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Fabry, Inc., Antioch, Illinois
First Presbyterian Church,
Racine, Wisconsin

Located in one of southeast Wisconsin’s oldest settlements, First Presbyterian Church’s history closely follows that of Racine. While Racine was incorporated as a village in 1841, the group of men (and women) that made up the roots of the first Presbyterian church gathered in 1839. The current sanctuary was built in 1851, and the church recently celebrated its 150th anniversary.
There have been a few organs that have graced the church. The first organ, located in the balcony, a Johnson organ of two manuals and 10–20 ranks with an attached console, was installed around the late 1880s. Some of the current organ’s pipes are from the original installation. From then on, history is sketchy, but the organ was rebuilt and then relocated to the front of the sanctuary in 1935 by the Besch Co., a small Milwaukee organ company, and a detached console was built. In 1988, R. A. Colby of Johnson City, Tennessee, built a new console and updated only the console combination action to a single-memory system. When Fabry, Inc. arrived to assume the maintenance of the instrument, in addition to addressing some easily noticeable concerns, the issue of multiple memories was brought up.
The church decided to proceed with an original plan to work our way from division to division releathering the primary pneumatics. After finishing the Swell pneumatics, primary and secondary double-box primaries, the church announced their plans to renovate the front of the sanctuary to make the pulpit more accessible, allow more room for ensembles, and improve the acoustic of the room by eliminating the carpet in the front third of the room and replacing it with hardwood floor.
It was at this time that it became clear the console would need new cables, and the church elected to have Fabry, Inc. install a new Peterson ICS-4000 system as well. The console was gutted with only the shell and keyboards kept. Completely new drawknob banks were constructed to incorporate the new drawknobs with those that were retained. A new coupler bracket was built into the nameboard as well. During the course of the job, we also replaced all of the cloth-covered wire, improved chamber lighting, installed new expression motors, and finished the primary releathering. The organist’s previously purchased Ahlborn-Galanti Romantic MIDI Module was seamlessly integrated with the Peterson system. The organist now has 100 memories to play with.
While there are many people involved with a job that encompasses many aspects and facets that require constant attention, Fabry, Inc. had the pleasure to work with Jerry Buck, organist at First Presbyterian Church. He kept us up to date with scheduling conflicts and questions from the church members and committees. His attention to our details helped make this one job we won’t soon forget.
—Phil Spressart

GREAT
8′ Principal
8′ Double Flute
8′ Viola d’Gamba
8′ Dulciana
4′ Octave
4′ Flute Traverso
4′ Violin
2′ Super Octave
Fourniture IV
8′ Tuba
Tremolo
Chimes
Zimbelstern
Great to Great 4
Great Unison Off
Great to Great 16

SWELL
16′ Bourdon
8′ Stopped Diapason
8′ Salicional
8′ Vox Celeste
4′ Principal
4′ Flauto
4′ Fugara
22⁄3′ Nazard
2′ Flautino
Scharff III
8′ Trumpet
4′ Klarion
Harp
Tremolo
Swell to Swell 16
Swell Unison Off
Swell to Swell 4

CHOIR
8′ Violin Diapason
8′ Concert Flute
8′ Keraulophone
8′ Unda Maris
4′ Flute
22⁄3′ Twelfth
8′ French Horn
8′ Krummhorn
Tremolo
Choir Unison Off
Choir to Choir 4

PEDAL
32′ Acoustic
32′ Resultant
16′ Double Open Diapason
16′ Subbass
16′ Gedeckt
8′ Octave
8′ Bass Flute
32′ Contra Fagotto
16′ Fagotto

Swell to Great 16, 8, 4
Choir to Great 16, 8, 4
Pedal to Great 8
MIDI to Great
Great to Pedal 8, 4
Swell to Pedal 8, 4
Choir to Pedal 8, 4
MIDI to Pedal
Swell to Choir 8, 4
MIDI to Choir
Choir to Swell 8
MIDI to Swell

Gt/Ch Manual Transfer

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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

New Organs

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Fabry, Inc., Antioch, Illinois
First Presbyterian Church,
Lincoln, Illinois

Nestled in the geographic center of Illinois, Lincoln enjoys having the distinction of being named before Abraham Lincoln became president. While old Route 66 continues to weave through downtown, I-55 now bypasses the town as new development draws travelers on their way to and from Springfield. During the middle part of last century, Gratian Organ Builders installed an 18-rank, electro-pneumatic pipe organ in the sanctuary that has served the church well. Within the past 10 years the church remodeled the front of the church and at that time an 8′ Pedal Principal comprising 32 notes was added as a façade.
As is the case with many churches whose instruments are used regularly but receive little or no major maintenance, First Presbyterian found that resources would best be spent on a major overhaul rather than on small, stop-gap measures. The church elected to have Fabry, Inc. completely rebuild the organ. While the initial plan was to save the windchests, this proved to be impossible.
The organ encompasses two chambers that sit at right angles to each other at the front corner of the sanctuary. Both of these chambers were packed to the gills with pipework and chestwork. It was decided to remove everything and place it in a more logical manner. As it turned out, new chests were constructed and this allowed the elimination of all but the necessary offset chests. In all, the following was completed: complete replacement of the relays, both console and chamber, a rebuilt console with a Peterson ICS-4000 system, new chests with Peterson electric pipe valves, new tuners on washed pipework, releathered reservoirs with reconfigured curtain valves, three additional reservoirs, a new blower and new chamber lighting.
Fabry, Inc. would like to thank Julie Kasa, music director; Janis Klockenga, secretary; and the Rev. Phillip Blackburn, pastor, for their cooperation and patience with all the facets of this very involved project. Fabry employees that worked on this project included David G. Fabry, David J. Fabry, Philip A. Spressart, Steven Ellis, and Clem Wirfs.
—Phil Spressart

GREAT
8′ Open Diapason
8′ Gamba
8′ Melodia
8′ Dulciana
4′ Octave
4′ Flute Harmonic
22⁄3′ Twelfth
2′ Fifteenth
Mixture III
8′ Trumpet
Tremolo
Chimes (25 tubes)
Zimbelstern

