New Organs

Kegg Pipe Organ Builders,
Hartville, Ohio
Church of St. Gabriel the Archangel, Saddle River, New Jersey
The new organ for the Church of St. Gabriel the Archangel in Saddle River, New Jersey presented us with an unusual combination of challenges and opportunities. Our first inspection of the modern, stylized Georgian church revealed a main space more than twice as wide as it is tall, lower side aisles adding even more width, and a deep choir gallery tucked less than 12 feet below the ceiling. Despite these discouraging proportions, nice architectural details in the sanctuary and side altars combine with large clerestory windows and an elegant black and white marble floor to give a feeling of lightness and air. Hard surfaces abound, yielding an acoustic that is at once reverberant yet intimate.
The gallery, however, seemed entirely incongruous. The existing organ case was placed far forward in the center (not a bad location in and of itself), leaving the choir divided on either side, even closer to the ceiling on built-up terraces. The entire gallery was carpeted, with at least the back third of the space relegated to catch-all storage, and the console was in the far right front corner with no chance of the organist hearing any sort of balance.
The music program was already excellent, firmly committed to a traditional approach to music and liturgy. Musicians Joseph Scorese and Richard D’Amore had the choirs singing a broad range of repertoire—plainsong and Palestrina as easily as Rutter and Cherwien. But they constantly had to fight their surroundings in the gallery just to get their music into the glorious acoustical environment on the other side of the rail.
The challenges seemed nearly overwhelming, and after considering several different layouts, we concluded that many of the rules of organbuilding simply would not work in this situation. In breaking the rules, however, we were determined do so conscientiously, and let our creativity enhance rather than detract from the final result.
Visually, it was imperative that the new organ should somehow connect the music-making space with the worshiping space. We also wanted to emphasize verticality as much as possible to make the low gallery appear taller. We wanted the organ to be a visual indicator of the excellence in church music supported by this congregation. And as our first organ in the Northeast, we wanted any organist’s first sight of it to entice him into further exploration.
It was immediately apparent that the new organ case would need to come forward of the rail and extend down into the main space as far as practical. The gallery rail is curved, with the ends being farther forward than the center. Since a central location would only perpetuate the choir’s difficulties, we settled on matching cases at the front corner of each side. The bulk of these cases sit on the gallery floor and are painted white to minimize their visual impact. The stained solid cherry front cases are cantilevered out from them and hang down over the gallery rail without actually touching it. Pipe shades of basswood, hand carved by Spirit Williams of Wood Sculpture by Spirit, develop a vine and leaf motif, and also include figures of St. Gabriel on one side and St. Mary on the other.
Portions of the organ whose first priority is leading congregational singing are placed in these cases. The remaining portions of the organ, whose primary duties are accompanimental, are placed in a wide, shallow case behind the choir toward the rear of the gallery. The built-up terraces have been removed and the entire gallery has a new flat hardwood floor. The two back corners have been enclosed to provide storage and to bring a reflective surface a little closer to the choir.
Virtually all committees assigned the task of commissioning a new pipe organ for a worship space arrive at the same order of priorities: 1) Lead the congregation in singing; 2) Accompany a wide range of solos and ensembles; 3) Play service music; 4) Play recitals of solo organ literature. A strong case has been made by many organbuilders that an organ well-designed to play the organ literature can certainly lead a singing congregation. And as long as service music is selected from the great literature, it can handle that as well. And with a mezzo-forte stop or two behind swell shades: voilà, it can accompany! Naturally the bigger the organ, the more of those stops it is likely to have.
We would not disagree with that line of reasoning. But we believe that there is a vast difference between an organ that can accompany and one that excels at it and makes it fun, encouraging creativity. We often choose to take accompaniment as the starting point, and then develop those resources to enable the instrument to fulfill its other duties as well.
A hallmark of Kegg organs is their unique blend of accessibility and surprise. Organists and consultants alike have often commented that every stop is where they expect it to be and delivers what the stopknob promises. But there is a quality in the sound of the predictable that quickly invites creative experimentation. The fact that even many rule-breaking combinations coalesce into new and beautiful sounds is no accident, but rather the result of a complex series of deliberate choices in scaling, placement, pipe treatments, and tonal finishing.
Our normal practice is to shape the Great 8′ Principal to engage the room in a particular way, then use it as a foundation on which to build out and up to create the various core ensembles that define the instrument. In this organ, that function is taken by a combination of 8′ stops commonly called the “French Quartet”: principal, string, capped or semi-capped flute, and open or harmonic flute. Each contributes an essential component to the composite sound. The Principal provides the basic diapason color; the Violone gives point and lets it sing; the Rohrflute adds breadth and weight; finally, the Harmonic Flute imparts intensity and carrying power. St. Gabriel’s extraordinarily fine acoustic allowed us to approach each of these four component stops with a luxurious gentleness that would be impossible in almost any other situation.
