New Organs

Cover

Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

Robert E. Jacoby Symphony Hall, The Time-Union Center for
the Performing Arts, Jacksonville, Florida

Quimby Pipe Organs, Inc., Warrensburg, Missouri, recently
completed the rebuilding and installation of the 1912 Casavant organ in the
Robert E. Jacoby Symphony Hall, Jacksonville, Florida.
style="mso-spacerun: yes"> This project marked the formal
completion of the 1,846-seat performance facility dedicated to the Jacksonville
Symphony, and reflects the Symphony's decision to become the first
American orchestra to install a rebuilt, historic organ in a new concert hall.

Casavant Op. 553 was contracted in 1912 and built in 1914
with four manuals, 63 stops, 70 ranks for the First Baptist Church of Syracuse,
New York. The organ gained some international notoriety when Charles Courboin,
famous Belgian organist of the Cathedral in Antwerp, immigrated to the United
States in 1904 and became organist of the church in 1915.

The organ was first enlarged in 1917, under the direction of
Courboin, with the addition of a second Solo division consisting of six
high-pressure stops, provided by Casavant's American factory in South
Haven, Michigan. In 1957, Casavant furnished a new, four-manual drawknob
console and, in 1973, new Great Twelfth, Fifteenth and Mixture and Pedal
upperwork were provided under the direction of Lawrence Phelps. In the late
1980s, when the congregation moved to a new building in the suburbs, the organ
was put into circuitous storage that took it from New York to Illinois to Florida
and finally back again to Illinois.

In early 1996, the Jacksonville Symphony began its search
for an organ. After much research and with the assistance of consultant Jeff
Weiler, the Symphony decided that an older instrument, built during the height
of organ-orchestral repertoire, would be ideal for the orchestra's needs.
Casavant Op. 553 was located in Chicago, languishing in a warehouse, and was
purchased by the symphony later in 1996.

The organ was delivered to Quimby Pipe Organs in
Warrensburg, Missouri, for rebuilding and restoration in March, 1997. An
inventory revealed that storage had taken its toll on the organ:
style="mso-spacerun: yes"> most of the Casavant windchests were
discovered to be beyond repair, either through dry rot or water damage; many
metal pipes were severely damaged and numerous pipes were smashed flat; wooden
pipes were found to have split seams, either through water damage or extreme
dryness. What was expected to have been a fairly typical rebuilding was fast
turning into a massive restoration.

All flue pipework was restored in our pipeshop by
Christopher Emerson, QPO pipemaker, with extensive help by Thomas Anderson.
Dents were re-moved, smashed pipes were cut apart and remade, and all metal
pipes were cleaned and fitted with new tuning slides. All stopped wood pipes
were repacked, and split seams reglued as necessary.

One significant challenge involved maintaining the tonal
integrity of the reed ranks while raising their pitch to A440. Head voicer Eric
Johnson performed restorative revoicing to repitch the reeds, utilizing the
original tongues as much as possible. The rise in pitch increased the overall
power of the reeds significantly.
The Great/Choir 16'-8'-4' Tuba Mirabilis unit, recast
on 25" to meet the requirements of the hall, provides a thrilling climax
to the organ.

The Casavant winding system was recreated with great care,
and can only be described as massive.
The Swell reservoir, for example, measuring 5'x11', bears
1200 pounds of brick and 2,000 pounds of spring tension to provide 41/2"
pressure; the Solo reservoir, feeding 12" of wind to that division, bears
2200 pounds of brick and 3000 pounds of spring tension!
style="mso-spacerun: yes"> The organ's original 1914 10 hp
Spencer blower, providing static pressure at 5" and 12", and the
1917 71/2 hp Spencer blower for the added Solo organ, providing 25"
of static pressure, were both rebuilt by Eric Johnson.
style="mso-spacerun: yes"> The blower room is isolated beneath the
Solo division by walls nearly 18" thick.

The organ stands in a loft 50' wide, 32' high
and 14' deep above and behind the orchestra platform.
style="mso-spacerun: yes"> Composed of painted copper pipes of the
Great First and Second Diapasons, the Pedal 8' Octave, and the Great 16'
Double Diapason, the tripartite façade, designed by Charles Ford,
provides the visual focus for the room. The Great and Pedal occupy the central
section with the commanding (formerly enclosed) Tuba Mirabilis placed high at
the center of the organ. The Solo is housed the left section, and Choir is
placed above the Swell in the right section. The Echo occupies a chamber 70'
above the floor in the ceiling of the auditorium, providing an ideal location
for its subtle, atmospheric effects. As in the original Syracuse installation,
the Echo is winded from the main blowing plant.

A few voices have been added to the organ in its present
installation. Mixtures and
mutations have been added to enhance the Swell and Choir choruses; two celestes
have been added to the organ's softest existing voices; existing tenor C
celestes have been extended to CC, and a 4' Clarion now completes the
Swell reed chorus. The Choir Mustel Celesta was re-pitched to A440. The two
Solo divisions (from 1914 and 1917) have been united as one. The 1957 console
has been rebuilt utilizing solid-state actions. Apart from the windchests for
the Echo, the Solo Gross Flute and Tuba Mirabilis unit chests (made in the
South Haven, Michigan plant), various bass offset chests and the 1973 Casavant
pedal chest, all pipework sits on new electropneumatic pitman windchests.
style="mso-spacerun: yes"> The organ now contains 97 ranks, 80
stops, 6,215 pipes and weighs nearly 20 tons.

The organ was
officially opened during a gala weekend, March 16-18, 2001, by the
Jacksonville Symphony, Fabio Mechetti, conductor, and Matt Curlee, organist,
performing works by Saint-Saëns, Duruflé and Jongen. As part of the
weekend's festivities, the organ was donated to the City of Jacksonville
in exchange for the city's generous support of the rebuilding effort and
financial commitment to its ongoing care. The Jacksonville Symphony, the latest
American orchestra to include a major pipe organ among its musical resources,
will feature the organ in major works five times next season. For more
information, consult the Jacksonville Symphony's Web site:

<www.jaxsymphony.org/organ.htm>.

--Thomas Brown

General Manager, QPO

Photo by Paul Figura, art direction by Kevin Eitzenberger.

GREAT (unenclosed)

33/4" windpressure

                  16'
        Double
Open Diapason (1-19                                                                         façade,
new)

16'
style='mso-tab-count:1'> Gemshorn
(ext)**

8'
style='mso-tab-count:1'> Open
Diapason I (1-12 façade, new)

8'
style='mso-tab-count:1'> Open
Diapason II (1-10 façade, new)

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

8'
style='mso-tab-count:1'> Flûte
harmonique

                  8'
style='mso-tab-count:1'>             Doppelflöte
style='mso-tab-count:2'>
style="mso-spacerun: yes">

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

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

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

4'
style='mso-tab-count:1'> Waldflöte

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

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

Mixture
V **(*)

16'
style='mso-tab-count:1'> Double
Trumpet

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

16'
style='mso-tab-count:1'> Tuba
Magna (Ch)

8'
style="mso-spacerun: yes"> Tuba
Mirabilis (Ch)

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

Chimes
(Echo)

SWELL (enclosed)

41/2" windpressure

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

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

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

8'
style='mso-tab-count:1'> Voix
céleste

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

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

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

8'
style='mso-tab-count:1'> Dolce
Celeste ***

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

4'
style='mso-tab-count:1'> Flauto
Traverso

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

Cornet
IV

Plein
Jeu III-V ***

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

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

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

8'
style='mso-tab-count:1'> Vox
Humana

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

Tremulant

Vox
Tremulant

CHOIR (enclosed)

31/4" windpressure

16'
style='mso-tab-count:1'> Contra
Gamba

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

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

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

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

8'
style='mso-tab-count:1'> Unda
Maris ***

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

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

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

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

2'
style='mso-tab-count:1'> Flute
***

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

Mixture
III-IV ***

16'
style='mso-tab-count:1'> Contra
Fagotto

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

Tremulant

Celesta
(Mustel, 49 bars)

16'
style='mso-tab-count:1'> Tuba
Magna (ext., 12 pipes)

8'
style='mso-tab-count:1'> Tuba
Mirabilis (unenclosed) *

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

M. L. Bigelow & Co., of American Fork, Utah, has
recently completed a new tracker action organ, opus 24, for Conception Abbey,
Conception, Missouri. The three-manual, 40-rank organ features a detached,
reversed key desk with mechanical key action, and electric stop/combination
action with 32 levels of memory. The instrument is located in the south
transept with both organ and organist facing the monk choir seated in the
crossing. To improve the feel of coupled manuals, the mechanical couplers are
housed in the lower case rather than the detached key desk. Manual key compass
is C1-a58; keys are of bone and ebony. The interchangeable AGO and flat
pedalboards each have 30 notes, C1-f30. Temperament is Fisk I, which
gives a slight variety of key colors, the key of F being the most solid
sounding. Metal pipes are of various alloys ranging from hammered lead for the
Chimney Flute 8', to 75% tin for the façade. Many larger pipes are
of copper. Wind pressure is 74 mm and is regulated by three wedge bellows
supplying the manual divisions, the pedal chest, and the bottom octave of the
32' respectively. The organist can deactivate wind stabilizers from the
key desk to achieve flexible winding. The organ was installed as part of a
massive renovation of the church in which the wood floor was removed and
replaced with concrete overlaid with brick pavers. Reverberation exceeds five
seconds. The first inaugural recital was played on December 5, 1999, by Delores
Bruch, who also served as consultant. The second inaugural recital was played by John Obetz on February 17,
2000.