SWELL
16′ Bourdon
8′ Violin Diapason
8′ Quint
8′ Gedeckt
8′ Salicional
8′ Vox Celeste (TC)
8′ Aeoline
4′ Principal
4′ Flute d’Amour
22⁄3′ Nazard
2′ Flute
8′ Oboe
Tremolo
Chimes

PEDAL
32′ Lieblich Gedeckt
16′ Subbass
16′ Lieblich Gedeckt
8′ Flute
8′ Dolce
8′ Principal
4′ Choral Bass
4′ Flute
Mixture III
16′ Trumpet
8′ Trumpet
8′ Oboe
Chimes

Great to Great 16, UO, 4
Swell to Great 16, 8, 4
Pedal to Great
MIDI to Great
Swell to Swell 16,UO, 4
MIDI to Swell
Great to Pedal 8, 4
Swell to Pedal 8, 4
MIDI to Pedal

Konzelman Pipe Organs,
Hoboken, New Jersey
St. Francis Episcopal Church, Stamford, Connecticut

James Konzelman first became interested in organ building in the mid 1960s after a friend loaned him The Contemporary American Organ by William H. Barnes. He made minor repairs in his home parish of St. Henry’s, Bayonne, New Jersey, and helped several organist friends with minor repairs on their church pipe organs. In the late 1960s Konzelman worked for Westinghouse Aerospace, Baltimore, Maryland, troubleshooting radar guidance and missile control systems. Later, while in the army, he taught a course in radar at Fort Bliss, Texas. This background in electronics became valuable later on as more and more electronic circuitry was introduced into the pipe organ.
In 1972, Konzelman went to work for the Church Organ Company, Edison, New Jersey, where he studied voicing and tuning techniques with Russell W. VanCamp. When VanCamp retired in 1974, Konzelman became the tonal director, designing and voicing many organs for that firm until the establishment of his own company in 1977.
Since 1977, Konzelman Pipe Organs has built and rebuilt many organs. Major rebuilds and new organs include the Cathedral-Basilica of St. James, Brooklyn, NY; Church of Our Lady of Grace, Hoboken, NJ; Church of the Heavenly Rest, NYC; Second Presbyterian Church, NYC; Blessed Sacrament Church, NYC; Union Congregational Church, Upper Montclair, NJ (chapel organ); Nativity Lutheran Church, East Brunswick, NJ; Newark Abbey, Newark, NJ; Emmanuel Lutheran Church, New Brunswick, NJ; St. Anne Church, Rochester, NY; St. Henry’s Church, Bayonne, NJ; St. Vincent’s Church, Bayonne, NJ; Mount Carmel Church, Bayonne, NJ; Grace Lutheran Church, River Edge, NJ; and Larchmont Avenue Presbyterian Church, Larchmont, NY.
The assistance of John A. Stokes, Louis Scarpa, David Fedor and Paul-Martin Maki is gratefully acknowledged by the builder. The organ at St. Francis Episcopal Church has two manuals and pedal, 18 voices, 24 ranks, and 1519 pipes.
Photo credit: Helen Neafsey

GREAT (expressive)
16′ Viola (Swell)
8′ Principal 61 pipes
8′ Rohrflöte 61 pipes
8′ Viola (Swell)
8′ Viola Celeste TC (Swell)
4′ Octave 61 pipes
4′ Koppelflöte 61 pipes
2′ Super Octave 61 pipes
11⁄3′ Mixture IV 244 pipes
8′ Trompette (Swell)
8′ Hautbois (Swell)
8′ Krummhorn 61 pipes
Tremulant
Chimes prepared for
Great to Great 16, UO, 4
Swell to Great 16, 8, 4
Antiphonal to Great

SWELL (expressive)
16′ Viola 73 pipes
8′ Gedeckt 61 pipes
8′ Viola (ext)
8′ Viola Celeste TC 49 pipes
4′ Principal 73 pipes
4′ Nachthorn 73 pipes
22⁄3′ Nasat 61 pipes
2′ Octave (ext)
2′ Nachthorn (ext)
13⁄5′ Terz 61 pipes
2′ Plein Jeu IV 244 pipes
16′ Basson (1–12 half length) 73 pipes
8′ Trompette 73 pipes
8′ Hautbois (ext)
4′ Clairon (ext)
Tremulant
Swell to Swell 16, UO, 4
Great to Swell
Antiphonal to Swell

ANTIPHONAL
16′ Festival Trumpet prepared for
8′ Festival Trumpet prepared for
4′ Festival Trumpet prepared for

PEDAL
32′ Resultant (from Subbass 16 and
Swell Gedeckt 8)
16′ Subbass 56 pipes
16′ Rohrgedeckt (Great, ext)
16′ Viola (Swell)
8′ Principal (Great)
8′ Bourdon (ext)
8′ Rohrflöte (Great)
8′ Viola (Swell)
51⁄3′ Quint (Great)
4′ Choral Bass (Great)
4′ Bourdon (ext)
32′ Bombarde (Sw ext, 1–12 electronic)
16′ Bombarde (Swell, ext)
16′ Basson (Swell)
8′ Trompette (Swell)
8′ Hautbois (Swell)
4′ Krummhorn (Great)
Great to Pedal 8, 4
Swell to Pedal 8, 4
Antiphonal to Pedal

Solid-State capture combination action with 25 levels of memory, 12 general pistons, 8 pistons per division, general pistons and pedal pistons are duplicated by toe pistons. Reversibles for: Great to Pedal, Swell to Pedal, Swell to Great, Tutti. Set and General Cancel, and Scope pistons. Crescendo pedal with one standard and three settable crescendos. Two-manual and pedal drawknob console with bone naturals, ebony sharps, and tracker touch.

