were vital in the creation of this instrument and allowed our best work to flourish. I would also like to thank Texas organbuilder Mac Range, who served as a consulting resource between the church and organ company.
During my first visit with the church, I met with Pastor Roger Gench, director of music Dr. Stan Engebretson, and organ committee chairman Douglas Porter. I have to confess that at this meeting (being unfamiliar with the church and its instrument) my first inclination was to see if it would be possible to preserve the extant Skinner. However, after study of the organ, it became clear that the instrument was Aeolian-Skinner largely in name only, with the additional work of at least five other organbuilders. The church was considering the correct course in pursuing a new instrument.
The original organ built by John Brown in 1874 was rebuilt into a new instrument by the E. M. Skinner firm in the 1920s. Then in the 1950s the organ was enlarged and moved to the present church by Aeolian-Skinner. In the ensuing years there were various other additions to the organ and a replacement console. The organ chassis was a collection of E. M. Skinner, Aeolian-Skinner, and supply house actions—parts and pipes that were very much showing their age and were at the point of requiring rebuilding or replacement.
The placement of the former organ was in a rear gallery location. Often this location can be a benefit; however, in this church architecture it was a significant detriment. The organ was laid out with the Choir division in a pit below the rear choir gallery. The Swell division was stacked above the Choir division, with a Great division in front of this and a contemporary Positiv division flown over the Great chests and directly in front of the Swell chamber. The result was tone trap upon tone trap. The significant overhang of the balconies relative to the main sanctuary floor created even more sound traps. Add to that pew cushions on the main floor and the gallery. The result was that the organ started out bottled-up and fighting to speak from its location, and the sound that did get out was eaten up in the room and did not provide adequate support for congregational accompaniment.
Prior to our involvement, the church sought out the opinions of a variety of organists. The venerable organist, composer, and former Washingtonian, Dr. Douglas Major, served as an adviser and consultant to the project. He recommended that the organ and choir should be relocated to the front of the church. This simple act of forthrightly suggesting an alternate location for the organ and choir cannot be understated. His vision and recommendation are to be applauded, and as a builder, I consider the placement suggestion the single most important contribution to the success of this instrument.
In designing a major new element for the church chancel, we committed to the careful inclusion of elements from the church architecture. It was especially important to balance the visual beauty of the organ case with the Celtic Cross, retaining it as the central visual element in the room. We paired brushed zinc façade pipes with Lyptus® wood for the organ case. The choice of this wood species was influenced by the history of the church and its continuing social consciousness, including responsibility to the environment. As a sustainable, plantation-grown lumber, Lyptus® provides a beautifully grained wood that finishes well and complements the older walnut that is in the church furnishings, without adding to the deforestation of a native species.
It was interesting to see the expression of many of the church members the first time they saw the organ case. Incorporated into the organ casement is Isaiah 6:3, “Holy Holy Holy Is The Lord of Hosts The Whole Earth Is Full of God’s Glory,” and 1 John 4:7, “Beloved Let Us Love One Another For Everyone Who Loves Is Born of God And Knows God.” These scriptures, carved in mahogany panels that were gilded and polychromed, became visual reminders of our responsibilities in faith as organbuilders and servants of the church.
In designing a new specification that would incorporate some of the existing organ resources, a detailed study of the organ stops was conducted. It became evident that there had been a large degree of re-use and re-tasking of pipework during many different eras. There were opus numbers on pipework that were not attributable to either Skinner company or John Brown, but that did have marks from the E. M. and Aeolian-Skinner voicers and had been relabeled with inked opus numbers. Some of the pipework had been re-tasked multiple times. A good example was a 13⁄5′ Tierce in the Swell that had been a Great 4′ stop, prior to being a Swell 2′ stop, before becoming a 13⁄5′ Tierce. With rebuilding upon rebuilding, and stop reassignment and repitching, the organ had collected eight harmonic flutes of various pitches and significant scaling problems as they related to other organ stops. Scaling and voicing issues were scattered throughout the instrument among all stop families. Other peculiarities could be found in the Gemshorn, Erzahler, and Flauto Dolce. All of these stops, while differing in nomenclature, shared the exact same scaling, halving ratio, and mouth width. The Salicional and Voix Celeste in the Swell had been deslotted in a former life and various replacement pipes added to these ranks. The majority of reeds in the organ used French shallots, and these reeds provided a very brittle timbre in the church acoustic.
The organ did have many individual beautiful sounds, but they did not coalesce into a unified ensemble. Additional “diamonds in the rough” included the 8′ Clarinet and the 8′ Vox Humana, which dated from the John Brown organ and had been originally retained by
E. M. Skinner and later Aeolian-Skinner. There was clearly an aural reason these stops made the passage of over one hundred years and through the hands of several organ companies. When we studied the construction of these and other stops, and worked with voicing samples in the church, there was no question that these select stops had to be retained, albeit in different roles and/or registers.
Certainly it was clear that less could be more. The organ had grown to over 72 ranks over the years, attempting to overcome issues with the organ placement, room acoustic, and pipe scaling. During the organ removal, we discovered that the organ actually started to sound significantly better after over one-third of the resources had been removed, leaving fewer pipes and chests to occlude the pipe speech. We also moved pipe samples from the rear chamber location to the proposed chancel location. This proved invaluable as we considered the specification design, pipework scaling, and wind pressures.