A side-by-side comparison of identical notes in the Great Principal 8′ and Octave 4′ reveals that the Octave is equal to or even stronger than the Principal in some ranges. There are two reasons for this. First is that the Octave is intended to sit atop the combined French Quartet in all but the very leanest plenum combinations. Secondly, space and budget considerations resulted in a Fifteenth 2′ extended from the Octave 4′. We have kept the 4′ brighter than normal so that the 8′–4′ combination is extraordinarily satisfying and does not beg for a 2′ line to keep it clear. We have also given extra attention to the 2′ partial of the Mixture IV and installed a cut-out for the borrowed Fifteenth so it does not play when the Mixture is drawn.
The Twelfth 22⁄3′ was a preparation in the original contract. When funds became available to include it, we weighed carefully whether it was appropriate to add it while the Fifteenth remained borrowed. Given the steps we had taken to minimize the need for a Fifteenth, we concluded that the Twelfth was absolutely essential in building the rich but gentle texture of plenum we envisioned for this room.
Organ flute stops come in a wide variety of construction and tonal color on a continuum from fully capped through harmonic or even double harmonic. Experience has shown that a pair of flutes blend together best when the lower one is closer to the capped end of the spectrum and the upper one is closer to the open end. This results in the common pairings of Rohrflute 8′–Spitzflute 4′, Gedeckt 8′–Koppelflute 4′, or Open Flute 8′–Harmonic Flute 4′, etc. Our normal practice follows that pattern. In the Saddle River organ, the Great Rohrflute and Harmonic Flute both needed to be present at 8′ as essential components of the Quartet discussed above. Budget constraints would not allow an independent 4′ flute, so we assumed on paper that the ubiquitous Flutes 8′ & 4′ registration would best be fulfilled by the Rohrflute playing at both pitches. As a pleasant surprise in the voicing process, we discovered that the Rohrflute at 4′ would sit very nicely atop the Harmonic Flute 8′, breaking the rules, but becoming the default Flutes 8′ & 4′ combination for the Great.
The Flauto Dolce and Flute Celeste are treated in our normal manner: clear but nearly weightless in the bass, ultra-transparent in the tenor, becoming milkier and more opaque as the volume diminishes in the treble. The Flauto Dolce in particular is carefully regulated for evenness and prompt speech, making it valuable as an accompaniment stop without the Flute Celeste.
The Clarinet is smooth, dark and woody in the bass and tenor, brightening slightly as it ascends.
The Swell chorus is conceived in a typically American manner: the Bourdon and Salicional together act as the 8′ foundation, with a 4′ Principal and 2′ Mixture filling out the upperwork. Each component is then extended up or down, exponentially increasing the registrational choices. The Bourdon extends down to become the Swell double and the soft Pedal 16′. Its primary focus is as a Pedal stop for notes 1–24; from 25 up it concentrates on blending rather than individual color, but still stays just lively enough for scherzo registrations. The Principal extends down into a Diapason of similar scale and volume to the Great, but with slotted color. The Salicional is not just a unison for the Voix Celeste, but very much a partner in ensemble building. Its 4′ Salicet extension finds a perfect use in mezzo-forte accompaniments. The Mixture also plays an octave higher as the Scharf to provide the crown to the Great Mixture when the two choruses are coupled.
The Sylvan Flute developed as a chameleon, with distinct functions in different ranges. In the bass, it acts to color and define the 8′ Bourdon, which is purposely amorphous for use in the pedal. Its tenor range is slightly hollow, vaguely reminiscent of panpipes, hence the name. In the midrange it takes on an open 4′ flute quality, tending toward the sound of a narrow-scale harmonic flute. And finally, its treble provides a silvery top to 8-4-2 combinations, and is bright and sparkly for a skip-pitch effect with the Bourdon 8′.
The Nazard is deliberately very mild so that when it combines with the Bourdon 8′ it suggests that lovely color associated with narrow-scale wood Gedeckts. Added to full 8′s and 4′s, it thickens and imparts a slightly reedy quality in preparation for adding the Oboe. The Tierce, while still able to blend, is spicier than the Nazard and definitely takes the driver’s seat in the full Cornet.
The Bassoon-Oboe is specially designed to blend into the Swell flues to create the Full Swell effect at a dynamic level appropriate to the choir standing directly in front of it. The Oboe midrange and treble accelerate only slightly in volume, but much more so in color and point, allowing it to stand out as a solo stop in normal melody range. The Trumpet-Clarion is strong and bright, giving the fire expected from the Récit in French literature. We chose to place it in the Enclosed Great expression box in order to increase the flexibility of the dynamic range. And finally, the Vox Humana adds its unmistakable sonority, exceptionally rich and buttery in this organ since it does not have the benefit of distance to mellow it.
The Pedal Octave and Subbass are located in the forward case opposite the Great. The lower panels of this case are of double-thickness MDF to provide solid projection of the bass frequencies. We used this same double-panel technique on the back of the Swell and Enclosed Great box to reinforce the sound of the Pedal Open Wood installed behind it. The mouths of these pipes speak toward the back wall of the church, using it as a sort of sub-woofer to fill the room with a solid foundation for the whole organ.
The Pedal case also houses Gabriel’s Trumpet. Although of limited compass (tenor C through high F), this large-scale reed stop on 8 inches pressure provides a rich, powerful Tuba quality in the tenor range, perfect for delineating hymn melodies against the full resources of the rest of the organ. As it rises in pitch, it becomes more brilliant and comes into its own with trumpet tunes and wedding processionals.
It is our hope that everyone who hears this organ, whether that be a parishioner whose worship is enhanced by its music, or the most accomplished organist listening intently with discerning ears, will feel a sense of the joy and wonder from which it was created.
—Fredrick Bahr, tonal director