New Organs

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Glück New York,
New York, New York
Leon Lowenstein Memorial Auditorium, Congregation Emanu-El, New York, New York

The Fox Memorial Pipe Organ began its career as M. P. Möller’s Opus 9718 of 1962, designed by Dr. Robert S. Baker in collaboration with John H. Hose, tonal director of the Möller firm. The instrument was installed behind draperies in the amphitheatre choir loft of the 1,100-seat auditorium, which is designed to transform from a concert and lecture venue into a fully equipped summer sanctuary. Only the 16' Contrebasse and 16' Hélicon are partially visible from the auditorium. The placement of the instrument near the choir’s microphones (also used for radio broadcasts) forced an unhappy situation of under-scaled and feebly winded pipes, with closed toe holes and mouth heights as low as 1/6 cut-ups.
After 45 years, the temple contracted with Glück New York to tonally redesign the instrument and replace its mechanical systems. The solid-state drawknob console retains the original ivory keyboards and tiger maple pedalboard. The organ’s remote pneumatic relays and combination stacks were replaced with solid-state equipment.
The new tonal design moved from a typical American church organ of the period toward a warmer, fuller, rounder sound. Some of the mid-century tonal concepts that were of no use in the synagogue service (such as the two pseudo-baroque 4' reeds) were replaced by voices more essential to the liturgy. Many of the flue pipes had been left with untreated languids and were cut up only high enough to get them to speak. Furthermore, they had not had their toe holes opened, and could be considered essentially new and unvoiced, an added bonus in the context of the project. The unusual Shofar stop was designed by W. Adolph Zajic (1909–1987) and built with only six pipes; the organ’s new relay is prepared to fill out the stop in the future.
The new specifications were drawn up by Sebastian M. Glück, artistic and tonal director of the firm, who also carried out the voicing and tonal finishing. Albert Jensen-Moulton, general manager, was responsible for all technical aspects of the project. The three other pipe organs in the temple complex include a IV/135 in the sanctuary and a III/35 in Beth-El Chapel, both by the Glück firm. A fourth pipe organ, a II/7 Wilfred Lavalée in Greenwald Hall, was removed in the 1990s.
Sebastian M. Glück

Fox Memorial Pipe Organ
Leon Lowenstein Memorial Auditorium, Congregation Emanu-El, New York, New York

GRAND-ORGUE
Manual II, unenclosed, 31'4' wind
16' Bourdon
8' Montre
8' Bois ouverte
8' Violon sourdine
4' Prestant
2' Doublette
Plein jeu IV
8' Shofar
Tremblant
Jeux empruntés:
8' Bourdon (Pos)
8' Voix angélique (Pos)
8' Voix mystique (Pos)
4' Flûte (Pos)
8' Hautbois (Réc)

RÉCIT-EXPRESSIF
Manual III, enclosed, 4' wind
8' Viole de gambe
8' Voix céleste
8' Flûte à cheminée
4' Prestant
4' Flûte harmonique
2' Flûte à bec
Fourniture III
16' Basson
8' Trompette
8' Hautbois
Tremblant
8' Trompette de fête (Pos)

POSITIF-EXPRESSIF
Manual I, enclosed, 4' & 6' wind
8' Violon sourdine (G-O)
8' Voix angélique
8' Voix mystique
8' Bourdon
4' Prestant (prep)
4' Flûte
22'3' Nazard
2' Quart de nazard
13'5' Tierce
8' Clarinette
Tremblant
8' Trompette de fête

PÉDALE
Unenclosed, 4' wind
16' Contrebasse
16' Sous basse
16' Violoncelle sourdine (ext G-O)
16' Bourdon (G-O)
8' Octavebasse
8' Flûte
8' Bourdon (Pos)
8' Violon sourdine (G-O)
4' Quinzième
4' Cor de nuit
Mixture II
32' Aliquots graves
16' Hélicon
16' Basson (Réc)
8' Trombone
8' Basson (Réc)

Fabry, Inc., Antioch, Illinois
Immanuel Presbyterian Church, Milwaukee, Wisconsin

Located in one of the oldest neighborhoods in Milwaukee, Immanuel Presbyterian Church has held a place of honor on Yankee Hill, overlooking Lake Michigan. In 1881 the church purchased what is now the core of the present instrument. Nearly all of the unison voices and lower are from the original instrument, including the 16' Double Open Diapason and 16' Principal, both of which are wood. During the next 120 years, additions and rebuilds occurred, bringing the instrument to its current state, still preserving over 75% of the original instrument. In 1965, the organ was fitted with a used Austin three-manual console. While the console worked well for a time, it was clear a new console was needed. When Fabry, Inc. was contacted to do the work, the previous curator had left many parts, tools and pipes in the organ area. Among these items was an 8' French Horn, purchased by the church and awaiting installation.
Fabry, Inc. undertook the following to improve the usability and tonal palette of the organ. An all-new three-manual drawknob console was custom crafted by David G. Fabry to control the 67-rank, 71-stop instrument. Utilizing the ICS-4000 combination action and relay system, this console and interface brings the 1881 Hook & Hastings into the 21st century. The aforementioned French Horn received a new chest built by David G. Fabry, and was installed in the String division with its own dedicated electric tremolo. A new electric extension of the 16' Bassoon in the Swell was installed, fully utilizing this rescaled 8' stop to a greater degree. Other smaller jobs, such as bracing and reworking the ventilation system were also completed at this time. While one half of the organ had been re-wired with PVC-coated wiring, the other half was brought up to standard.
Fabry, Inc. would like to thank the Rev. Deborah A. Block, pastor; Steven J. Jensen, organist; and John S. Komasa, director of music.
Phil Spressart

GREAT
16' Open Diapason
16' Bourdon
8' Open Diapason
8' Chimney Flute
8' Doppel Flute
8' Aeoline (TC)
8' Gamba
8' Gemshorn
4' Octave
4' Harmonic Flute
22'3' Twelfth
2' Fifteenth
2' Waldflöte
2' Mixture IV
16' Double Trumpet
8' Trumpet
8' Tuba Mirabilis (Ped)
4' Clarion
Cathedral Chimes
Great 4
Great Unison Off
Great 16