During the church’s study of our firm, there were several visits to the Schlueter organ (III/47) at First Presbyterian Church in Savannah, Georgia. This instrument, featured in the April 2006 issue of The Diapason, was patterned loosely around the formative specification designs of early American Classicism. We allowed the English influence of American Classicism to flourish in this specification, with a nod toward the romanticism of early American twentieth-century tonal design. While not desiring a direct copy, there was an overall approach to specification and voicing style in the Savannah instrument that was the type of sound that embodied the core of what the church wanted for choral and congregational accompaniment.
The initial specification tendered had 58 ranks over three manual divisions and pedal. Later this grew to 62 ranks with donations made by the Schlueter family. We provided these additions outside of the contract budget because, as artisans, there were several stops that we personally wanted to include in this organ, including a second set of strings in the Swell division, the Great mutation stops, and other changes and stop substitutions.
Each division was designed around an independent 8′ weighted principal chorus. The divisional choruses, while differing in color, are designed to compound one another as a unified whole. The enclosed divisions were designed to be foils to the Great division, to provide weightless accompaniment for choral work, support repertoire, or massed in support of Romantic or transcription repertoire. The strings, when taken as a whole compounded entity, allow the organ to feature a divided string organ division located between the Swell and Choir divisions to be companioned by means of couplers. Considering the stoplist design and room acoustic, we chose to employ reeds with English shallots and voicing practices. Built with Willis tuba shallots, the 16′/8′ Tromba on 16 inches of wind pressure serves as the solo reed. Being enclosed in the Choir expression box allows full dynamic control of this heroic reed.
The organ is built with a steel and wood structure encased by the organ façade and millwork. The lower level of the organ contains the Swell and Choir, while the Great and Pedal divisions of the organ are located in the upper level.
Our firm built electro-pneumatic slider chest actions of the Blackinton variety, with our electro-pneumatic primary design. This type of chest action has the ability to operate over a wide pressure range without repetition problems or pressure limitations. Electro-pneumatic unit chests were provided for all large bass pipes, offset chests, and reeds.
In addition to the frontal expression shades, we designed louvers for the sides of the organ case that open rearward into the corners of the balcony. This was to purposely focus some of the organ energy into the gallery. With the removal of the soft pew pads, this area is used to coalesce the organ sound and maintains the sonic energy in the upper portion of the room, giving an impression of a longer reverberation time than the room actually has. Additional enhancement to the room acoustic came from removal of carpet, which was replaced with natural cork.
The resources of the organ are controlled by a three-manual drawknob console. Built in the English style, the console sits on a rolling platform to allow mobility. The console exterior is built of Lyptus® with an interior of ebonized walnut and ebony. The console features modern conveniences for the performer, such as multiple memory levels, programmable crescendo and sforzando, transposer, MIDI, and the ability to record and play back performances.
With new pipework, existing pipework, and changes to room acoustics, it was decided early on that all of the pipework would be voiced at the church. New pipework was 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. A portable voicing machine was installed to the side of the chancel and all of the pipes were voiced prior to their installation in the chambers for final voicing and tonal finishing. Voicing an organ in this manner is quite literally a process of months, involving the movement of thousands of pipes, but was the only way to achieve the results we wanted. An organ of this scale and scope, with this amount of raw voicing work to be done onsite, required a large team. This effort was accomplished by Daniel Angerstein, Peter Duys, Lee Hendricks, Gerald Schultz, and Bud Taylor. It becomes a rote line from the articles of our work, but again I want to single out Dan for his contributions. Over the weeks and months of tonal work, he faithfully led our team’s tonal finishing efforts. He worked to patiently bring forth the voices as they had been planned and envisioned. Indeed, his fingerprints adjoin our own on this instrument.
The building and installation of a pipe organ is a monumental undertaking. The title “organbuilder” presumes long hours, travel, and the temporary suspension of personal lives. This year, in addition to rebuilding projects, A. E. Schlueter Pipe Organ Company built six new instruments. Our firm is so blessed to have the dedicated staff whom I proudly call my colleagues. I would particularly like to mention our management and road crew, including Arthur Schlueter Jr., Marc Conley, John Tanner, Shan Dalton, Marshall Foxworthy, Patrick Hodges, Jay Hodges, Wilson Luna, Rob Black, Pete Duys, and Bud Taylor for the untold hours of travel and work that they put into these projects. These are but part of the Schlueter Organ Company; a full roster of our staff and additional information on our firm and projects can be viewed at <www.pipe-organ.com&gt; or by writing A. E. Schlueter, P.O. Box 838, Lithonia, GA 30058.
I have heard the collective work of organbuilders described as “stained glass for the ears.” As I thought about this, I considered New York Avenue Presbyterian Church, which is known for its sacred and secular stained glass windows, chronicled in the book Stories in Stained Glass (1998, Foster, Boswell, Hunter). To paraphrase the foreword by George W. Bergquist: “Generations from now, when the stained glass windows will have acquired the patina of time, they will continue to demonstrate that visual beauty of their sort powerfully reinforcing preaching, testimony and prayer.” How beautifully phrased. It is our sincere wish that our work will be an aural complement to the visual one as our instrument acquires the “patina of time.”