Kegg Pipe Organ Builders
Fredrick Bahr
Philip Brown
Michael Carden
Joyce Harper
Charles Kegg
Philip Laakso
Thomas Mierau
Bruce Schutrum

Photo credit: Richard D’Amore, Fredrick Bahr, Charles Kegg

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Kegg Pipe Organ Builders
Church of St. Gabriel the Archangel
Saddle River, New Jersey

GREAT (Manual I)
11 stops, 14 ranks, 878 pipes
1. Violone 16′ 73 pipes
2. Principal 8′ 61 pipes
Violone 8′ From #1
3. Rohrflute* 8′ 73 pipes
4. Harmonic Flute* 8′ 49 pipes
1–12 from #3
5. Flauto Dolce* 8′ 61 pipes
6. Flute Celeste* TC 8′ 49 pipes
7. Octave 4′ 73 pipes
Flute* 4′ From #3
8. Twelfth 22⁄3′ 61 pipes
Fifteenth 2′ From #7
9. Mixture (11⁄3′) IV 244 pipes
(cancels 15th)
10. Trumpet* 8′ 73 pipes
11. Clarinet* 8′ 61 pipes
Tremulant
Chimes Deagan, 25 bells
Great Unison Off
Great 4
Zimbelstern 5 handbells
* Enclosed

SWELL (Manual II)
10 stops, 13 ranks, 853 pipes
12. Bourdon 16′ 73 pipes
13. Diapason 8′ 73 pipes
Bourdon 8′ From #12
14. Salicional 8′ 73 pipes
15. Voix Celeste 8′ 61 pipes
Octave 4′ From #13
Salicet 4′ From #14
16. Sylvan Flute 4′ 73 pipes
17. Nazard 22⁄3′ 61 pipes
Flute 2′ From #16
18. Tierce 13⁄5′ 61 pipes
Larigot 11⁄3′ From #17
19. Mixture (2′) IV 244 pipes
Scharf (1′) IV From #19
cancels Mixture when drawn
20. Bassoon 16′ 73 pipes
Trumpet 8′ From #10
Oboe 8′ From #20
21. Vox Humana 8′ 61 pipes
Clarion 4′ From #10
Tremulant
Swell 16
Swell Unison Off
Swell 4