SWELL
16' Lieblich Gedeckt
8' Open Diapason
8' Stopped Diapason
8' Viole d’Gambe
8' Viole Celeste
4' Octave
4' Flute Traverso
22'3' Nazard
2' Flautino
13'5' Tierce
11'3' Plein Jeu III
16' Bassoon (1–12 elec.)
8' Hautbois
8' Trumpet
8' Vox Humana
4' Clarion
Tremolo
Swell 4
Swell Unison Off
Swell 16

CHOIR
8' Geigen Principal
8' Melodia
8' Viol d’Amour
8' Viol Celeste
4' Octave
4' Stopped Flute
2' Piccolo
11'3' Larigot
22'3' Mixture II
8' Clarinet
8' Tuba Mirabilis (Ped)
8' Harp Celeste
Mockingbird
Cymbelstern
Tremolo
Choir 4
Choir Unison Off
Choir 16

STRING
8' Dulciana
8' Violon Cello
8' Cello Celeste
8' Violin Sordo
8' Violin Celeste
8' French Horn
Tremolo

PEDAL
32' Violone (1–12 elec.)
32' Contra Bourdon (1–12 elec.)
16' Double Open Diapason
16' Principal
16' Bourdon
16' Lieblich Gedeckt (Sw)
16' Violone (Gt)
8' Octave
8' Bass Flute
8' Holzgedeckt
8' Violin Cello
4' Fifteenth
2' Mixture III
32' Bombarde (1–12 elec.)
32' Contra Trombone
16' Bassoon (Sw)
16' Double Trumpet (Gt)
16' Trombone
8' Tromba
4' Tromba

New Organs

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Andover Organ Company, Methuen, Massachusetts
Hesston Mennonite Church,
Hesston, Kansas

Andover Organ Company has installed their Opus 116 in Hesston Mennonite Church, Hesston, Kansas. Mary Ann Boschmann was the chair of the organ committee. In November 2007 team leader Ben Mague, along with David Zarges, David Michaud and Tony Miscio, flew to Kansas to meet the North American Van Lines truck carrying Opus 116. Unloading was a snap with help from students of Hesston College. The mechanical installation was completed in three weeks. Tonal director John Morlock and voicer Don Glover completed the tonal work in February 2008.
The church is located on the Hesston College campus and serves as a worship center and concert hall for the college. The organ will be used as a teaching instrument as well as a service instrument. It is interesting to note that the hymns are sung four-part a cappella, so the organ is used primarily for preludes, postludes and accompanying anthems.
The case, designed by Donald H. Olson, is of solid red oak, stained to match the interior woodwork of the church. The front panels exactly duplicate the paneling of the sanctuary. The front pipes of the 8′ Open Diapason are polished copper. The pipe shades, designed and carved by Tony Miscio, are of cherry to match the contrasting wood of the console. The console has a third, coupling manual to give the two-manual organ three levels of sound, adding flexibility, especially on a teaching instrument. The keyboards have bone naturals and ebony sharps. The key action is mechanical, and the stop action is electric solenoids with a multi-level combination action by Solid State Organ Systems.
The new sanctuary is spacious with a seating capacity of just over 600. The weekend dedication celebration began on Friday, March 1, 2008, with an alumni dinner honoring the college’s financial supporters. After dinner, we adjourned to the sanctuary where Hesston College Professor John Sharp gave a short talk on the history of music in the Mennonite Church, entitled “The Devil’s Bagpipe or God’s Voice? The Organ in Historical Context.” This speech can be found online at <www.youtube.com&gt; by searching under Hesston or Andover Organ. College Organist Kenneth Rodgers then gave us a virtual tour of the organ in a pre-taped video showing and explaining the working of the organ from the inside out (also available on YouTube). A short concert followed with student organists Naomi Tice and Oliver Kropf, assisted by Stephanie Wyse, alto. Professor Rodgers then concluded the program with works by Locklair and Walther. On Sunday morning the organ was formally dedicated at the 10:00 am service; that evening, Ken Rodgers played the formal recital with the combined Hesston College and Hesston Mennonite Church choirs and the Hesston College Brass Ensemble. Professor Rodgers played works by Bruhns, Böhm, Mendelssohn, Vaughan Williams, Mäteling and Michel.
—Donald H. Olson

GREAT
8′ Open Diapason
8′ Chimney Flute
4′ Principal
4′ Silver Flute
22⁄3′ Twelfth
2′ Fifteenth
III Mixture
8′ Trumpet (prepared)

SWELL
8′ Violin Diapason
8′ Stopped Diapason
4′ Night Horn
22⁄3′ Nazard
2′ Fifteenth
13⁄5′ Tierce (prepared)
8′ Hautboy
Tremolo

PEDAL
16′ Subbass
8′ Principal
8′ Flutebass
4′ Choralbass
16′ Trombone (prepared)
8′ Tromba (prepared)
Couplers
Coupling Manual
Great to Pedal
Swell to Pedal

 

Fabry, Inc., Antioch, Illinois
Calvary Lutheran Church,
New Windsor, Illinois

Located in one of the many farming towns that populate western Illinois, Calvary Lutheran Church anchors this community and has done so for generations. The organ was showing its age, and the congregation undertook the task of looking for an organbuilder to fix and update the instrument. Fabry, Inc. inspected the organ and recommended a complete rebuild of the instrument and the addition of an exposed Great division. Originally, the instrument was a highly unified four ranks: an 85-note diapason, a 73-note string, a 73-note dulciana, and a 97-note bourdon. While this arrangement worked up until this time, the organ was buried in the chamber and the lack of variety severely hampered the organist.
After completely removing the instrument from the chambers, Fabry, Inc. undertook the task of rebuilding the organ from the blower up. After rebuilding all of the chests and reconfiguring the organ chamber, the organ was re-installed in a manner to facilitate ease of tuning and maintenance. All pipes were washed, and a Gamba Celeste and Trompette were added to the now fully independent Swell division. The restrictive cloth was removed from the grillework, allowing unfettered egress. An all-new Great division was added by hanging a chest on the wall below the tone opening. A Principal, Rohrflote and a two-rank Mixture were placed on the chest, giving the organ, and the congregation, the ability to lead and be led with confidence. All of this was made possible by rebuilding the console and adding a Peterson ICS-4000 combination action and relay. The addition of judicious couplers and additional pistons allows flexibility for the organist. The organ also received a new Zephyr blower as well as a new electric shade action and a new electric tremolo. David G. Fabry constructed all the new chestwork, laid out the new chamber arrangement, rebuilt the console and provided general direction. Installation involved the abilities of Steve Ellis. Final wrap up, voicing and tuning was handled by Philip A. Spressart.
Fabry, Inc. would like to thank Bertie Carlson and Pastor Jane McChesney.
—Phil Spressart