—Arthur E. Schlueter III

Artistic and Tonal Director

A. E. Schlueter Pipe Organ Company

3 manuals, 62 pipe ranks

GREAT
16′ Violone (extension)
8′ Principal
8′ Violone
8′ Gemshorn (CH)
8′ Gemshorn Celeste (CH)
8′ Bourdon
8′ Harmonic Flute
4′ Octave
4′ Spire Flute
22⁄3′ Twelfth
2′ Super Octave
13⁄5′ Seventeenth
11⁄3′ Fourniture IV
2⁄3′ Scharf III
8′ Trumpet
8′ Tromba Heroique (CH)
Chimes (digital)
Tremulant

SWELL
16′ Lieblich Gedeckt (extension)
8′ Principal
8′ Rohr Flute
8′ Viola
8′ Viola Celeste
8′ Salicional
8′ Voix Celeste
4′ Principal
4′ Wald Flute
22⁄3′ Nazard
2′ Octavin
13⁄5′ Tierce
2′ Plein Jeu Mixture IV
16′ Contra Oboe (extension)
8′ Trumpet
8′ Oboe
8′ Vox Humana
4′ Clarion
Tremulant
Swell to Swell 16
Swell Unison Off
Swell to Swell 4

CHOIR
16′ Gemshorn (extension)
8′ Weit Principal
8′ Holzgedeckt
8′ Gemshorn
8′ Gemshorn Celeste
8′ Flauto Dolce
8′ Flauto Dolce Celeste
4′ Principal
4′ Koppelflote
22⁄3′ Nasat
2′ Schweigel
13⁄5′ Terz
11⁄3′ Quint
2′ Choral Mixture III
8′ Clarinet
16′ Tromba Heroique (extension)
8′ Tromba Heroique
4′ Tromba Heroique (extension)
Zimbelstern
Harp (digital)
Tremulant
Choir to Choir 16
Choir Unison Off
Choir to Choir 4