SOLO (Manual III)
1 stop, 1 rank, 42 pipes
Solo Diapason III 8′ From #2-7-25
Harmonic Flute 8′ From #4
Salicional 8′ From #14
Voix Celeste 8′ From #15
Flute Celestes II 8′ From #5 & 6
Cornet V #12-16-17-18
22. Gabriel’s Trumpet TC 8′ 42 pipes
Trumpet 8′ From #10
Oboe 8′ From #20
Clarinet 8′ From #11
Tremulant
Chimes
Solo 16
Solo Unison Off
Solo 4

PEDAL
3 stops, 3 ranks, 132 pipes
Resultant 32′ Derived
23. Open Wood 16′ 32 pipes
24. Subbass 16′ 44 pipes
Violone 16′ From #1
Bourdon 16′ From #12
25. Octave 8′ 44 pipes
Subbass 8′ From #24
Violone 8′ From #1
Bourdon 8′ From #12
Super Octave 4′ From #25
Cantus Flute 4′ From #4
Harmonics 32′ Derived
Trumpet 16′ 12 pipes and
from #10
Bassoon 16′ From #20
Trumpet 8′ From #10
Clarion 4′ From #10
Clarinet 4′ From #11

Tonal Resources
25 stops, 31 ranks, 1905 pipes

Inter-manual Couplers
Great to Pedal 8, 4
Swell to Pedal 8, 4
Solo to Pedal 8, 4
Swell to Great 16, 8, 4
Solo to Great 8
Swell to Solo 8
Great to Solo 8

Kegg Pipe Organ Builders
1184 Woodland St. SW
Hartville, Ohio 44632
330/966-2499
[email protected]
www.keggorgan.com

 

Kegg Pipe Organ Builders,
Hartville, Ohio
First Presbyterian Church,
Phoenixville, Pennsylvania
The new Kegg organ in the First Presbyterian Church of Phoenixville replaces an organ that had been pieced together with parts mostly from Bartholomay, with some Haskell pipes and other supply house additions. Although many in the church have a high regard for things historical, it became clear that the haphazard installation in the crowded chamber made repair and maintenance of the failing instrument impractical. Even so, the committee expressed a desire to reuse any old material that could be successfully incorporated into the new instrument.
When dealing with an instrument of celebrated historical merit, the process of proper documentation, conservation, and, when appropriate, careful restoration is normally the best course of action. A poorly installed organ of dubious heritage, no matter how old, makes that choice much less clear. When the request comes from a historical perspective, however, with a client wishing to maintain a line of continuity with the past, we do everything we can to respect that heritage.
In the Phoenixville organ, we reused six sets of pipes. The 16′ Open Wood Diapason and the 16′ Subbass are large pedal pipes that would indeed have been very expensive to replace. We repaired and refinished these pipes, and restored and releathered their original windchests as well. The Swell Gedeckt and Harmonic Flute are two wood stops that were particularly charming in the old organ, and we have retained them as well, replacing only the top two octaves of metal pipes in the Harmonic Flute 2′ extension. The Great Dulciana and Unda Maris are very likely Haskell pipes from the organ before the Bartholomay. Their tone is soft and extremely delicate, a luxury in an organ of this size, but the sound is entirely appropriate in the intimate acoustic of the renovated sanctuary.
The stoplist is laid out for all the normal functions of a two-manual church organ. The Great Clarinet and Swell Mixture are prepared. Fund-raising efforts were quite successful, but fell short of allowing these stops to be installed at this time. However, there was some money left, and after studying several of our organs where we have made a two-manual specification playable on a three-manual console, the committee decided to take that option. The plan still calls for adding the prepared stops, but the flexibility afforded by the third manual cannot be overstated.
Director of music David Nicol and organist Mary Nicol, who also chaired the organ committee, made our time in Phoenixville an absolute delight. Far beyond the usual chores of coordinating our work with electricians, heating/AC technicians, and alarm installers, they did an outstanding job of taking care of us as well. There was a steady supply of goodies to eat and drink, and recommendations along with directions for many of the local restaurants. As consultant, Dr. Gordon Turk served the church well in helping them through some difficult spots in their decision-making, and also made helpful suggestions to us during the design process and tonal finishing.
The new organ was dedicated on November 7, 2010, with a recital by Gordon Turk, and the First Presbyterian Church choir giving the premiere performance of Kile Smith’s anthem, Behold, the Best, the Greatest Gift, commissioned for the occasion.
—Fredrick Bahr

Kegg Pipe Organ Builders
Charles Kegg, President*
Fredrick Bahr, Tonal Director*
Philip Brown
Michael Carden
Joyce Harper*
Philip Laakso
Thomas Mierau*
Bruce Schutrum
*Members, American Institute of Organbuilders