Photo credit: Phil Spressart

GREAT
8′ Principal new rank 7
8′ Rohrflote new rank 8
4′ Octave from rank 7
4′ Flute from rank 8
22⁄3′ Twelfth from rank 7
2′ Super Octave from rank 7
2′ Piccolo from rank 8
Mixture II new ranks 9, 10
8′ Trompette (from Swell)
Chimes 21 bars

SWELL
8′ Geigen Principal rank 1
8′ Stopped Flute from rank 2
8′ Gamba rank 3
8′ Dulciana rank 4
8′ Gamba Celeste new rank 5
4′ Principal from rank 1
4′ Flute from rank 2
22⁄3′ Nazard new, from rank 2
2′ Fern Flute from rank 2
2′ Doublette new, from rank 1
13⁄5′ Tierce new, from rank 4
Cymbal III new, wired
8′ Trompette new rank 6
4′ Clarion new, from rank 6
Tremolo

PEDAL
32′ Lieblich Bourdon new, wired
16′ Bourdon rank 2
16′ Lieblich Gedeckt from rank 2
8′ Principal from rank 7
8′ Gamba from rank 3
8′ Rohrflote from rank 8
4′ Choral Bass new, from rank 5
4′ Flute new, from rank 2
Mixture II new, fr ranks 9, 10
8′ Trompette new, from rank 6

Couplers & Accessories
MIDI to Great
MIDI to Swell
MIDI to Pedal
Swell to Great
Pedal to Great
Great to Pedal 8′
Swell to Pedal 8′

Pressure changer for 16′ Bourdon, rebuilt

Pipe & rank analysis
Rank 1 8′ Diapason 85 pipes
Rank 2 16′ Bourdon 97 pipes
Rank 3 8′ Gamba 73 pipes
Rank 4 8′ Dulciana 73 pipes

New ranks
Rank 5 8′ Gamba Celeste 49 pipes
Rank 6 8′ Trompette 73 pipes
Rank 7 8′ Principal 85 pipes
Rank 8 8′ Rohrflote 85 pipes
Ranks 9, 10 22⁄3′ Mixture II 122 pipes

 

New Organs

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Fabry Pipe Organs, Inc.,
Antioch, Illinois
St. John Lutheran Church, Algonquin, Illinois

Often a pipe organ is removed from a church because the sanctuary is being renovated, the church has elected to purchase a new instrument, or the church is building a new sanctuary. In the case of St. John’s Lutheran Church, the organ was removed twice from two different sanctuaries to accommodate expanding congregations. Dating from the early 1940s, the organ incorporates Wangerin chestwork and pipework. A Möller console completed the instrument. Fabry Pipe Organs, Inc. stored the organ for five years in anticipation of reinstalling the organ in the new sanctuary.
Upon reinstallation, Fabry Pipe Organs, Inc. provided four new reservoirs, two new blowers, rectifiers, and electric tremolo units for both of the new chambers. A new 16-stage expression motor was installed as well as two new chamber relays and a new console relay that includes MIDI compatibility. The present console was stripped and refinished as well as being placed on a new movable platform. Fabry Pipe Organs, Inc. fabricated two new façade chests with a new 8' Great Diapason and a new 8' Pedal Principal. A 16' extension of the Swell Trumpet has also been installed. A 4' Harmonic Flute was added in the Great and a new 4' Principal was added in the Swell. Stainless steel tuners were also installed. David G. Fabry built all of the chestwork and completed the refinishing. Installation was handled by Philip A. Spressart as well as tuning and voicing.
Fabry Pipe Organs, Inc. would like to thank Pastor Kuznik, Dean Banwart, chairman of the trustees, and Valerie Groskopf, organist.
Phil Spressart

GREAT
8' Principal
8' Melodia
8' Dulciana
4' Octave
4' Harmonic Flute
22⁄3' Twelfth
2' Fifteenth
Mixture IV (prep)
8' Trumpet (Sw)
Chimes
Tremolo
Great 4'
Great Unison Off
Great 16'

SWELL
16' Lieblich Gedeckt
8' Stopped Diapason
8' Salicional
8' Voix Celeste (TC)
4' Principal
4' Flute d’Amour
22⁄3' Nazard
2' Super Octave
2' Flautino
13⁄5' Tierce
Plein Jeu III (prep)
8' Trumpet
8' Oboe (prep)
Tremolo
Swell 4'
Swell Unison Off
Swell 16'

PEDAL
32' Resultant
16' Subbass
16' Lieblich Gedeckt
8' Principal
8' Flauto Dolce
4' Choral Bass
Mixture (prep)
32' Bombarde
16' Trumpet
8' Trumpet
4' Clarion

Couplers & Accessories
Great to Pedal 8, 4
Swell to Pedal 8, 4
MIDI to Pedal

Swell to Great 16, 8, 4
MIDI to Great

Great to Swell 8
MIDI to Swell

Zimbelstern

 

 

Farrand & Votey Organ Installed in Ransdell Chapel

Wesley Roberts

Wesley Roberts is Professor of Music at Campbellsville University, where he teaches piano, organ, and musicology, and has been a member of the faculty since 1982. He has presented concerts as pianist and organist throughout the United States, in Europe and in Asia, including premieres of works by the Dutch composers Hans Osieck, Johan van Kempen, and Kees Weggelaar, and the American composers Tom Johnson and James W. Moore. He is the author of articles and reviews in British, Dutch, and American journals, and co-author with Maurice Hinson of The Piano in Chamber Ensemble, 2nd Edition, published in 2006. Dr. Roberts has served as a visiting professor at the French Piano Institute in Paris and at Shanghai Normal University, and is currently organist at Calvin Presbyterian Church in Louisville.