GREAT

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

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

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

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

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

2'
style='mso-tab-count:1'> Super
Octave

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

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

Ch/Gt

Sw/Gt

CHOIR

8'
style='mso-tab-count:1'> Oak
Gedackt

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

8'
style='mso-tab-count:1'> Unda
Maris

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

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

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

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

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

Tremulant

Sw/Ch

SWELL

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

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

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

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

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

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

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

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

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

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

III
style='mso-tab-count:1'> Plein
Jeu

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

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

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

Tremulant

PEDAL

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

16'
style='mso-tab-count:1'> Praestant
(Gt)

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

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

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

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

II
style='mso-tab-count:1'> Octaves
(4'+ 2')

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

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

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

Gt/Ped

Ch/Ped

Sw/Ped

Steinberg Organ Co., Inc., Niagara Falls, Ontario, Canada,
has recently installed a 7-rank unit organ, their Opus 14, in the chapel of the
Redemptoristine Nuns at their Monastery of the Most Holy Redeemer in Niagara
Falls, Ontario. Since space was at a premium in the chapel, which was not
designed to house a pipe organ, a place was found on the right side of the
altar in an open area on the second level. The sisters use the organ for their
daily devotions, as well as for Sunday masses which are open to the public.
Sister Mary Alphonse is the organist. The pipework, chests, reservoir and
chimes are from a 1930 Franklin Legge organ which was removed from the First
Baptist Church in Welland, Ontario. A new organ front and case were built,
containing pipes from the 8' Open Diapason; casework is oak with a
rosewood finish. All pipes were revoiced and chests were rebuit.

GREAT

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

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

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

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

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

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

SWELL

16'
style='mso-tab-count:1'> Violone
(TC)

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

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

8'
style='mso-tab-count:1'> Voix
Cel

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

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

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

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

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

Chimes

PEDAL

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

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

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

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

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

New Organs

Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California

Opus 46

SkyRose Chapel, in the Rose Hills Memorial Park, Whittier,
California, is located on a hill overlooking Los Angeles and the San Gabriel
and Sycamore Valleys. SkyRose Chapel is situated within beautifully landscaped
gardens that also do duty as a cemetery--SkyRose Chapel is the largest funeral
chapel in the world. Renowned architects Fay Jones and Maurice Jennings designed
SkyRose Chapel to be built of oak, Oregon redwood, bouquet canyon stone,
Douglas fir, and glass in a contemporary A-frame style that is at home in the
hills which the afternoon sun turns a vibrant rose color. SkyRose Chapel has
become popular as an attractive venue for weddings as well as for funerals.

The installation of a pipe organ in SkyRose Chapel had
always been the dream of Dennis Poulsen, Chairman of the Board of Rose Hills
Memorial Park. This dream was researched and brought to fruition by Mr. Poulsen
and Bruce Lazenby, Vice President of Engineering of Rose Hills Memorial Park.

The Rose Hills Foundation selected Quimby Pipe Organs, Inc.,
to build the pipe organ for the strikingly lovely SkyRose Chapel. The Quimby
pipe organ, Opus 46, has 65 ranks together with harp and chimes spread over
four manuals and pedal. The distinctly American design is eclectic in
conception and enables the instrument to perform a wide range of service and
organ literature. Messrs. Poulsen and Lazenby requested Michael Quimby, Tonal
Director, to design a tonal specification that would handle the diverse musical
demands required for funeral services, weddings, and recitals.

The instrument contains an unusually high proportion of
celeste ranks, and also a very high proportion of color reeds. The reeds in the
Solo division include several historic Skinner and Aeolian-Skinner ranks--the
Tuba Mirabilis (1924), French Horn (1946), English Horn (1946) and Corno di
Bassetto (1946). These ranks are included in the pipe organ on their original
windchest and reservoir. Also noteworthy are the 1924 Deagan "Class
A" Chimes and the restored 1929 Skinner Harp, both on their original
restored electro-pneumatic actions.

The electric blowers winding the organ amount to a total of
eleven and one-half horsepower, supplying wind at pressures ranging from
4" for the Choir division to 15" for the Tuba Mirabilis. There are
fourteen reservoirs and four schwimmers. The main chests, built by Quimby Pipe
Organs, Inc., are slider windchests built to the original Blackinton design
fitted with electro-pneumatic pallets. The Swell, Choir and Solo divisions have
68-note chests, providing additional topnotes for use with the octave couplers.
Electro-pneumatic unit chests are used for the offsets and extended ranks.

Quimby Pipe Organs' Opus 46 is located in an elevated
gallery near the rear of SkyRose Chapel. The visual presentation of the pipe
organ is of oak casework containing thirty-eight zinc façade pipes with
gold-colored mouths drawn from the Pedal 32' Principal and Great 16' Violone
ranks that are placed on platforms of escalating heights above the floor of the
gallery as well as nine oak pipes positioned along the side of the case. The
longest façade pipe, approximately 26' in length, is low G of the 32' Principal. The wood pipes along the side of the case are part of the Pedal 16' Bourdon rank. The Pedal 32' Posaune is full length, and is located behind the exposed wood pipes.

Quimby Pipe Organs' woodworkers constructed the case and
console in their workshop. Quimby Pipe Organs' designer and woodworkers
designed the oak organ case and console in consultation with Fay Jones and
Maurice Jennings in order to ensure an appearance in harmony with the
architecture of the Chapel. Harris Precision Products, Inc., of Whittier,
California, manufactured the console components and shipped them across the
country to Warrensburg where Quimby's woodworkers installed them in the
console. The console was then shipped back with the organ to Whittier! The
instrument is controlled by a multiplex relay with MIDI, including full
playback capability, and a combination action with 99 memory levels.
style="mso-spacerun: yes"> There are eight pistons to each
division and eighteen general pistons, together with three ensemble pistons,
three programmable Crescendo settings, and numerous reversibles.

Members of Quimby Pipe Organs, Inc., who made significant
contributions to the construction of the SkyRose instrument included Doug
Christie, Chris Emerson, Charles Ford, Johanna Harrington, Eric Johnson, Kevin
Kissinger, Brad McGuffey, Michael Miller, Gary Olden, Michael Quimby, Wayne
Shirk, Stan Sparrowhawk, Elizabeth Viscusi, and Randy Watkins.

Dr. Frederick Hohman presented the pipe organ to the public
in the dedicatory recital of the SkyRose organ on Saturday, September 20th,
1997.

--Quimby Pipe Organs, Inc.

GREAT (unenclosed)

16'
style='mso-tab-count:1'> Violone
(1-14 façade)

8'
style='mso-tab-count:1'> Diapason
(1-7 from Ped Principal)

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

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

8'
style='mso-tab-count:1'> Harmonic
Flute (1-12 from 8' Bdn)

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

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

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

22⁄3'
style='mso-tab-count:1'> Quint

2'
style='mso-tab-count:1'> Super
Octave

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

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

8'
style='mso-tab-count:1'> Tuba
Mirabilis (Solo)

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

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

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

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

Tremolo

Chimes
(Solo)

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

Tower
Chimes (prepared for)

MIDI
on Great

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Rohr Nasat

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

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

13⁄5'
style='mso-tab-count:1'> Tierce

2'
style='mso-tab-count:1'> Plein
Jeu IV (2' rank from Octave)

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

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

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

8'
style='mso-tab-count:1'> Vox
Humana

8'
style='mso-tab-count:1'> Vox
Mystique (Vox Humana, box closed)

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

Tremolo

Chimes
(Solo)

MIDI
on Swell

CHOIR (enclosed)

16'
style='mso-tab-count:1'> Silver
Flute (1-12 digital)

8'
style='mso-tab-count:1'> Flauto
Mirabilis (Solo)

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

8'
style='mso-tab-count:1'> Gamba
Celeste (Solo)

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

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

8'
style='mso-tab-count:1'> Melodia
(1-12 from Rohr Flute)

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

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

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

4'
style='mso-tab-count:1'> Orchestral
Flute (Solo)

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

2'
style='mso-tab-count:1'> Block
Flute

13⁄5'
style='mso-tab-count:1'> Tierce

1'
style='mso-tab-count:1'> Mixture
III

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

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

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

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

8'
style='mso-tab-count:1'> Tuba
Mirabilis (Solo)

Tremolo

Chimes
(Solo)

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

4'
style='mso-tab-count:1'> Celesta
(Solo)

MIDI
on Choir

SOLO (enclosed)

16'
style='mso-tab-count:1'> Contra
Gamba (1-12 digital)

8'
style='mso-tab-count:1'> Flauto
Mirabilis

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

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

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

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

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

8'
style='mso-tab-count:1'> French
Horn

8'
style='mso-tab-count:1'> Corno
di Bassetto

8'
style='mso-tab-count:1'> Tuba
Mirabilis

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

Tremolo

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

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

Tower
Chimes (prepared for)

Chimes
(20 tubes)

MIDI
on Solo

PEDAL (unenclosed)

32'
style='mso-tab-count:1'> Sub
Principal (1-7 digital, 8-31 façade)

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

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

16'
style='mso-tab-count:1'> Violone
(Great)

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

16'
style='mso-tab-count:1'> Gamba
(Solo)

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

16'
style='mso-tab-count:1'> Silver
Flute (Choir)

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

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

8'
style='mso-tab-count:1'> Viola
Celeste II (Swell)

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Mixture IV

32'
style='mso-tab-count:1'> Contra
Posaune (full length, ext Great Trumpet)

32'
style='mso-tab-count:1'> Contra
Basson (1-12 digital, ext Swell Hautbois)

16'
style='mso-tab-count:1'> Posaune
(ext Great Trumpet)

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

16'
style='mso-tab-count:1'> Hautbois
(Swell)

16'
style='mso-tab-count:1'> Cromorne
(Choir)

8'
style='mso-tab-count:1'> Tuba
Mirabilis (Solo)

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

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

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

4'
style='mso-tab-count:1'> Clarion
(ext Great Trumpet)

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

4'
style='mso-tab-count:1'> Cromorne
(Choir)

Chimes
(Solo)

MIDI
on Pedal

Lively-Fulcher Organbuilders, Alexandria, Virginia

St. Olaf Catholic Church,
Minneapolis, Minnesota

In 1997, Fr. John Forliti, Pastor of St. Olaf Church,
appointed Dr. Merritt Nequette and a parish committee to lead an organ project
at the church. The committee enlisted the services of Jonathan Biggers as organ
consultant. After a thorough study, Lively-Fulcher Organbuilders of Alexandria,
Virginia was chosen to build the new instrument which was installed and
completed in July, 2001.

The organ was inaugurated in a series of concerts in 2002
beginning with a service of blessing by Archbishop Harry J. Flynn, Archbishop
of St. Paul and Minneapolis, and organ recital performed by Dr. Lynn Trapp,
director of worship and music, organist, at St. Olaf Church, on February 9,
2002. A hymn text by Delores
Dufner, OSB was commissioned for the occasion.