PEDAL
32′ Violone (digital)
32′ Bourdon (digital)
16′ Principal
16′ Violone (GT)
16′ Gemshorn (CH)
16′ Bourdon
16′ Lieblich Gedeckt (SW)
102⁄3′ Quint
8′ Octave (extension)
8′ Violone (GT)
8′ Gemshorn (CH)
8′ Bourdon (extension)
8′ Gedeckt (SW)
4´ Choral Bass
4´ Cantus Flute (GT)
22⁄3′ Mixture V
32′ Contra Trombone (digital)
32′ Harmonics (wired cornet series)
16′ Trombone (CH)
16′ Contra Trumpet (GT)
16′ Contra Oboe (SW)
8′ Tromba (CH)
8′ Trumpet (GT)
4′ Clarion (GT)
4′ Cremona

Inter-manual couplers
Great to Pedal 8, 4
Swell to Pedal 8, 4
Choir to Pedal 8, 4
Swell to Great 16, 8, 4
Choir to Great 16, 8, 4
Swell to Choir 16, 8, 4
Cover photo: Dr. Stan Engebretson

Cover Feature

Fenris Pipe
Organ, Kilkenny, Minnesota

Good Shepherd
Lutheran Church, Rochester, Minnesota

Project Scope

In the spring of 2002 we were contacted by Jeff Daehn, organ consultant for
Good Shepherd Lutheran Church in Rochester, Minnesota. The church was beginning
a project that encompassed doubling the size of the 1980s-era sanctuary, as
well as additional classroom and mechanical upgrades. Bids had come in somewhat
higher than anticipated, and consequently some project cutbacks were necessary.
Chief of these was all funding for the organ project.

For many years the church had been the home of Hinners Opus #537, I/9.
style="mso-spacerun: yes"> This had been somewhat undersized for
the room and certainly was not adequate for the remodeled space, which now
seats 350. The organ committee decided to part with their Hinners, which now
resides at Madonna Towers in Rochester, Minnesota. (For an account of Opus
#537's 100th birthday party see The Diapason, August 2003, page 3.)

We met with music director/organist Cynthia McLaren to discuss the
parameters of the project. The new instrument would be used primarily for
Sunday services, with some teaching also being done. This instrument would need
to be able to lead a congregation, be versatile, be reliable, aesthetically and
physically fit into a conceptualized space in the front of the sanctuary, and
be built on an erratic timeline determined by funding, or rather, lack thereof.

When we were awarded the contract in October 2002, the sanctuary addition
had just been completed. Load capacities had been accounted for, but the organ
chambers themselves remained unbuilt. The church requested that we segment the
project's construction to allow for fundraising on their part.

Phase I is complete and includes the Great and Pedal divisions, casework and
console. Phase II is the installation of the Swell division.

Leaving such a substantial part of the instrument incomplete is unusual. It
is common to find instruments still awaiting their prepared-for stops, even
though the instrument may have been installed generations ago. For this
scenario we felt a phased project was an option based upon two reasons. First,
the congregation was informed and educated enough to realize that without a
timely conclusion to the project, this would remain an acoustically incomplete
instrument. Second, Cynthia McLaren had been used to playing on a one-manual
instrument for years, and was comfortable continuing to do so in a temporary
capacity. The organ committee's demonstrated commitment to the project, along
with our willingness to work with a flexible construction timeline, allowed the
congregation to have a pipe organ. Without these mitigating factors, this
church would have been a likely candidate for a pipe organ simulator.

The Instrument

The instrument itself utilizes much of the pipework from a 1920s instrument,
including the wooden 16' Principal on façade. The 16' Principal is used
with the 16' Subbass for a 32' resultant. The Great Principal chorus is new,
and all pipework was either voiced or extensively revoiced. The 16' Principal
is on static wind, and the rest of the instrument is voiced on four inches of
wind pressure. Careful reuse of pipework resulted in a substantial savings in
total project dollars.