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A century-old slice of music history arrived on the campus of Campbellsville University in central Kentucky in early 2007, when a Farrand & Votey organ was moved from Nashville, Tennessee, to the George W. and Marie T. Ransdell Chapel. The organ was built in 1894 for Christ Church in downtown Nashville, as a modest instrument of approximately fifteen ranks.1 Over the course of many years, it has been rebuilt and enlarged to its present size of 51 ranks and 3,014 pipes. That Campbellsville University could acquire such a treasure was in itself a miracle, considering few universities nowadays are in a financial position to afford an organ of this size. But the miracle of a pipe organ is that it can be rebuilt and enlarged for much less expense than the purchase of a new instrument. Such would be the story of Farrand & Votey’s pioneering instrument from the 1890s.

The organ’s origins
At the time Christ Church contracted with Farrand & Votey for an organ in June 1894, the church was moving into a new sanctuary and desirous of a fine instrument for its new facility. William R. Farrand (1854–1930) and Edwin Scott Votey (1856–1931) worked for Whitney Organ Company in Detroit, and when Whitney retired in 1887 the two joined to establish their own company. The company was soon expanded through the acquisitions of two small organ building firms, Granville Wood (1890) and Roosevelt (1892). Always seeking new innovations, Farrand & Votey employed the most modern construction techniques of the time, using several recent developments patented by Roosevelt and a few of their own. Their technique paid off handsomely, for they quickly reached national attention with important installations in key locations across the United States. At the Columbian Exposition of 1893 in Chicago, they exhibited two organs, including a four-manual instrument in Festival Hall. Undoubtedly, these accomplishments attracted the attention of Christ Church, as it did others.2
Farrand & Votey’s new organ for Christ Church was a three-manual instrument of approximately fifteen ranks. It was played for the first time during the opening services for the new building on Sunday, December 16, 1894. The organist was accompanied by a quartette plus a “chorus choir” of three ladies and fourteen men. The organ used the newly developed electro-pneumatic action, a revolutionary technique for the time; called ventil, it had a separate wind supply for each stop, with individual valves for every pipe. Its keyboard was attached to the instrument, as in tracker actions, although the original plans had called for it to be set across the chancel in a detached console. The organ was considered the best that could be obtained for the time and was the only one of its kind in the southeastern United States. As might be imagined, the organ quickly became a source of pride for the church and city.
The new instrument drew its electrical power from a series of four large batteries for key action, and obtained wind pressure from a water pump. The batteries were expensive to maintain and proved to be unreliable. Little to no maintenance seems to have taken place during the first dozen years. During this period, there were no fewer than seven different organists. In 1906, Arthur Henkel was hired as organist/choirmaster, and entrusted to care for the instrument. A committee was formed and before the end of the year, Orla D. Allen, a builder who had been with Farrand & Votey, was contracted to restore the instrument. Allen installed a new electrical Holtzer Cabot rotary transformer, or motor-generator, for key action and a Ross hydraulic engine for wind pressure. He releathered the organ, rebuilt much of the internal workings of the console, and moved the latter across the chancel, as the original plans detailed. The work took six months and was said to be thorough and complete in church documents.
In the years to follow, the organ served as the principal musical vehicle for worship services and concerts. Henkel gave concerts on the new instrument to demonstrate its capabilities. One such concert program, dated December 5, 1909, included J. S. Bach’s Toccata and Fugue in D Minor and Boëllmann’s Suite Gothique, as well as lesser-known works by G. M. Dethier, Edwin Lemare, and Edward d’Evry.

Additions and repairs
A set of chimes with twenty tubes was presented for the organ by Jane Washington Ewing in memory of her husband Felix Grundy Ewing in 1936. They were dedicated and heard for the first time on October 28, 1936.3 Later, a Schulmerich carillon was given by Louise Bransford McGavock in memory of her parents, William Settle and Noda McGavock Bransford, in late 1944. With no place to install the gift, a front tower for the church was constructed in 1947, and the carillon was installed therein.4
By 1940, Henkel had noted to the church that the relays between the console and the organ had deteriorated to the point that repairs were needed.5 Pilcher Organ Company from Louisville, Kentucky, was engaged the same year to install a new console (with relays built inside) and seven new ranks. Company records show that by the time work was complete, Pilcher had added nine new ranks. These consisted of a Gemshorn 8′ on the Great; Vox Celeste 8′, Aeoline 8′, and Trompette 8′ on the Swell; Flute Celeste 8′ and Unda Maris 8′ on the Choir; and a Flute 8′, Octave 8′, and Super Octave 4′ in the Pedal. In addition, three ranks were revoiced: the Trumpet 8′ (Great), Oboe 8′, and Vox Humana 8′ (Swell); and the Clarinet 8′ (Choir) was given new bass. By the time work was finished in September 1940, the organ was said to have been enlarged to 2,438 pipes.6 Pilcher’s fee for these additions and service was $7,298.7
Further expansion of the organ began to be discussed after World War II, and a new console was installed by Möller Organ Company in 1955. This console, the third for the organ, is still in use today. Tonal improvements were made a few years later in 1959.
Henkel continued service at Christ Church until his retirement in 1959. He had served a total of fifty-three years as organist-choirmaster, and in honor of his ministry, the church dedicated the organ to Henkel upon his retirement. He was succeeded by Peter Fyfe, who served in the same capacity for the next thirty-five years, until 1994.8 During Fyfe’s years of service, many fine musicians from around the country came to Nashville and played the organ in either church services or concerts, including Leo Sowerby, John Scott, and Fred Swann, among others. An unusual event was the first performance of a Mass for Moog synthesizer and organ given in Christ Church by Nashvillian Dr. Gregory Woolf in the early 1970s.9
In 1967, Fyfe and Christ Church turned to A. W. Brandt and Company of Columbus, Ohio, for extensive work, releathering much of the instrument and repairing pneumatics and pipe boards. An extensive contract detailing the operation was signed in September for the sum of $16,535. The Choir organ was expanded in a second agreement with Brandt two months later, which called for the installation of six new stops in the Choir and one in the Great. Additions in the Choir included a new Rohrflute 8′ (replacing the Concert Flute 8′), Spitz Principal 4′ (replacing the Rohrflute 4′), Nazard 22⁄3′ (replacing the Flute Celeste 8′), Blockflute 2′ (replacing the Harmonic Piccolo 2′), Cymbal III (replacing the Geigen Principal 8′), and Krummhorn 8′ (replacing the Clarinet 8′). A new Gedeckt 8′ (replacing the Doppel Flute 8′) was placed in the Great. The total cost for these additions was $6,730.
The maintenance and care of the organ was entrusted to Dennis Milnar in 1968 and has remained with him and the Milnar Organ Company to the present day.10 A newcomer to Nashville from upstate New York, Milnar soon established his own company and developed a business that has serviced organs throughout Tennessee and in surrounding states. Under Milnar’s guidance, a new Tierce 13⁄5′ was added to the Choir in 1974. Additional work was done on the organ throughout the 1980s, including releathering the console pneumatics in 1981, converting the Double Open Diapason to a 32′ Sub Bourdon in 1984, releathering the wind chests in 1987–88, and installing a Scharf III, Trombone 32′, and other stops in 1989. The expression machines were releathered in 1991.