The series of inaugural concerts featured a recital and
masterclass by Swiss organist, Guy Bovet; a program of organ and contemporary
music with Twin Cities artists; Pipedreams Live hosted by Michael Barone of
Minnesota Public Radio and performers of the Liturgical Organists Consortium;
field days for elementary students to learn about the king of instruments; and
an organ and orchestra concert with Jonathan Biggers, organist, and the Kenwood
Chamber Orchestra, orchestra in residence at St. Olaf Church, conducted by Ken
Freed. This concert included the premiere of a commissioned work for organ and
orchestra composed by Richard Proulx.

The instrument has 61 stops and 67 ranks (49 independent
registers) playable over five divisions, Grand Orgue, Récit Expressif,
Positif Expressif, Bombarde and Pédale. The manual and pedal key actions
make use of electric slider windchests and the stop action is electric, complete
with state of the art combination action, 256 levels of memory and a sequencer.
The wind supply is regulated by a traditional bellows system linked to the wind
chests by wooden wind lines. The console is built in a low profile, curved jamb
configuration to enhance the organist's ability to follow the liturgy and
conduct the choir. The console has natural keys covered in bone and sharp keys
of solid ebony. The internal layout of the divisions within the organ case
places the Positif Expressif centrally in the lower middle of the case and the
Grand Orgue above that with the Récit Expressif behind the Grand Orgue.
The Bombarde reeds are located in the Positif box and the Pédale
division is divided on either side of the manuals and behind the 16-foot pedal towers
in the case. Wood pipes were made in the organbuilders' workshop and metal
pipes were made to their specifications in Germany.

The casework, constructed of African mahogany, takes its
inspiration from the contemporary architecture of the room and has simple
Scandinavian design elements yet a firm traditional layout. The façade
pipes are made of 72% tin and include pipes from the Grand Orgue Montre 16',
Montre 8' and Pédale Montre 8'. The organ is completely housed within
its own freestanding casework and because of the deep gallery around three
sides of the room is positioned at the front center of the church. A
Cymbelstern stop is provided on the instrument and the church's tower bells can
be played from the Récit keyboard.

The design of the pipe shades for the instrument is tied to
the rich traditions associated with St. Olaf. They are made of basswood with
patterns of dragons, eagles and serpents which are found in the Book of Kells.
These designs are slightly earlier than King Olaf's time, but they are strong
Scandinavian symbols from the period. The cross piercing the crown is based on
an 8th-century piece made for St. Rupert. The crown motif was specifically
chosen to represent St. Olaf and the crosses and crowns are covered with
24-carat gold leaf.

The tonal inspiration for the instrument is firmly based in
19th-century France but is designed and voiced with a broad literature base in
mind. The Tutti is robust to support large choirs, orchestra, and the singing
of a capacity crowd of worshipers. The organ has a wide variety of soft colors
as well. The broad foundation tone of the 8-foot stops and thick-walled
expressiveness of the Récit and Positif boxes ensure the accompanimental
versatility necessary for the performance of choral and solo literature. The
warm yet clear broadly scaled principal chorus work, blended with the mutations
and reed colors associated with Clicquot and Cavaillé-Coll, make for a
versatile medium for the main body of the organ literature. The voicing and
blending of individual stops coupled with the color requirements of French,
German and English literature allow the convincing performance of a wide range
of literature. This instrument is not meant as a copy of any one style nor is
it intended to be a collection of styles trying to do everything, but rather is
intended to be a modern instrument of the 21st century speaking with its own
voice.

--Lynn Trapp

GRAND ORGUE

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

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

8'
style='mso-tab-count:1'> Flûte
à cheminée

8'
style='mso-tab-count:1'> Flûte
harmonique

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

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

4'
style='mso-tab-count:1'> Flûte
ouverte

22⁄3'
style='mso-tab-count:1'> Quinte

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

2'
style='mso-tab-count:1'> Fourniture
V

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

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

Tremulant

Octaves
graves

Récit
sur G.O.

Positif
sur G.O.

Bombarde
sur G.O.

POSITIF EXPRESSIF

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

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

8'
style='mso-tab-count:1'> Flûte
douce

8'
style='mso-tab-count:1'> Flûte
celeste

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

4'
style='mso-tab-count:1'> Flûte
conique

22⁄3'
style='mso-tab-count:1'> Nazard

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

2'
style='mso-tab-count:1'> Quarte
de nazard

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

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

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

Tremulant

Octaves
graves

Récit
sur Positif

Bombarde
sur Positif

Positif
unison off

RÉCIT EXPRESSIF

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

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

8'
style='mso-tab-count:1'> Viole
de gambe

8'
style='mso-tab-count:1'> Voix
céleste

8'
style='mso-tab-count:1'> Cor
de nuit

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

4'
style='mso-tab-count:1'> Flûte
octaviante

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

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

22⁄3'
style='mso-tab-count:1'> Cornet II

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

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

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

8'
style='mso-tab-count:1'> Voix
humaine

4'
style='mso-tab-count:1'> Clairon
harmonique

Tremulant

Octaves
graves

BOMBARDE (floating)

16'
style='mso-tab-count:1'> Tuba
magna (ext)

8'
style='mso-tab-count:1'> Tuba
mirabilis

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

8'
style='mso-tab-count:1'> Cornet
V (tg)

PÉDALE

32'
style='mso-tab-count:1'> Contre
soubasse (electronic)

16'
style='mso-tab-count:1'> Grosse
flûte

16'
style='mso-tab-count:1'> Montre
(G.O.)

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Fourniture IV

32'
style='mso-tab-count:1'> Contre
bombarde (ext)

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

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

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

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

Tirasse
Bombarde

Tirasse
G.O.

Tirasse
Positif

Tirasse
Récit

G.O./Positif manual transfer

Chimes sur G.O.

Tower Bells sur Récit

Cymbelstern

Pedal & Manual pistons coupled

Sequencer

Weston Harris and Thomas J. McDonough, Organ Crafters of
Los Angeles, have completed a
three-manual, 38-rank organ at St. Augustine By-the-Sea Episcopal Church, Santa
Monica, California. The organ
incorporates elements from the church's previous organ built in 1967 by Abbott
and Sieker Organ Builders as well as the historic Möller/Estey organ at
Bridges Hall of Music, Pomona College (recently replaced by Fisk Opus 117).
Other pipework was donated from the private collection of Mr. Joseph Horning, a
prominent Los Angeles organist and organ consultant who died in 2000.

The church is located at the popular Third Street Promenade
at Santa Monica Beach Pier. The organ enjoys a high gallery placement in an
extraordinary acoustical setting. Given this exceptional location, the new
organ's tonal style is based largely on the 1948 Aeolian-Skinner organ of the
Salt Lake City Tabernacle, where Mr. Harris studied organ performance and
apprenticed in organbuilding. The voices are gentle, and choruses finely
layered.

The previous organ (see photo) was installed in 1967 as a
temporary instrument for the new church following the arson burning of the
church's historic 1867 building. The new organ case forms the Positiv Organ
featuring pipes from the Bridges Hall of Music (front tower pipes) and wood
Holzgedeckt pipes. The flute pipes were obtained from a burnt-out church in
nearby Venice, California. They were barely rescued--being quickly pulled from
their windchest just as the wrecking ball was knocking through the chamber
walls. The fire scarring on the pipes provides an extraordinary antique patina
for the new organ case design.

--Weston Harris

GREAT (enclosed)

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

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

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

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

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

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

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

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

Mixture
IV

Cymbale
III

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

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

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

Tremulant

Gt/Gt
16-4

SWELL (enclosed)

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

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

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

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

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

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

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

11⁄3'
style='mso-tab-count:1'> Mixture III

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

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

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

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

Tremulant

Sw/Sw
16-UO-4

POSITIV (unenclosed)

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

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

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

4'
style='mso-tab-count:1'> Gedeckt*

2'
style='mso-tab-count:1'> Principal*

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

8'
style='mso-tab-count:1'> Mounted
Cornet IV (TG)

Pos/Pos

Pos/Gt

Tower
Bells (8 Whitehall bells)

STATE TRUMPET (unenclosed)

16'
style='mso-tab-count:1'> State
Trumpet*

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

4'
style='mso-tab-count:1'> State
Trumpet*

Trumpet
to Gt

Trumpet
to Sw

Trumpet
to Pos

PEDAL (enclosed in Great)

32'
style='mso-tab-count:1'> Contra
Bourdon*

32'
style='mso-tab-count:1'> Dolce
Gedeckt*

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

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

16'
style='mso-tab-count:1'> Lieblich
Gedeckt (1-12 ext)*

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

8'
style='mso-tab-count:1'> Bourdon*

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

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

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

32'
style='mso-tab-count:1'> Contra
Posaune*

16'
style='mso-tab-count:1'> Posaune
(1-12 extension Gt Trumpet)

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

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

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

4'
style='mso-tab-count:1'> Clairon
(Gt)

Full interdivisional couplers

*indicates unification

New Organs

Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

Trinity Christian College is a four-year liberal arts college founded in
1959 and located in Palos Heights, Illinois, a suburb 25 miles southwest of
Chicago. It is dedicated to providing students with a quality higher education
in the Reformed Christian tradition. The college has grown extensively in
recent years with many new buildings erected. In 2001, the college dedicated a
new 1,200-seat auditorium: The Martin and Janet Ozinga Chapel. The chapel is
also the home of the college's music department with faculty offices, rehearsal
rooms, a recital hall, a music computer lab, and practice rooms. An organ for
the auditorium was envisioned from the building's conception.

Under the chairmanship of music department chair Helen Van Wyck, a committee
was formed to choose a builder for the organ. Paula Pugh Romanaux was selected
as the consultant to work with the committee. After visiting several of our organs,
Lauck Pipe Organ Company was chosen to build the organ. Working with the
builder, the committee decided that the instrument would be located at the back
of the stage and would occupy the central position. The committee felt that an
organ with a detached console would prove more flexible, especially when used
with orchestra and to accompany small ensembles.