Windchests, bearers, racking, passageboards, reservoirs, casework and
console are all of new construction from our shop. Winding to 16' Principal in
the façade is supplied by a windtrunk designed and scaled to match note
B12. Notes B12-G32 are located on wind-chests placed in an "A"
arrangement on an elevated catwalk directly behind notes 1-11. Access to
catwalk and chambers is provided by means of a drop-down service ladder. Manual
keyboards are reused and of ivory, rebuilt and married to new keycheeks and keyslips.
Organ switching, blower and pedalboard are new. Casework and console are built
of red oak, stained to match church fixtures. Organ bench is overlength to
assist in teaching.

When designing the instrument, we felt it was important that some of the pipework
be visible to the congregation. We have found that instruments that are
entirely in chambers end up being considered as nothing more than giant
speakers by many parishioners. When the time comes to replace switching or
releather pneumatics, the instrument has not developed a visual identity within
the congregation. These instruments are more likely to be replaced by a pipe
organ simulator. Although important to be visible, it was equally important
that the organ's presence not overpower the space. No one is attending services
to worship the organ.

We painted the wooden 16' Principal to match the walls in the sanctuary.
They provide a textured, yet subordinate backdrop to the elevated cross. Mirror
image chromatic chests, elevated on either side of the chancel, draw the eyes
to the focal point of the space, again, the elevated cross.

Acoustic design is based upon historic tradition, with generous pipe
scaling. The instrument is not overloaded with screaming upperwork, but rather
provides a balanced pyramid of sound. Flute colors are available throughout the
instrument. Each manual division is also provided with mutations.

The room itself is a contemporary styled, geometrically interesting space.
It has a rather unusual shape, shallow and somewhat wide, with seating in
interlocking chairs radiating around the chancel area. Sound egress from the
chamber is via a massive expanse of grillecloth, directly behind the elevated
façade chests. Chambers are bright, with chests and pipework easily serviced.
Walls are taped and painted double 5/8? sheetrock to provide a reflective
surface.

This instrument is the result of sustained effort by music director/organist
Cynthia McLaren, chairman Bob Enger and the organ committee. Fenris
specification and voicing are by Bob Rayburn; design and cabinetwork by Wes
Remmey. Special thanks must be given to Roger Driessen, Barry Lund and Stuart
Ness for all of their efforts in the project.

--Wes Remmey

GREAT

16' Violone
style='mso-tab-count:1'> 49 pipes

8' Flauten
Principal 61
pipes

8' Principal
style='mso-tab-count:1'> 61
pipes

8' Viola
style='mso-tab-count:1'> 12
pipes

8' Rohr
Gedackt 61 pipes

8' Holtzgedackt
style='mso-tab-count:1'> (Swell)

4' Octave
style='mso-tab-count:1'> 61 pipes

4' Hohl
Flute 61
pipes

Sesquialtera
II (Swell)

2' Fifteenth
style='mso-tab-count:1'> (from
Great Mixture)

2' Flautino
style='mso-tab-count:1'> 12
pipes

2' Fourniture
IV 244
pipes

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

Gt/Gt
4

Sw/Gt
16-8-4

Auto
Pedal

MIDI

SWELL

16' Lieblich
Gedackt 61
pipes

8' Holtzgedackt
style='mso-tab-count:1'> 12
pipes

8' Harmonic
Flute 49 pipes

8' Salicional
style='mso-tab-count:1'> 61
pipes

8' Vox
Celeste TC 49
pipes

4' Principal
style='mso-tab-count:1'> 61
pipes

4' Harmonic
Flute 12 pipes

22/3' Nazard
style='mso-tab-count:1'> 61 pipes

2' Octave
style='mso-tab-count:1'> (ext 4' Principal)

2' Flageolet
style='mso-tab-count:1'> 61
pipes

13/5' Tierce
TC 37
pipes

11/3' Larigot
style='mso-tab-count:1'> (ext Nazard)

16' Fagott
style='mso-tab-count:1'> (prepared for)

8' Oboe
style='mso-tab-count:1'> 61 pipes

4' Schalmei
style='mso-tab-count:1'> 12
pipes

Sw/Sw
16

Sw/Sw
4

Tremolo

MIDI

PEDAL

32' Acoustic
Bass (resultant)