Liturgical renewal—changes at Christ Church
While many of these changes were being made to the organ, discussion within Christ Church began to develop following World War II on the placement of important items within the chancel. Those concerned with liturgical renewal suggested the baptismal font, pulpit, and altar of the church be brought forward from the back wall to the front of the chancel for closer contact with the congregation. Similarly, efforts to study the possibility of placing the organ in the balcony began during the 1960s after Peter Fyfe had been organist for several years, but there was never a coordinated effort to any of these ideas until after 1980, when Rev. Tom Ward became rector. Ward enthusiastically supported changes in the liturgy laid out in the 1979 Book of Common Prayer, and it was through his encouragement that church leaders studied and retained a liturgical consultant to suggest changes. A new design was approved in 1990, which called for the altar table, with adjoining pulpit and baptismal font, to be moved close to the front of the chancel, and for an extension of the balcony to relocate the organ and choir therein. The initial changes to the front of the chancel were completed in 1992 with the installation of a new altar. Shortly thereafter, discussion turned more decidedly toward moving the organ and choir to the balcony, and plans began to be developed to reinforce the balcony and enlarge it for this purpose. As these plans developed, various organ consultants agreed that the Farrand & Votey could not satisfactorily be reworked and reinstalled in the balcony. Consequently, the decision was made to purchase a new organ rather than move the existing instrument to the balcony. Renovation of the balcony for this purpose was completed in 2003, and an impressive 60-rank Lively-Fulcher organ was installed. The new organ was played for the first time on June 1, 2003, by church organist Michael Velting.11 With these changes complete, the church no longer needed its Farrand & Votey organ and placed it up for sale.

An organ for Ransdell Chapel
About the same time, the initial stages of designing the new Ransdell Chapel for Campbellsville University were beginning. Upon learning of the availability of the Farrand & Votey organ in October 2003, University Organist Nevalyn Moore and Wesley Roberts approached University President Michael Carter and received permission to investigate the possibility of acquiring the instrument for the new chapel. As they visited the church and played the organ, they realized that the organ would serve well as both a service organ to support the university’s chapel services, and a concert organ to support the academic program. Upon Moore’s and Roberts’ recommendation, with the assistance of Dennis Milnar, the organ was purchased for $30,000. The university then engaged Milnar Organ Company to convert the console and relays to solid-state technology, rebuild, redesign, move, and install the instrument in Ransdell Chapel.
The purchase of the organ at the early stages of design for Ransdell Chapel enabled architects to provide adequate space and facilities to house the instrument. Groundbreaking for the chapel was on October 25, 2005. Two additional stops were offered as gifts to the university for the organ. James and Nevalyn Moore, Campbellsville University School of Music faculty, gave a Zimbelstern, and Maynard and Jewel Faye Roberts of Ocala, Florida, gave a Trumpet en Chamade.
Excitement grew over the next year and a half as Ransdell Chapel was being built. As construction neared completion, Milnar began delivery of the organ in February 2007, in a series of six weekly trips from their shop in Eagleville, Tennessee. The initial delivery on February 20 brought many of the largest parts of the organ, including the huge wooden Sub Bourdon pipes and wind chests. Students and faculty joined the Milnar crew in unloading its precious cargo from week to week as pipes and equipment arrived.12 The Central Kentucky News Journal featured a front-page story on the organ in its April 5, 2007 issue.
The installation was completed in time for the dedication of Ransdell Chapel on April 18, 2007. University Organist Nevalyn Moore was at the console for the momentous occasion. Later in the summer, the Trumpet en Chamade arrived and was installed in the rear of the chapel for antiphonal effect. The chapel was also equipped with a Bechstein concert grand piano built in 2002, and a new Yamaha upright piano in an adjoining class/rehearsal room. Both instruments were gifts from friends of the university.
The organ was formally dedicated in a recital by Nevalyn Moore on September 4, 2007. On the program were selections by Albert Travis, Johann Sebastian Bach, Gordon Young, James Moore, Jean Langlais, and Charles-Marie Widor. The organ has since come to be admired in its new setting for its visual and musical beauty, and treasured for its capabilities and rich heritage.