Several designs for the organ case were prepared ranging from traditional to
contemporary, the latter being chosen. The proportions of the case are generous
in order to fill the expansive rear wall of the stage area. The façade
consists of the 16' Principal, 8' Pedal Octave and the 8' Great Diapason,
with pipes of polished tin. The
casework is arranged so that the Pedal division occupies the center and two
outer towers. Between the left and center tower is the Great Principal chorus
with the Choir division above. Between the right and center towers are the
Great flutes and reed with the Swell division above. A shallow case with
expression shades capable of a full range of motion allow for excellent egress
of sound. The emblem at the top of the center tower is the college's logo done
in relief and gilded.

Over the past 30 years, we have built many French-terraced consoles with
curved terraces, but Marilyn Mulder, the school's organ instructor, suggested a
console based on a design she saw at Chicago's Orchestra Hall. From her
photograph, we designed and built a console with straight, oblique terraces.
The woodwork is of cherry to match other furnishings in the chapel. The
terraces, keycheeks, manual and pedal sharps, and drawknobs are all of
rosewood. The manual naturals are of bone. Peterson supplied the MIDI system
and combination action. Lauck manufactured the coupler and relay systems, as
well as the electric expression servos.

The room, alas, suffers from insufficient reflection of sound. As we worked
with the acoustician and architect, the organ committee and I realized we would
not be able to have all of our requests granted; the acoustician was more
interested in absorbing rather than reflecting sound. The architect and
building committee did agree that the expansive drywall ceiling would be well
supported and made up of a double layer glued together so as to not absorb the
lower frequencies. Preliminary acoustical tests of the room proved that we
needed a lot of sound to fill it. The organ had to be scaled very boldly, with
variable scales and higher cut-ups being freely employed. In addition, generous
wind pressures, especially in the reeds, would be used. Our tonal concept was
to establish well-developed Principal choruses in each division, colorful and
contrasting flute choruses, and chorus reeds that bind together well. This goal
was achieved and supplemented by colorful solo reeds and strings with character
and variety.

The Great is based on a 16' Principal. The 8' extension of the Principal can
be used as a second Diapason and creates a rich fond d'orgue with the open and
stopped flutes. Mutations provide for a Great Principal Cornet. To ensure a
bold, full pedal, the 16' Diapason is really a 16' open wood located in the
central tower of the case. The Great 16' Principal is also available in the
Pedal for use in lighter textures, while the 8' Octave and 4' Choralbass are
independent. The Trumpet-en-Chamade is made of tin and is voiced on 10 inches
of wind pressure using domed parallel shallots. The Pedal Trombone unit is also
voiced with domed parallel shallots on 8 inches of wind pressure. The Swell
reeds are on 6 inches of wind with the Bassoon/Oboe having tapered shallots and
the Trumpet/Clarion parallel shallots. The Swell Gamba and Gamba Celeste are
slotted with rollers throughout. It is a well-developed string tone with good
strength and carrying power; however, the expression boxes and shades are
heavily built and can make the strings evaporate when desired. The Swell also
has a Flute Celeste, which is built as a Ludwigtone; basically, two wood pipes
built with a common middle wall on one foot. The Choir Viola and Viola Celeste
are of about equal power to the Swell strings but are not slotted and are of a
broader tone quality. They are voiced to work together perfectly yet retain
their individual colors.

The Lauck employees that built Opus 55 include: Craig Manor, console design
and construction, wood pipes; Ken Reed, pipemaker, office manager; Ben Aldrich,
design, windchests, foreman; Bob Dykstra, windchests, wood pipes, casework;
Dick Slider, windchests, lower casework; Dan Staley, circuit board
manufacturing, wiring; Jim Lauck, design, voicing, tonal finishing; Jonathan
Tuuk; tonal finishing.

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

Great
to Great 4

Swell
to Great 16-8-4

Choir
to Great 16-8-4

Zimbelstern

SWELL

16' Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass (32 pipes)

II Rauschquint (64 pipes)

II Mixture (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

Paul Fritts and Co., Tacoma,
Washington, has built a new organ for Vassar College, Poughkeepsie, New York.
The mechanical-action pipe organ is installed in the 500-seat Mary Anna Fox
Martel Recital Hall of the Belle Skinner Music Building. It contains 34 stops
distributed over two manuals (Hauptwerk and Positiv) and Pedal.

The tonal design reflects both the North and Middle German schools of
organbuilding from the first half of the eighteenth century. North German
features include fully independent manual and pedal divisions with
well-developed upper work; a full spectrum of mutation stops (two on double
draws); and seven reed stops, 20% of the registers. Middle German building is
represented by a variety of six manual 8' flue stops; the “gravity”
of 16' stops in each manual division and four 16' pedal stops; a Tierce rank
which can be added to the Hauptwerk Mixture; and the inclusion of the Positiv
division in the main case, rather than positioned to the rear of the player.

The northern features pay homage to the seventeenth-century style of Arp
Schnitger and the middle German school points more to the pre-Romantic
eighteenth-century styles of Wender, Trost, Hildebrandt and others. The new
Vassar organ is well-suited for music of J. S. Bach with its cosmopolitan
mixture of northern, middle, and southern European traits. Other literature
from the sixteenth-century through the works of Mendelssohn will also sound to
advantage.

The new organ is placed centrally in a gallery nine feet above the stage
floor in the front of the hall. The case has a bright burgundy enamel finish.
Gold leaf highlights the gray painted pipe shades. The case and many internal
parts are crafted from popular.
Many other woods were chosen for their various properties, including
mahogany, oak, maple, ebony, redwood and sugar pine.

Along with the new organ came alterations to the organ gallery and stage
area significantly improving acoustics, and a climate control system for the
recital hall. The Marian and Speros Martel Foundation Inc. donated funds
covering both the organ and hall improvements. Glenn D. White recommended
acoustical improvements, and Richard Turlington designed architectural plans
for the room. Frances D. Fergusson, President of Vassar College, initiated the
project. George B. Stauffer was consultant.

To inaugurate the new instrument, Merellyn Gallagher, James David Christie,
and Joan Lippincott played solo recitals in February and March 2003.

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

Positiv
to Hauptwerk

Hauptwerk
to Pedal

Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

Fabry Pipe Organs, Inc., of Fox
Lake, Illinois, has completed the 5-rank antiphonal division added to the
original Möller organ in Faith Evangelical Lutheran Church, Homewood,
Illinois.

Fabry Inc. installed the original M.P. Möller instrument (2 manuals, 19
ranks) in 1980 in the rear balcony of the sanctuary and has been maintaining
the organ since that time. The console was prepared for an antiphonal division.
On many occasions while tuning the instrument, the organist, Mrs. Phyllis
Silhan, would always say, “I hope I get to see this instrument completed
before I retire.” Twenty-two years later, the church elected to add the
antiphonal division.

The new antiphonal division was installed in October of 2002. The original
specification for this division--8' Gedeckt, 4' Gemshorn, 2' Flautino, II
Mixture--was changed to 8' Gedeckt, 4' Octave, 4' Harmonic Flute, 2' Fifteenth,
and 8' Oboe. A new solid-state relay was provided that is totally prepared for
the addition of a small antiphonal console.

Fabry Inc. would like to thank the organist, Mrs. Phyllis Silhan, and
Reverend Dr. Timothy Knaff, who coordinated the entire project. David G. Fabry
built all the chestwork and new casework. Crew leader Joseph Poland handled the
installation.

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

Gt
& Sw to Ped 8

Sw
to Gt 16-8-4

Gt
4

Sw
16-UO-4

Antiph
to Ped 8

Antiph
to Gt 8

Antiph
to Sw 8

New Organs

Cover

Our Savior's Lutheran Church,
Rockford, Illinois

Buzard Pipe Organ Builders,
Champaign, Illinois

Opus 23

Builder's statement

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

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

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

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

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

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

GREAT

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Cymbalstern

Chimes

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

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

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

MIDI
on Great

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

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

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

Sw/Sw
16-UO-4

MIDI
on Swell

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

Gt/Ped
8 4

Sw/Ped
8 4

MIDI
on Pedal

Festival Trumpet

Swell reed battery

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

GREAT

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

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

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

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

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

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

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

Mixture
III

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

Chimes

Harp

Gt/Gt
4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

CHOIR

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

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

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

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

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

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

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

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

Tremulant

Ch/Ch
16-4

Sw/Ch
16-8-4

SWELL

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

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

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

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

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

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

Plein
Jeu III

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

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

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

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

Tremulant

Sw/Sw
16-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

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

Crown copyright: Historic Royal Palaces

GREAT

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

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

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

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

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

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

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

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

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

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

Tremulant

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

PEDAL

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

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

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

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

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

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

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

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

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

GREAT

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

8'
style='mso-tab-count:1'> Rohrflöte

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

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

4'
style='mso-tab-count:1'> Hohlflöte

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

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

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

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

Gt
16-UO-4

Sw/Gt
16-8-4

MIDI
on Gt

SWELL

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

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

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

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

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

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

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

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

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

Sw
16-UO-4

MIDI
on Sw

PEDAL

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

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

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

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

8'
style='mso-tab-count:1'> Bassflöte

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

4'
style='mso-tab-count:1'> Flöte

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

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

Gt/Ped
8, 4

Sw/Ped
8, 4

MIDI
on Ped

New Organs

First Baptist Church, Ocala, Florida

The Wicks Organ Co., Highland, Illinois, Opus 6382

In 1992, First Baptist Church of Ocala, Florida began a process of rebirth after a fire claimed all they had: furnishings, libraries, a concert grand piano, a Skinner pipe organ, choir robes, hymnals and Bibles. The congregation built a new 2,800-seat facility, which is one of the largest churches in Ocala. The final step of their rebuilding process was bringing a pipe organ into the new building.

David Kocsis, Wicks Area Sales Director writes:

Among the unique features of this project, the organ was to be a gift from a non-member--but one whose daughter and son-in-law were members. Secondly, the church provided a single sheet outlining their requirements for this instrument. The organ was to be a "supplemental" instrument, used mostly to enhance the 25-piece orchestra and 180-voice choir. It would also, upon occasion, be used as a recital instrument. They wanted an instrument of the "American Classic" school with the following characteristics incorporated: four-manual drawknob console; multiple Principal choruses; plentiful and opulent strings; a variety of flute choruses and solo stops; reeds to complement the overall instrument and offer solo opportunities; a Pedal division that offers strong, solid underpinning with at least two 32’ stops; a Trompette-en-Chamade of polished copper with flared bells; exposed pipework across entire chamber area (52 ft.) to eliminate existing latticework and grillwork; preparation on console for Chimes and Zimbelstern; MIDI capability.