16' Principal
style='mso-tab-count:1'> 32
pipes (open wood)

16' Subbass
style='mso-tab-count:1'> 12
pipes

16' Lieblich
Gedackt (Swell)

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

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

8' Gedackt
style='mso-tab-count:1'> (Swell)

4' Choral
Bass (Great)

4' Gedackt
style='mso-tab-count:1'> (Swell)

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

16' Fagott
style='mso-tab-count:1'> (prepared for)

8' Tromba
style='mso-tab-count:1'> 32
pipes

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

4' Schalmei
style='mso-tab-count:1'> (Swell)

Gt/Ped

Sw/Ped

MIDI

Multi-level Memory

8 Generals Thumb
- Toe Piston

4 Great Divisionals Thumb
Piston

4 Swell Divisionals Thumb
Piston

Gt/Ped Reversible Thumb
Piston

Sw/Ped Reversible Thumb
Piston

Sforzando Thumb
Piston

Set Thumb Piston

CancelThumb Piston

Swell Shoe

Crescendo Shoe

Photo credit: T. C. Stanley Photography

Martin Ott Pipe Organ Company, St. Louis, Missouri, Opus 100

The Behrend
College, Penn State University-Erie

Opus 100 is a wonderful milestone for an organ builder to reach. We had
hoped that our commission for Opus 100 would be a special instrument. When The
Behrend College at Penn State University-Erie contacted us for a bid, we
immediately realized this would be a special situation. Larry and Kathryn Smith
had provided funding for a chapel. The chapel already housed a 48-bell
carillon, a gift of Mr. Smith's parents, the late Floyd and Juanita Smith. Now
the Smiths wanted to commission an organ in honor of their children, Colleen
and Kevin. The picturesque setting of the brick chapel and carillon would be an
excellent location for organ and choral music. This chapel would be a place of
spiritual retreat and renewal for the university community. The organ would
have an important role in this purpose.

To complement the clean, traditional architecture of the chapel, we chose a
simple yet dramatic organ design. The oak case and location of the organ
suggests intimacy and warmth. Visually the organ soars to the rafters,
suggesting transcendence. Time-tested methods of construction, such as mortise
and tenon joinery, were used so that the instrument will last for many
generations. Current technologies, such as solid-state combination action, give
the organ versatility. The suspended mechanical action of the instrument allows
the organist careful control of pipe speech. This also places responsibility on
the organist to be precise in articulation. A good organ should inspire the
organist to reach for new musical heights.

The organ stands twenty-five feet high. It comprises 23 ranks, 21 stops, and
more than 1,200 pipes. Manual key compass is 56 notes. The natural keys are
made of grenadil wood, and the sharp keys are of grenadil covered by cow bone.
The pedal keyboards have 30 notes and are made of oak.

Over more than three decades, Martin Ott and his company have been
developing their own style of tonal eclecticism. The tonal design for Opus 100
is an excellent example of the Ott style. The size of the chapel dictated an
instrument of modest size. In this situation, there is no room for waste in the
stoplist. Plenums are possible on both Schwellwerk and Hauptwerk. The IV-rank
mixture on the Hauptwerk is a full, robust addition to the principal chorus.
The clarity and beauty of the 8' stops allows them to be used as solo voices in
chorale and hymn preludes. The organ also includes a simple Krummhorn. This
reed stop is more versatile than an Oboe. When used alone, it is appropriate
for Baroque music or a solo voice in a 20th-century work. When paired with the
8' Viola, its character will sound more Romantic. The pedal's Posaune is robust
but can still be used in lighter textures without overpowering the manuals.

In the signature Ott style, the organ is voiced to be clear and strong
without overpowering the listener. The clear, cohesive tonal design supports
congregational singing, service playing, chamber music, and solo organ
literature. The vast majority of organ literature can be played on this 21-stop
instrument.