Christ Church Cathedral
Specifications of the original Farrand & Votey organ13

GREAT
16′ Double Open Diapason*
8′ Open Diapason
8′ Viola de Gamba
8′ Doppel Floete
4′ Octave
22⁄3′ Octave Quint
2′ Super Octave
Mixture III*
4′ Trumpet

SWELL
16′ Bourdon
8′ Open Diapason
8′ Salicional
8′ Stopped Diapason
8′ Gemshorn
4′ Flute Harmonique
Cornet (?) ranks
8′ Oboe
8′ Vox Humana*
Tremolo
*To be added later

CHOIR
8′ Geigen Principal
8′ Dolce
8′ Concert Floete
4′ Rohr Floete
2′ Piccolo Harmonique
8′ Clarinet

PEDAL
16′ Open Diapason
16′ Bourdon
8′ Violoncello

Couplers
Great to Pedal
Swell to Pedal
Choir to Pedal
Swell to Great Sub Octaves
Swell to Great Unison
Swell to Great Super Octaves
Great Octaves
Choir to Great Sub Octaves
Choir to Great Unison
Swell to Choir
Swell Octaves

Ransdell Chapel
Farrand & Votey organ
Redesigned and rebuilt by Milnar
Organ Company, 2007

GREAT
16′ Quintaton
8′ Open Diapason
8′ Gedeckt
8′ Gemshorn
4′ Octave
4′ Koppel Flute
22⁄3′ Twelfth
2′ Fifteenth
V Fourniture
8′ Trumpet
III Scharf
8′ Trumpet en Chamade
Unison Off
Great 16
Great 4
Chimes
MIDI to Great

SWELL
8′ Open Diapason
8′ Stopped Diapason
8′ Salicional
8′ Aeoline
8′ Vox Celeste
4′ Flute Harmonic
4′ Gemshorn
2′ Principal
III Plein Jeu
II Sesquialtera
16′ Contra Fagotto
8′ Trompette
8′ Oboe
4′ Clarion
8′ Trumpet en Chamade (Gt)
Tremolo
Unison Off
Swell 16
Swell 4
MIDI to Swell

CHOIR
8′ Rohrflute
8′ Dolce
8′ Unda Maris
4′ Spitz Principal
22⁄3′ Nazard
2′ Blockflute
13⁄5′ Tierce
III Cymbel
8′ Krummhorn
8′ Trumpet en Chamade (Gt)
Tremolo
Unison Off
Choir 16
Choir 4
MIDI to Choir
Moore Zimbelstern

PEDAL
32′ Sub Bourdon
16′ Principal
16′ Quintaton
16′ Bourdon
8′ Octave
8′ Flute
8′ Cello
4′ Super Octave
32′ Trombone
16′ Trombone
8′ Trumpet
4′ Clarion
MIDI to Pedal

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
Great/Choir Transfer

Pistons
Generals: Thumb 1–6 & Toe 1–9
Swell: Thumb 1–6
Great: Thumb 1–6
Choir: Thumb 1–6
Pedal: Thumb 1–6 & Toe 1–6
Swell to Pedal: Thumb & Toe
Great to Pedal: Thumb & Toe
Choir to Pedal: Thumb & Toe
SFZ: Thumb & Toe
Combination Adj.: Thumb
Cancel: Thumb

Expression
Swell
Choir

Compass
61-note manual
32-note pedal

Memory System
Peterson ICS-4000

From the builder
When Christ Episcopal Church in Nashville, Tennessee, asked us to market their Farrand & Votey organ for them, we took the project to heart. The organ had been under our care for almost 40 years, and this project became personal.
I thought we had a possible new home for it in Nashville, but that did not materialize. Professor Wesley Roberts, of Campbellsville University in Kentucky, read an advertisement of ours and called us. After several discussions, Wesley, Nevalyn Moore, and I met at Christ Church. The organist of Christ Church, Dr. Michael Velting, gave a demonstration of the instrument, and they were impressed. I told them if we could redesign the organ to be on one level, instead of several, within a good room, in a good location, the organ sound would be enhanced.
We were so pleased when the university decided to purchase the organ and commission us to redesign, rebuild and install it in their forthcoming new chapel. That was the beginning of a long successful project. There were two major factors that made the project successful. First was the university’s willingness to make the necessary repairs and upgrades to the organ. The second was the architect, Jeff Bennett, who was enthusiastic about the organ and open to our recommendations.
The organ room at Christ Church was about 15 feet square with a height of about 25 feet. The tonal opening that faced the congregation was in front of the Choir box wall, and allowed limited egress of sound. The opening facing the Choir was larger, and allowed most of the sound egress. Both openings supported pipe façades with lovely hand-painted pipes. The limited floor space made it necessary to have the organ speak at several levels. Fortunately, it was an inside room, and the organ enjoyed good tuning stability.
The new home in Ransdell Chapel gave us an area that is 58 feet wide and 18 feet deep, with 26 feet of height. This area has complete temperature and humidity control. The outside walls of the organ area consist of eight-inch thick block, ridge insulation and a brick exterior. The ceiling has two layers of 5/8-inch drywall and the concrete slab floor is about 12 feet above and behind the stage. The sound projection is fantastic.
The architect provided us with new Swell and Choir chambers. These virtually soundproof enclosures have six-inch thick insulated walls, with two layers of 5/8-inch thick drywall on the inside with another layer outside. The doors are made of insulated steel, providing a most effective crescendo of sound.
Pipes that were once placed deep in the chamber were placed in an unobstructed position. The 32′ Bourdon spoke under the Choir and Great windchests and about 18 inches from a large bellows; it now has five feet of unobstructed space to develop its full sound and bounce off a solid wall. The listener can not only hear this powerful stop but also feel its reverberating tone. This is also true for the 32′ Trombone and the 16′ Principal, which were in the back of the old chamber behind the Swell box.
The organ now speaks with greater clarity and the volume has increased by at least 50 percent. To crown the organ, the parents of Professor Roberts donated funds to add a beautifully made
(A. R. Schopp’s Sons) Trumpet en Chamade. We mounted this on the rear wall at the height of the main organ. The large-scaled, flared copper reed has a warm strong sound that truly crowns the instrument without taking away from the grandeur of the main organ.
To hear and see this instrument today with its software-based organ control system (Peterson ICS-4000) and think back to its beginning with a water pump for air pressure and batteries to operate the magnets, speaks volumes about the reigning king of instruments.
—Dennis Milnar

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