Our proposal was for an instrument of 74 pipe ranks over five divisions with an additional four 32-foot computer-generated stops in the Pedal division, using the Walker Paradox system. The plan also called for (at the direction of the church) preparations for an 11-rank Solo division, and a 9-rank Antiphonal division.

We decided early on that Daniel Angerstein would tonally finish the instrument. Although First Baptist, Ocala was not a bad room, the irregular shape and carpeting did not make it acoustically live, either. Our factory-trained technician in Florida, Mr. Robert Campbell, would handle the installation.

The specification for the instrument was a joint venture design involving Area Director David Kocsis, his associate Herb Ridgely, and voicer Dan Angerstein. After the contract was signed in late November, 1998, the three members of the design team met at the church to study the acoustics, room layout, chamber space, etc., so that detailed design work could begin. On the drive back to Atlanta, the pipe scales for the organ were discussed and finalized. The entire organ would be on 5" wind pressure with the notable exception of the Trompette-en-Chamade, which was to be on 10" wind pressure, and the Choir division English Tuba on 12". In order to "ring" the room, the Great 8' Principal would be built to a 40 scale, and the Great 8' Montre a 42 scale. One of the features of the design is the placement of the lowest pipes of the Pedal 16' Open Wood in the organ facade, stained to match the rest of the woodwork in the sanctuary. This placement allows the most profound of 16-foot foundation tone immediate access to the room. Of particular interest in the Walker system designed for this organ is that the computer-generated harp in the Choir can also be used with the Tremulant, providing a vibraharp sound.

There are several ancillary console controls that enhance ease of playing such a massive console, and also add facility to the instrument. These include: Pedal, Solo and Swell Melody couplers to the Great, all Swells to Swell, all Mixtures Off, all 32's Off, All Reeds Off, and All Celestes Off. To allow maximum visibility and eye contact between the organist and the minister of music, all inter-manual couplers were placed in the stop jambs, rather than on a coupler rail. This resulted in a console somewhat wider than normal (slightly over 8 feet). There are eight divisional pistons and 15 General pistons with 32 levels of memory. A 13-position transposer is included. The main body of the casework is painted semi-gloss off white, again matching the main color in the sanctuary. The whole idea was to give the impression that the building and the organ had been conceived as an integral whole.

The first of two truckloads of pipe organ arrived in Ocala on March 22, 2000, and the second truck arrived on April 12. Installation was completed on June 3 and voicing of the instrument in the room began on June 5. The logistical problems associated with installing a large pipe organ are many. The crew faced a 52-foot facade that begins 12' above the top choir riser and extends upward to accommodate full length 16-foot metal Principals and full length 16-foot Open Wood pipes. Bob Campbell's crew had scaffolding from floor to ceiling that would cover one of the four sections, and it took a considerable amount of careful planning to insure that all work was completed on one bay before tearing down the scaffolding and moving it to the next location.

From the beginning of the installation, the entire organ facade was covered every Sunday during church services so that the completed installation could be unveiled at one time. This occasion occurred on Sunday, June 4, 2000. The Sanctuary was dimly lit, and at the appropriate time, the entire organ facade was lit by a battery of specially placed lighting. This was only the prelude--the organ was heard for the first time by the congregation on July 2.

We at Wicks thank the committee and staff of first Baptist Church of Ocala for placing their trust in us to build an instrument according to their wishes. In particular, we would like to thank Dr. Ed Johnson, Sr. Pastor; Mr. Terry Williams, Minister of Music; and Mr. Larry Kerner, Chair of the Organ Committee. The entire congregation placed its confidence in us from the outset, and was extremely helpful from the beginning of the detailed design process through the installation. Several members of the church also volunteered their time and talents to help with the installation, especially with fitting and trimming of the facade to accommodate slight building irregularities. This really was a "team" effort, and everyone should be very proud of the results.

The dedication of the new IV/74 instrument at the First Baptist Church of Ocala, FL will be held on Sunday, September 24, 2000, featuring John Weaver, organ chair at The Curtis Institute of Music in Philadelphia and The Julliard School of Music in New York City.

{C}

GREAT

1. 16' Montre

2. 16' Bourdon

3. 8' Principal

4. 8' Montre (from #1)

5. 8' Flute Couverte

6. 8' Flute Harmonique

7. 4' Octave

8. 8' Gemshorn

9. 4' Nachthorn

10. 22/3' Twelfth

11. 2' Fifteenth

12. 2' Hohlflute (from #6)

13. 13/5' Seventeenth

14. IV-V Fourniture

15. IV Cymbale

16. 16' Kontra Trompete (from #17)

17. 8' Trompete

18. 8' Trompete en Chamade (10≤ w.p.)

19. Tremulant (Flutes)

20. Chimes [D]

21. Zimbelstern

22. Pedal Bass Coupler to Great

23. Swell Melody Coupler to Great

24. Solo Melody Coupler to Great

25. MIDI on Great

{C}

SWELL (Enclosed)

26. 16' Bourdon Doux

27. 8' Geigen Principal

28. 8' Rohrflute (from #26)

29. 8' Viola Pomposa

30. 8' Viola Celeste

31. 8' Flauto Dolce

32. 8' Dolce Celeste TC

33. 4' Prestant

34. 4' Flauto Traverso

35. 22/3' Nazard

36. 2' Quarte de Nazard

37. 13/5' Tierce

38. IV-V Plein Jeu

39. III-IV Cymbale

40. 16' Contre Trompette

41. 8' Trompette

42. 8' Oboe

43. 8' Vox Humana

44. 4' Clairon (from #40)

45. 8' English Tuba (Ch)

46. 8' Trompette en Chamade (Gt)

47. Tremulant

48. MIDI On Swell

{C}

CHOIR (Enclosed)

49. 16' Gemshorn [D]

50. 8' English Diapason

51. 8' Flute Ouverte

52. 8' Gemshorn

53. 8' Gemshorn Celeste TC

54. 4' Principal

55. 4' Koppelflute

56. 2' Principal

57. 11/3' Larigot

58. 1' Principal (from #56)

59. II Sesquialtera

60. IV-V Scharf

61. 16' Dulzian (from #62)

62. 8' Cromorne

63. 4' Rohr Schalmei

64. 16' English Tuba TC (from #65)

65. 8' English Tuba (12≤ w.p.)

66. 8' Trompette en Chamade (Gt)

67. 8' Harp [D]

68. 4' Harp Celesta [D]

69. Tremulant

70. MIDI On Choir

{C}

SOLO (Enclosed)

15 Prepared Stops

71. 16' Trompette en Chamade TC (Gt)

72. 8' Trompette en Chamade (Gt)

73. 4' Trompette en Chamade (Gt)

74. 16' English Tuba TC (Ch)

75. 8' English Tuba (Ch)

76. 4' English Tuba (Ch)

77. MIDI On Solo

{C}

ANTIPHONAL (Floating)

12 Prepared Stops

{C}

ANTIPHONAL PEDAL

1 Prepared Stop

{C}

PEDAL

78. 32' Contra Principal [D]

79. 32' Contra Bourdon [D]

80. 16' Open Wood

81. 16' Bourdon

82. 16' Principal

83. 16' Montre (Gt)

84. 16' Bourdon Doux (Sw)

85. 16' Gemshorn (Ch)

86. 8' Octave

87. 8' Major Bass (from #80)

88. 8' Bourdon (from #81)

89. 8' Viola (Sw)

90. 8' Open Flute (Ch)

91. 62/5' Gross Terz (Gt)

92. 51/3' Gross Quinte (Gt)

93. 4' Choral Bass

94. 4' Cantus Flute

95. 2' Flute (from #94)

96. IV Grave Mixture

97. IV Acuta

98. 32' Contra Bombarde [D]

99. 32' Contra Fagotto [D]

100. 32' Cornet des Bombardes IV

101. 16' Bombarde

102. 16' Contre Trompette (Sw)

103. 16' Kontra Trompete (Gt)

104. 16' Dulzian (Ch)

105. 8' Trompette

106. 8' Trompete (Gt)

107. 8' Oboe (Sw)

108. 4' Bombarde Clarion (from #101)

109. 4' Oboe (Sw)

110. 4' Schalmei (Ch)

111. 8' Trompette en Chamade (Gt)

112. 8' English Tuba (Ch)

113. Chimes (Gt)

{C}

[D] = Digital Ranks

{C}

Couplers

Sw/Gt 16 8 4

Ch/Gt 16 8 4

So/Gt 16 8 4

Ant on Gt

So/Sw 16 8 4

Ant on Sw

Sw/Ch 16 8 4

So/Ch 16 8 4

Ant on Ch

Ant on So

Gt 16 UO

Sw 16 UO 4

Ch 16 UO 4

So 16 UO 4

Ant UO 4

Gt/Ped 8 4

Sw/Ped 8 4

Ch/Ped 8 4

So/Ped 8 4

Ant/Ped 8

{C}

Charles M. Ruggles, Conifer, Colorado, has built a new organ for The Randolph Church, Randolph, New Hampshire. The organ is designed on classic models typical of instruments found in New England and European churches; two manuals and pedal, mechanical action. Its structural and tonal characteristics make it suitable for the needs of The Randolph Church--for service playing, accompanying congregational singing, and playing a wide segment of standard organ literature. The case features cherry wood frame, redwood panels, and walnut trim. The Rohrflöte 8 and Octave 2 are common between the two manuals; the Bourdon 16 is an extension of the Bourdon 8. Manual compass 56 notes, pedal compass 30 notes; standard AGO pedalboard. Couplers, operated by foot levers, include Great to Pedal, Swell to Pedal, and Swell to Great.