The finished organ was first played for donors Larry and Kathryn Smith and
the Behrend College Council of Fellows. For this private demonstration, Karen
Keene, lecturer in organ at Penn State-Behrend, ably assisted us as the
organist. In Mr. Ott's absence, Dennis Unks, a long-time friend and colleague,
explained the construction and tonal layout of the organ. The community had the
opportunity to experience the versatility and beauty of this organ at the
dedication recital by Larry Smith, Organ Department Chair at Indiana
University-Bloomington. Dr. Smith played works by J. S. Bach, Gardner Read,
Gaston Litaize, Paul Hindemith, Darius Milhaud, and Joseph Jongen. The varied
program testifies to the instrument's capabilities.

We are pleased and honored to have our Opus 100 in such a beautiful
environment. Opus 100 is a
summation of the Ott style and a continuation of our artistic growth.

The following craftsmen participated in the building of opus 100:

Alexander I. Bronitsky

James Cullen

William Dunnaway

Eileen M. Gay

Marya J. Fancey

Donna Hodges

Alex D. Leshchenko

Earl C. Naylor

Martin Ott

Sascha Ott

Jeffrey Spitler

--Marya Orlowska-Fancey

.

HAUPTWERK

8' Prinzipal
75%
tin

8' Rohrflöte
40%
tin

4' Oktave
style='mso-tab-count:1'> 75% tin

II Sesquialter
style='mso-tab-count:1'> 40%
tin

2' Nachthorn
style='mso-tab-count:1'> 40%
tin

IV Mixtur
style='mso-tab-count:1'> 75% tin

8' Trompete
style='mso-tab-count:1'> 75%
tin

Tremulant

SCHWELLWERK

8' Viola
style='mso-tab-count:1'> 75%
tin

8' Viola
Celeste (TC)75% tin

8' Bordun
style='mso-tab-count:1'> 30% tin

4' Prinzipal
style='mso-tab-count:1'> 60%
tin

4' Blockflöte
style='mso-tab-count:1'> 40%
tin

2' Oktave
style='mso-tab-count:1'> 75% tin

11/3' Quinte
style='mso-tab-count:1'> 40% tin

8' Krummhorn
style='mso-tab-count:1'> 75%
tin

PEDAL

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

8' Oktavbass
style='mso-tab-count:1'> 75%
tin

8' Pommer
(18 pipes) 40%
tin

4' About the Author </p>

Dobson Pipe Organ Builders,
Lake City, Iowa
University of Delaware,
Newark, Delaware
For years without a pipe organ on campus, the University of Delaware in Newark is now the home of Dobson Op. 74, a two-manual mechanical-action instrument of 22 ranks. Made possible by the generosity of Edward and Naomi Jefferson and named in their honor, the new organ is installed in the original home of Newark’s St. Thomas Church (Episcopal), which stands adjacent to the campus and was purchased and restored by the university for use as a small recital hall. Deconsecrated in 1956, the former church’s subsequent physical decline has been arrested by a careful restoration directed by Homsey Architects of Wilmington, Delaware.
Located in an intimate setting with only seventy seats, Op. 74 has been designed primarily for use as a teaching and recital instrument. It is capable of accommodating a generous range of organ literature and is well suited for use with small instrumental ensembles. Because of the modest size of the hall, the voicing treatment emphasizes warmth and color rather than strength or brilliance. The metal pipes are made of alloys containing from hammered 12% tin to burnished 75% tin. The Pedal Subbass and basses of the manual 8' flute stops are made of poplar and cherry, while the Great Flute 4' has open pipes of hard maple. The instrument is voiced on a wind pressure of 70 millimeters, supplied from a large, weighted, single-rise reservoir.
The instrument’s location in a balcony of modest depth led to the unusual placement of the console on the right side of the instrument when viewed from the front. The Great is located immediately adjacent to the console; the Swell, whose enclosure has shutters on three sides, is in the center of the case; the Pedal is at the left side. The casework is constructed of white oak with a fumed, oiled and lacquered finish, and is embellished with colors and 24K gold leaf. The woodwork of the drawknob console incorporates black walnut, ebony, rosewood, Carpathian elm burl and cow bone. The instrument has mechanical key and stop actions. For increased versatility, a system of mechanical duplexing permits the three Pedal voices to play at both unison and octave pitches.
Dedication series recitalists included David Herman (Trustees Distinguished Professor of Music and University Organist), Thomas Trotter, and William Owen. In addition to being the first organ on campus, the instrument carries another distinction: it is thought to be the first pipe organ whose entire installation, from delivery to final tuning, was broadcast live on the Internet. Video clips and stills recorded by the webcam can still be found at
<http://www.udel.edu/pipeorgan/&gt;.
—John Panning

GREAT (58 notes)
8' Prestant
8' Chimney Flute
4' Octave
4' Flute
2' Super Octave
11⁄3' Mixture IV
8' Trumpet
Swell to Great

SWELL (58 notes, expressive)
8' Bourdon
8' Salicional
4' Principal
4' Chimney Flute
2' Piccolo
11⁄3' Gemsquinte
22⁄3' Cornet II
8' Oboe
Tremulant (affects entire organ)

PEDAL (32 notes)
16' Subbass
8' Principal
8' Gedackt (ext)
4' Choralbass (ext)
16' Trombone
8' Trumpet (ext)
Great to Pedal
Swell to Pedal

Fowler Organ Company, Lansing, Michigan, Opus 21
Andrews University, Theological Seminary Chapel
Berrien Springs, Michigan
The instrument is centered in the front of the chapel, which seats approximately 400. It is housed in a free-standing case built of red oak with the console contained within the case. The case is a contemporary adaptation of a classic case form with the bass pipes of the 8' Principal/8' Pedal Octave in flamed copper. The upper flat is from the Great Principal, the lower flat is the Pedal Octave, both in polished tin.
Since the instrument dominates the front of the chapel, it was felt that it needed to make a statement of purpose beyond simply being a musical instrument. The pipe shades were designed in collaboration with the builder and carved by Norman Moll; he and his wife Dorothy are significant benefactors to the university and to this instrument. The carvings are symbols that can be seen both in a traditional sense and yet be open to wider interpretation. The center tower contains the circle surrounding the Alpha and Omega, representing God the Father and creator eternal. The other carvings—the dove, the lamp, the book, and the praying hands—can be interpreted in a variety of ways depending on the experiences of the viewer. These are set on a background of rays radiating outward, clad in flamed copper.
The layout of the instrument follows the case design with the Swell in the lower center, the Great directly above, and the Pedal divided on either side. The action is electro-mechanical throughout, and the operating system is multiplex solid state. This includes a multi-memory combination action, transposer, and MIDI control with onboard synthesizer and sequencer. The manual keys are rosewood with maple sharps; the drawknobs were hand turned from hard maple by Mr. Moll’s father.
Tonal design follows an “American Classic” model. The flues are generously scaled, voicing is lightly articulate and clearly defined. The reeds are quite colorful and distinctive. The Great Cromorne, built with “clarinet” style resonators and closed German shallots, has the ability to play solo or blend into the ensemble. The Trompette is extended to 16' with half-length basses and Cavaillé-Coll-style shallots.
—Brian Fowler

GREAT
8' Principal
8' Bourdon
4' Octave
4' Rohrflute
22⁄3' Nazard
2' Blockflute
13⁄5' Tierce (T/C)
III Mixture
8' Trompette (Sw)
8' Cromorne
Tremulant
MIDI on Great
16' Swell to Great
8' Swell to Great
4' Swell to Great
16' Great
Unison Silent
4' Great

SWELL
8' Holz Gedeckt
8' Viole de Gambe
8' Viole Celeste (T/C)
4' Harmonic Flute
4' Viola
2' Principal
8' Trompette
8' Cromorne (Gt)
4' Clarion
Tremulant
MIDI on Swell
16' Swell
Unison Silent
4' Swell

PEDAL
32' Resultant Bass
16' Subbass
16' Gedecktbass
8' Octave
8' Bourdon
4' Choralbass
2' Doublette
16' Bombarde
8' Trompette
4' Cromorne
MIDI on Pedal
8' Great to Pedal
4' Great to Pedal
8' Swell to Pedal
4' Swell to Pedal

Accessories
Multi-memory combination action
Transposer
Sequencer
Digital synthesizer
Balanced swell expression
Crescendo pedal