{C}

GREAT

8' Principal

8' Rohrflöte

4' Octave

2' Octave

Mixture

Sesquialtera II (from middle c)

SWELL

8' Rohrflöte

8' Gamba (tenor C)

4' Flute

2' Octave

8' Dulcian

PEDAL

16' Bourdon

8' Bourdon

{C}

B. Rule & Company, New Market, Tennessee, has rebuilt and installed a Hook & Hastings organ for Covenant Baptist Church, Houston, Texas. Built by Hook & Hastings in 1893 for First Baptist Church of Georgetown, Kentucky, the organ was removed from this church in 1963. It was owned for many years by David Bottom, of Lexington, Kentucky, who set it up in several different locations before carefully putting it in storage several years ago. B. Rule recommended the organ to Covenant Baptist Church, who bought it from David Bottom. Compass: 58/27.

B. Rule & Co. rebuilt the organ, including a complete rebuild of the chests and bellows and re-covering the manual keys with bone. The hand-pumping mechanism was also restored. Two changes were made: the Dulciana was replaced with a 2' Fifteenth, and the Oboe was extended to full compass from its previous tenor C status.

The small new sanctuary has a concrete floor and live acoustics, creating an environment which encourages congregational singing. The acoustical consultant was Charles Boner. The organist of the church is Carl McAliley, who played a joint dedication recital with Bruce Power on March 4.

{C}

GREAT

8' Open Diapason

8' Melodia

4' Octave

2' Fifteenth

SWELL

8' Stopped Diapason

8' Viola (1-12 from St. Diap)

4' Harmonic Flute

8' Oboe

PEDAL

16' Bourdon

Accessories

Sw/Gt

Gt/Ped

Sw/Ped

Sw/Gt Octaves

Tremolo

Blower Signal

New Organs

Cover

Aeolian-Skinner opus 1015 (1940), restored 2001 by
Thomas-Pierce, Inc., Palm Beach, Florida

Music room of Thomas R. Thomas and J. Steven McCall, West
Palm Beach, Florida

The first Harrison Skinner installed in Washington, D.C.,
forgotten and silent for many years, sings forth again in a new and vibrant
setting. Aeolian-Skinner opus 1015 was built for the Calvary Methodist Church
located in the Meridian Hill section of Washington. Once a very affluent
community, the many facilities of the church included a bowling alley and
gymnasium. G. Donald Harrison went to Washington August 6, 1940 to meet with
the organist Louis Potter, take measurements and sketch the physical
arrangement of the instrument. The existing organ at the time of Harrison's
visit was a 1917 Austin opus 697, two manuals and 20 stops.

Several sketches of a proposed façade for the chancel
of Calvary and the stop-list of the Austin in Harrison's handwriting appear in
the Skinner files. The Skinner Company allowed the church a credit of 900
dollars for the Austin organ and also removed the instrument for them. Chimes
from the old organ were used in the Skinner with new actions.

The Austin was installed in a deep chamber on the left side
of the chancel with only an opening facing across. Mr. Harrison's preliminary
sketches proposed that another opening be made to face the congregation,
possibly having duplicate sets of shades on the swell and choir boxes. However,
the new organ was installed in basically the same chamber with only an opening
facing the chancel and no façade.

The organ departed somewhat from Harrison's usual
specification of the period due to the influence of Louis Potter, and also
reflects the work of E.M. Skinner. Scales are very generous; the Great first
open is a Diapason, not a Principal. The major Swell reed contains English
shallots and there are three celestes. However, the Choir adheres to the
Harrison concept of the American Classic. All the manual divisions of the
instrument have 73-note chests and the Choir and Great pipework material is
Skinner's frosted tin.

We learned of the availability of the organ in the spring of
1996 and Hugh Pierce and I made a trip to Washington to inspect it. What we
found was horrifying and, I must admit, intimidating. Only the Great and part
of the Swell were winded, and for all practical purposes the organ was
unplayable due to considerable water damage. Most of the damage was confined to
the reservoirs and pneumatic switching. Thankfully, the pipework and most of
the chests were in excellent shape and that encouraged us to pursue
negotiations to purchase the organ. The layout was unique and creative, as
there were 33 ranks in a very tight space. The Swell was stacked above the
Choir with the Great in front of the Choir and smaller pipes of the Pedal under
the Great. The balance of the Pedal was to the left side of the chamber with
the 32' Bourdon extension hanging on the ceiling! The configuration today
places the Great on the same level as the Swell and to the left with Pedal
behind. This new arrangement of the organ affords superior tonal egress and
ease of maintenance. The room is 60 feet long by 22 feet wide and 27 feet high
with reflecting surfaces providing a reverberation of approximately 2 seconds.

The instrument was removed in the fall of 1997 with the aid
of the Organ Clearing House. The dismantling and packing involved the efforts
of eight people over a period of 5 days. With the organ safely stored in our
warehouse, we began the almost three-year process of restoration. All
components of the organ were cleaned and all leathers and pitmans replaced.
Edward M. Stout of California was responsible for rebuilding the pouchrails.
The console was entirely rebuilt by Roger Colby with new Harris components and
Peterson MSP 1000 Stop Processor and solid state switching.

We have received interesting letters regarding the organ,
one from Sally Potter, Louis Potter's second wife, expressing her pleasure that
the organ was rescued. Another letter from Thomas Potter, Louis's son and the
former vice president of Aeolian-Skinner, again thanked us "for rescuing a
very remarkable Aeolian-Skinner Organ and one that should give a good account
of itself in its new setting there in Palm Beach." He also recalled that
Virgil Fox was given carte blanche to the organ by means of his own church key
(he was stationed at Bowling Field). A former student of Mr. Potter's, Raymond
Brubacher, writes about his experiences at Calvary including meeting G. Donald
Harrison at the church.

The present façade is from Austin organ opus 583
(1915) previously installed in the Swedish Lutheran Church in Chicago. It was
rescued for us by Alan Laufman and stored for many years in his barn in
Harrisville, New Hampshire. The pipes were refurbished and painted by George
Bozeman, and the writer and J. Steven McCall packed and moved the entire
structure to Florida.

While one might think by looking at the specification that
the organ would be overwhelming, it is exceptionally pleasing to the ear and
fills the room without expanding beyond it. The placement of the Great and
Swell at an unusually high level contributes to the success of the installation
and the Choir, at console level, is remarkably gentle. The original contract
had several preparations indicated, including: Great Fourniture IV, Choir Tuba
8' with extension to 16' in the Pedal, Swell Geigen Principal 8', Flute
Harmonique 4' and Vox Humana 8'. Aeolian-Skinner added the Geigen Principal and
Flute Harmonique to the Swell in 1957. Since the organ was unusable shortly
after Potter's retirement in the early seventies, it escaped the tonal
tinkering of the baroque enthusiasts and is one of the very few untouched
Harrison Skinners in existence.

—Thomas
R. Thomas

GREAT

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

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

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

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

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

Grave
Mixture II

8'
style='mso-tab-count:1'> Trumpet
style="mso-spacerun: yes"> (Swell)

4'
style='mso-tab-count:1'> Trumpet
style="mso-spacerun: yes"> (Swell)

SWELL

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

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

8'
style='mso-tab-count:1'> Viole-de-Gambe

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

Plein
Jeu III

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

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

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

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

8'
style='mso-tab-count:1'> Vox
Humana

Tremolo

CHOIR

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

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

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

8'
style='mso-tab-count:1'> Unda
Maris

4'
style='mso-tab-count:1'> Cor-de-Nuit

22⁄3'
style='mso-tab-count:1'> Nazard

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

Tremolo

PEDAL

32'
style='mso-tab-count:1'> Contre
Bourdon

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

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

16'
style='mso-tab-count:1'> Quintade
(Great)

16'
style='mso-tab-count:1'> Echo
Lieblich (Swell)

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

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

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

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

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

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

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

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

Schoenstein & Co., San Francisco, California, has
installed a two-manual, 18-rank organ for St. Matthew's Lutheran Church of
Walnut Creek, California. The organ features a facade designed in conjunction
with the building's architect, Robert Davidson. Treble pipes of the Pedal
Principal, in flamed copper, are in display. The console is made of beechnut
and bird's eye maple to complement the decor of the large, modern church.
Acoustics are well balanced.

Both the Great and Swell are under separate expression. The
action is Schoenstein's electric-pneumatic system with individual valve
expansion cell windchests. The combination action provides multiple memories
and programmable piston range whereby a Swell piston, for instance, may be
programmed to a general piston, etc. Four of the fifteen voices are at 16'
pitch: an Open Wood unenclosed in the Pedal, a Gemshorn in the Great box, a
Metal Gedeckt and a full-length Bass Trumpet in the Swell box. There are three
reeds with preparations for a fourth. The Great Tromba is on 7≤ wind for
maximum smoothness and commanding tone. The Swell has a small-scale, colorful
Chimney Flute and an Open Flute reminiscent of G. Donald Harrison's wide-mouth
Nachthorns. The Swell strings are of broad (echo principal) scale and the
Salicional combines with the Gedeckt to provide foundation for the division.

—Larry Simpson

GREAT

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

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

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

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

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

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

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

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

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

8'
style='mso-tab-count:1'> Cremona
(prep)

Tremulant

Gt
16-UO-4

SWELL

16'
style='mso-tab-count:1'> Gedeckt
(metal, 12 pipes)

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

8'
style='mso-tab-count:1'> Unda
Maris (TC)

8'
style='mso-tab-count:1'> Gedeckt
(12 pipes, Ch. Fl. treble)

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

4'
style='mso-tab-count:1'> Flute
(12 pipes, Piccolo treble)

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

22⁄3'
style='mso-tab-count:1'> Nazard (Ch. Fl.)

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

13⁄5'
style='mso-tab-count:1'> Tierce (prep)

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

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

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

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

Tremulant

Sw
16-UO-4

PEDAL

16'
style='mso-tab-count:1'> Diapason
(wood, 12 pipes)

16'
style='mso-tab-count:1'> Gemshorn
(Gt)

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

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

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

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

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

4'
style='mso-tab-count:1'> Flute
(Gt)

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

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

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

4'
style='mso-tab-count:1'> Cremona
(Gt)

Couplers

Gt/Ped
8

Sw/Ped
8-4

Sw/Gt
16-8-4

Andover Organ Company, Methuen, Massachusetts, has completed
renovation of the 1879 E. & G.G. Hook & Hastings Opus 956 organ at
Lamington Presbyterian Church, Bedminster, New Jersey. The organ is an
interesting case study of trends in organ building during the last half
century.

The Greek Revival Presbyterian church was built in 1832. In
1885, the congregation decided to move the building across the street using
logs lubricated with soap. The move was in progress when Sunday came, so church
services were held in the middle of the road.

New Organs

Cover

Grant Edwards, Portland,
Oregon

Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia

From the builder

The road from this organ's conception to its completion was
long, complicated, and a bit adventurous. It began as every organist's dream of
having a lovely pipe organ at home. Having worked at Bond Organbuilders since
June 1993, where I am now in my tenth year as a craftsman, I felt confident
enough by the fall of 1995 to begin design and construction on my own
instrument. This would have been impossible if not for the generosity and
patience of Richard and Roberta Bond and the rest of the crew, as the organ's
components would gradually take up a large portion of shop space--more space,
in fact, than I had initially expected. After constructing the coupler chassis,
I felt it had come at far too much cost to my free time for the 10 stops
originally planned. Soon, a solo flute, 16' reed, and other goodies had found
their way onto the drawing-board.

Temporary lodging

After three long years of work on evenings and weekends, the
organ was eventually complete, albeit homeless. And my colleagues desperately
needed their set-up room for another project. The First Congregational Church
(UCC) in downtown Portland, where I have been organist since 1995, was more
than happy to provide room and board for the new organ in their downstairs
chapel. Because of the small size of the chapel, the organ had to be voiced as
"dolce" as possible. A large panel of wood at the bottom of the swell
opening also served intentionally to block any direct sound egress from the
mouths of the interior pipes. These measures successfully bottled up the
organ's potency, and it was well received by the congregation and community.

From the Northwest to the Southeast

Having enlisted the Organ Clearing House to help find a buyer,
I received inquiries from around the country. In February of 2001, I received a
call from Bruce Fowkes, who said that the Episcopal Church of the Nativity was
interested in my Opus One, which they had become aware of via the OCH's web
site. The church subsequently invited me to visit their sanctuary, to determine
if it would indeed work well in their space. After measuring the available
area, we found that the organ would fit exactly as if it were meant for the
space. In addition, the church planned to remove the chancel carpeting and
install ceramic flooring throughout. The organ committee soon paid a visit to
Portland to see and hear the organ for themselves, and in June, 2001 a contract
was signed for installation in October. A few final details, including voicing
of the new Mixture pipes, were completed by the beginning of February, and
parish organist John Wigal played the inaugural recital on April 21, 2002.

Nips and tucks

John Wigal and the church's organ committee readily agreed
to a short list of modifications which we mutually felt to be desirable in the
given situation. The primary visual issue involved placement of the largest
open 8' and stopped 16' pipes, which were originally racked informally along
both sides of the case. The future corner location of the organ would obscure
the left side of the case while exposing the right side. The solution was to
create a side display of new flamed copper façade pipes, notes 1-9 of
the 8' Principal which had been too large for the swell box. The bottom octave
of the 16' could easily be stashed against the wall behind the organ. The new
display basses allowed the opportunity to rescale the 8' Principal three notes
larger (and the 4' Octave one note larger), for a fuller tone given the room's
capacity. The primary tonal change was addition of a new Mixture stop. So that
all the enclosed pipes might also be allowed to speak directly into the room,
the large "muting" board was removed from the shade frame and the
swell shades extended downward, creating an opening well below the level of the
pipe mouths.

Small is beautiful

Since this organ had been designed as a small yet tonally
complete chamber instrument, and since its eventual location remained a mystery,
it was kept as compact as possible. It measures only 91/2 feet tall at its
crown and 8 feet wide in the front, the compromise being that it is somewhat
deeper than might be expected. Many labor-intensive methods were employed to
save space in the interior, such as the hanging of bass pipes lengthwise along
the ceiling of the swell box. Tubular-pneumatic action is used for the largest
pipes of the 8' reed (which behave badly when tubed off) and 16' Sub Bass, thus
also reducing key pluck and wind consumption. An almost ridiculous number of
pipes (137) are tubed off the main windchest for the sake of spatial economy,
and the 16' pedal reed is planted behind the organ on its own valve box. A
single slider windchest of 112 note channels contains alternating pallets for
both manuals side by side, the pedal channels being divided out of the front
halves of the Upper Manual channels. The suspended manual key action is simply
splayed chromatically by means of squares towards the back of the organ. A
third arm on each of the pedal coupler rollers directly pulls open the pedal
pallets in the front of the windchest, requiring many vertical trackers to pass
through both manual keyboards.

A tonal world where none exclude

I am a great admirer of historic instruments of diverse
times and places, and find many modern instruments modeled after these examples
to be a wonder to the eye as well as the ear. I have attempted to create a kind
of "melting pot" in which echoes of many past tonal ideas may be
perceived: the orchestral richness of the French Romanic, the colorful
brightness of the German Baroque, the refined simplicity of 19th-century
America, and even a bit of the pomp and bombast of Britain. I hope to create an
ensemble of voices which blend into one full, cohesive chorus while at the same
time retaining as much color and personality in each individual voice. I want
to build organs capable of performing the widest variety of music effectively
and convincingly, if not with that ever-elusive spirit of "historical purity."

When my Opus One was newly complete, I billed it as an
"American Classic Chamber Organ," by virtue of its attempt to be the
most musically flexible instrument possible within a limited number of tonal
resources. It has a refreshing, modern sound that is nevertheless strongly
reminiscent of 19th-century American instruments. I attempted to overcome some
shortcomings in this style that I otherwise admire by including upperwork and
colorful mutations that are rather brighter than in a typical 1883 Hook &
Hastings.

A firm foundation

The organ includes many features which I have found to be
advantageous in a small instrument, such as placing the 8' Principal inside the
single expression box rather than in the façade. Indeed, having almost
all the organ's pipes behind swell shutters allows a degree of control
especially useful for accompaniment purposes. The "full" complement
of unison stops may be somewhat unusual for modern instruments of this size,
and this is even more true of a manual Sub Bass. Despite appearances, it is the
mid-range of this 16' stopped rank that is displayed in the front of the case
instead of the Principal. When playing on full organ, the 16' does not
prominently stand out if the swell box is closed, since the shutters mute far more
treble frequencies than bass. Not only does the 16' lend a satisfying weight to
the full ensemble, but it is specifically called for in a great variety of
literature.

Features create flexibility

Another way in which I expanded the utility of the organ's
limited resources is through the duplexing of several stops, a practice that is
becoming almost commonplace in mechanical-action organs. Four stops of the
Lower Manual are available in the Pedal via a second position in the
corresponding drawknobs, if the organist intentionally pulls up and out.
Notches locate the usual first positions, into which the stop shanks fall
naturally with the aid of a spring. As originally built, the two manuals also
shared a 22/3' Quinte and a 2' Doublet, which together served as a sort of
ersatz Mixture. When the Mixture was added to the Lower Manual, its 2' pitch
was made available as a half-draw stop, rendering a shared 2' redundant. The
Quinte's duplexing was left intact, however, but its pipes were revoiced as a
fluty Nazard to better mate with the Tierce. The Upper Manual was given a new
2' Recorder where the principal-scaled Doublet had been, thus completing a full
consort of six flutes. These are varied in character, and include an open wood
Descant Flute (Melodia) singing out from behind the center façade pipes.
Since I was compelled to co-opt its drawknob for the Mixture addition, the 16'
Pedal Bassoon is now controlled solely by a hitch-down foot lever, convenient
for hands-free activation. The Hautboy functions well as a chorus reed and can
produce a Trumpet-like solo voice when assisted by "helper stops."
The mutation stops blend seamlessly, forming reed-like effects, and the gentle
Viola has been found to be especially popular with listeners.

Heavenly casework

The organ's casework is made of quarter-sawn white oak
finished with hand-rubbed tung oil and varnish. Metal façade pipes are
of flamed copper. Wood façade pipes, in a design uniquely created for
this organ, feature fronts of lacewood with ebony trim and oak mouthpieces
carved in Roman arch form. The lacewood and ebony detailing is repeated in the
key-cheeks and music desk. Pipe shades depict stars, moons, and comets. Stars
surrounding the Chi Rho-emblazoned sun represent the nine planets, in their
relative sizes and exaggerated colors. Above the keydesk, a violet inscription
reads "Earth & All Stars Sing."

Summary

I am deeply satisfied with the
outcome of this, my first organbuilding endeavor. My subsequent trips to
Chattanooga and Fort Oglethorpe since the installation never cease to uplift my
spirits, with credit due as much to the wonderful friends I have met there as
to the success of the new organ. I am especially grateful to the members of the
Church of the Nativity, who took a leap of faith in commissioning a major work
of art from an unknown builder, and also to John Wigal for bringing the
instrument so skillfully to life through music.

--Grant Edwards

Acknowledgments: Matthew
Bellochio, installation and tonal finishing assistant; Michael Wheeler,
installation assistant; Robert Hubatch, execution of central sun carving
(replacement of vanished original); Ralph Richards, Bruce Fowkes & Co.,
supportive local organ builders.

Very special thanks to Richard
and Roberta Bond and the entire Bond staff for tireless encouragement, advice,
and a pretty darn enviable organ building shop.

From the organist

In October of 2000 I began as
interim organist/choirmaster for the Episcopal Church of the Nativity in Fort
Oglethorpe, Georgia. The congregation is a relatively young one, having built
its nave in the early 1960s. The church was using a four-rank unit organ, over
sixty years old and in very bad need of repair. The organ was first housed in
the Chattanooga Funeral Home, then made an interim stop before settling at Nativity.
A 4' Octave replaced a soft string rank when the organ was installed in the
church to assist in hymn playing. The instrument, all in one unit, except for
the blower and reservoir, was placed at a 45-degree angle on the floor level of
the nave behind and to the outside of the pulpit. This had been accomplished by
removing a section of the elevated choir floor. Consequently, the organ was 18
inches lower than all of the surrounding floor and was partially hidden from
the congregation by a solid wall about 5 feet in height. The blower and
reservoir, intended for installation in another room, had been installed in the
corner behind the organ, making them very noisy all the time.

The rector and vestry were aware
of the poor state of the instrument prior to my arrival, but had not been able
create a plan or the funding to deal with the situation. The possibility of
replacing the organ was significantly due to the generosity of Arthur Yates,
who left an endowment to the congregation upon his death. The organ and its
accompanying remodeling in the nave were financed entirely through the Nativity
Endowment Fund. In early 2001 after some educational discussions with the
vestry, a committee was formed to investigate the replacement of the
instrument. Because the Church of the Nativity is a small congregation seating
only 140 in the nave, we began a search for a small unit-style instrument.
During this investigation period, a local organ builder noted the Grant Edwards
organ on the Organ Clearinghouse website and contacted me having felt the
instrument was appropriate for our space. Subsequent phone calls with John
Bishop and Grant Edwards led to a visit to our church by Mr. Edwards and a
return visit by three members of our committee to Portland in May of 2001. The committee
was immediately struck with the beauty and craftsmanship of the casework. The
sound of the instrument, particularly of the varied flutes and the 8'
Principal, led the committee to quickly recommend the purchase of the organ
with some modifications agreed on by both committee and builder.

The vestry then charged the
organ committee to institute changes which would enhance the worship space and
the organ installation. This allowed for the removal of carpeting in the aisle
and the choir space. The pews were removed and the entire floor area was
covered with 18" ceramic tile. In order to allow for better egress of
sound, the raised floor was returned under the organ and the organ was
installed on the long axis of the nave. The previous solid railings were
replaced with a wrought iron and oak railing. New lighting around the choir and
organ was installed as well as increased general lighting in the entire nave.

It is very easy to see that the
organ has exceeded everyone's expectations. The church's worship has been
enhanced, hymn singing has been markedly improved, and many in the community
have been welcomed into the church for the first time. The Church of the
Nativity has kept its endowment funds for use on special projects only. This
has not only allowed for the completion of the organ, but also for many mission
projects, both local and international. The leadership of this small church and
the craftsmanship and work of Grant Edwards deserve recognition and praise.

John E. Wigal

Organist/Choirmaster

Grant Edwards, Portland, Oregon, Opus 1

Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia

16 ranks, 810 pipes

Mechanical key and stop action,
two manuals and pedal (56/30), balanced expression pedal, hitch-down couplers

Lower Manual

16'
style='mso-tab-count:1'> Sub
Bass

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

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

8'
style='mso-tab-count:1'> Descant
Flute (middle C)

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

22/3'
style='mso-tab-count:1'> Nazard (from
Upper Manual)

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

Mixture
III (double-draw)

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

Upper Manual

8'
style='mso-tab-count:1'> Stopped
Wood

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

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

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

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

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

Tremulant
(affects entire organ)

Pedal

16'
style='mso-tab-count:1'> Sub
Bass (from Lower Manual)

8'
style='mso-tab-count:1'> Principal
(from Lower Manual)

4'
style='mso-tab-count:1'> Octave
(from Lower Manual)

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

8'
style='mso-tab-count:1'> Hautboy
(from Lower Manual)

Lower
Manual to Pedal

Upper
Manual to Pedal

Manual
Coupler

Fenris Pipe Organ
style='font-weight:normal'>, Kilkenny, Minnesota, has built a new organ for
Ascension Lutheran Church in Albert Lea, Minnesota, where music director Eileen
Nelson Ness oversees a music program with adult, community, and youth choirs.
The new organ replaces an electronic simulator, and was part of a larger
construction project that consisted of bumping out the chancel to provide choir
space on one side and an organ chamber on the other. The two-manual and pedal
organ comprises 12 ranks, with provision for five more.

Our challenge, as organbuilders,
was to build a new instrument for an unconventionally shaped room with carpet
and padded pews. It also had to match the room and reuse pipework and some
components from an instrument the church had previously purchased as "seed."

The principal chorus is new,
façade pipes are from the earlier instrument. Casework and console are
new, made of red oak, with an oversized bench for teaching. The organ is
located in a pit; slab on frost footing with double 5/8 sheetrock taped and painted,
sloped ceiling. Chest action is electro-mechanical, with electro-pneumatic for
the 16' Subbass; switching system is Peterson. Wind pressure is 31⁄2
inches. Stoplist, scaling and voicing are by Bob Rayburn; design and
cabinetwork by Wes Remmey.

—Wes Remmey

Fenris Pipe Organ, Inc.

GREAT

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

8'
style='mso-tab-count:1'> Rohr
Gedackt

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

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

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

22⁄3'
style='mso-tab-count:1'> Quint (Sw)

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

IV
style='mso-tab-count:1'> Mixture
(wired, prep)

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

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

Gt/Gt
4

Sw/Gt
16-8-4

SWELL

16'
style='mso-tab-count:1'> Lieblich
Gedackt (ext)

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

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

8'
style='mso-tab-count:1'> Voix
Celeste (T.C.)

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

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

22⁄3'
style='mso-tab-count:1'> Nazard (T.C.)

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

2'
style='mso-tab-count:1'> Block
Flute (ext)

13⁄5'
style='mso-tab-count:1'> Tierce (wired,
prep)

11⁄3'
style='mso-tab-count:1'> Quint (ext)

IV
style='mso-tab-count:1'> Mixture
(wired, prep)

16'
style='mso-tab-count:1'> Bassoon
(T.C., ext)

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

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

Sw/Sw
16-4

Tremolo

PEDAL

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

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

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

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

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

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

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

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

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

Gt/Ped

Sw/Ped

Lauck Pipe Organ Company
style='font-weight:normal'>, Otsego, Michigan, has built a new organ for St.
Peter's Cathedral, Marquette, Michigan. Our opus 54 is a three-manual organ
which replaces a small two-manual instrument. Several ranks of pipes from the
previous organ were incorporated into the new instrument. The painted casework
recapitulates the Romanesque architecture of the building. The tin
façade pipes are from the Great 8' Montre, Great 8' Flûte
Harmonique and, Pedal 8' Montre.

Space was at a premium as the
gallery is not large and we were not permitted to obstruct the windows. The
left case contains the Great with Choir above while the right case contains the
Pedal with Swell above.

St. Peter's Cathedral is an old
and historic building constructed of local brown sandstone. The huge interior,
hard surfaces, and ceramic tile floor provide excellent acoustics. With over 5
seconds of reverberation, a high gallery and long nave, this room is an
organbuilder's dream. The organ is generously scaled and voiced on moderate
wind pressures ranging from 3 to 4 inches, with the Swell reeds (parallel domed
shallots) on 5 inches, and the Great Trompette (tapered shallots) on 8 inches.
The voicing is transparent and not forced.

--James Lauck

Lauck Pipe Organ Company

GREAT

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

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

8'
style='mso-tab-count:1'> Flûte
à Cheminée

8'
style='mso-tab-count:1'> Flûte
Harmonique (49 pipes)

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

4'
style='mso-tab-count:1'> Flûte
Octaviante (ext Fl Harm)

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

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

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

Gt/Gt
4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

SWELL

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

8'
style='mso-tab-count:1'> Viole
d'Gambe

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

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

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

2'
style='mso-tab-count:1'> Flûte
Ouverte (ext)

IV
style='mso-tab-count:1'> Plein
Jeu

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

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

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

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

Tremulant

Sw/Sw
16-UO-4

CHOIR

8'
style='mso-tab-count:1'> Flûte
Couverte

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

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

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

4'
style='mso-tab-count:1'> Flûte
à Fuseau

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

2'
style='mso-tab-count:1'> Doublette
(ext)

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

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

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

Tremulant

Ch/Ch
16-UO-4

Sw/Ch
16-8-4

PEDAL

32'
style='mso-tab-count:1'> Contrebourdon
(resultant)

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

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

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

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

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

8'
style='mso-tab-count:1'> Flûte
à Cheminée (Gt)

51/3'
style='mso-tab-count:1'> Quinte (from 16'
Bourdon)

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

II
style='mso-tab-count:1'> Fourniture

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

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

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

4'
style='mso-tab-count:1'> Clairon
(Gt)

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

J. Zamberlan & Co
style='font-weight:normal'>., Wintersville, Ohio, has built a new organ for St.
Andrew's Episcopal Church, Greencastle, Indiana. The firm's Opus 1 comprises 18
stops, 23 ranks, over two manuals and pedal. Three normal couplers, Gt/Ped,
Sw/Ped and Sw/Gt, are controlled by hitchdown pedals. There is one general
tremulant affecting the entire organ. A cymbelstern is installed on top of the
center tower. Pedal lights are wired into the blower switch. Great at impost
level, Swell in the bottom rear, Pedal above that (behind Great). The key action
is entirely mechanical, as is the stop action, except for the two pedal stops
which are activated by slider solenoids. Casework of red oak, with hinged
panels allowing easy access into most parts of the instrument. Keydesk area in
butternut; keyboard naturals of bone with sharps of ebony; pedal keys rock
maple, sharps ebony-capped; stopknobs, hitchdown pedals, etc. of bocote;
stopknob disks of certified legal ivory. Total number of pipes is 1,182. Old
pipes extensively repaired, including new languids for several stops; slide
tuners, temperament is Kellner. Manual/pedal compass 58/30.

GREAT

8'
style='mso-tab-count:1'> Open
Diapason (new, façade, 28%)

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

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

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

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

4'
style='mso-tab-count:1'> Cornet
IV (new, from c13-c49, 28%)

11/3'
style='mso-tab-count:1'> Mixture III-IV (new,
28%)

8'
style='mso-tab-count:1'> Trumpet
(new, zinc & 52% resonators)

SWELL (enclosed)

8'
style='mso-tab-count:1'> Geigen
Diapason+ (1-12, stp fl)

8'
style='mso-tab-count:1'> Stopped
Flute+ (1-6 new, cypress)

8'
style='mso-tab-count:1'> Voix
Céleste*

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

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

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

16'
style='mso-tab-count:1'> Bassoon
(new, 52% resonators)

8'
style='mso-tab-count:1'> Hautboy
(new, 52% resonators)

PEDAL (flat pedalboard)

16'
style='mso-tab-count:1'> Bourdon
(new, soft maple)

16'
style='mso-tab-count:1'> Trombone
(new, zinc & 28% resonators)

* E. & G.G. Hook, 1870

+ Stevens & Jewett, 1856

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