Kegg Pipe Organ Builders
1184 Woodland St., SW
Hartville, OH 44632
330/877-8800
[email protected]
www.keggorgan.com

GREAT
16′ Viola (ext #9) 12 pipes
8′ Solo Diapason III++
1. 8′ Principal 61 pipes
2. 8′ Rohrflute* 61 pipes
3. 8′ Dulciana* 61 pipes+
4. 8′ Unda Maris TC* 49 pipes+
5. 4′ Octave 73 pipes
6. 4′ Koppelflute* 61 pipes
2′ Fifteenth (from #5)
7. IV Mixture 244 pipes
8′ Trumpet (from #15)
8′ Clarinet* (prepared)
Tremulant
Chimes (21 bells)
Zimbelstern (5 handbells)
Great 16, UO, 4
Swell to Great 16, 8, 4
Choir to Great 8
*Enclosed separately from Swell
++Plays #1, #5, #17 all at 8′ pitch

SWELL
8. 8′ Gedeckt 61 pipes+
9. 8′ Viola 73 pipes
10. 8′ Viola Celeste GG 54 pipes
11. 4′ Principal 73 pipes
12. 4′ Harmonic Flute 73 pipes+
4′ Viola (from #9)
13. 22⁄3′ Nazard 61 pipes
2′ Octave (from #11)
2′ Flute (from #12)
14. 13⁄5′ Tierce 61 pipes
11⁄3′ Larigot (from #13)
III Mixture (prepared)
16′ Bassoon (from #9 & 16)
15. 8′ Trumpet 73 pipes
16. 8′ Oboe 61 pipes
4′ Clarion (from #15)
Tremulant
Swell 16, UO, 4

CHOIR
8′ Rohrflute Great
8′ Unda Maris II Great
4′ Koppelflute Great
8′ Clarinet Great (prep)
8′ Gedeckt Swell
8′ Viola Swell
8′ Viola Celeste Swell
4′ Harmonic Flute Swell
2′ Flute Swell
II Cornet Swell
8′ Trumpet Swell
8′ Oboe Swell
Choir 16, 4
Swell to Choir 16, 8, 4

PEDAL
17. 16′ Diapason 56 pipes+
16′ Viola (from #9)
18. 16′ Subbass 44 pipes+
8′ Octave (from #17)
8′ Subbass (from #18)
8′ Viola (from #9)
8′ Gedeckt (from #8)
4′ Octave (from #17)
32′ Harmonics (derived)
16′ Trumpet (from #15)
8′ Trumpet (from #15)
4′ Oboe (from #16)
Great to Pedal 8, 4
Swell to Pedal 8, 4
Choir to Pedal 8, 4

+Pipes from previous organ

Three manuals, 21 ranks, 1,324 pipes

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

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

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

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

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

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

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

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

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

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

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

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

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

27 registers, 34 ranks, 4 Walker digital voices

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

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

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

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

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

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

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

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

+ = additions/changes

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

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

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

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

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

Cover Feature

Kegg Pipe
Organ Builders, Hartville, Ohio

First United
Methodist Church, Winnsboro, North Carolina

In an organ builder's life there come projects that for one reason or
another always remain close to one's heart. First United Methodist Church of
Winnsboro, South Carolina, is one such project. From the first contact by
consultant Stephen Williams of Allentown, Pennsylvania, to the final day of
tonal finishing, this project was and continues to be a delight to the eye, the
ear, and the heart of this builder.

The organ committee, headed by Jim Gladden, had one goal in mind: to have a
fine instrument that would serve the congregation in all its needs through the
21st century. The room is not large, seating about 300. The acoustic is on the
dry side, but sound travels well in the room. They knew that they did not need
or have room for a large instrument, but they desired an instrument that gave
them maximum musical versatility. Our design has provided them an instrument of
16 ranks and 13 independent stops. These ranks are used carefully to provide an
instrument that seems larger than it is. The previous Estey organ provided
three wood stops that fit well into the new design, namely the Gedeckt,
Hohlflute and Pedal Bourdon. There are no electronic imitation voices in the
organ.

There are several features of particular note in the design. The organ is
installed in a very compact space. I wanted to provide a 16' open flue stop,
and the Viole extension done in Haskell pipes has proven very valuable while
taking up little space. It provides the soft 16' line when used alone and also
adds point to the 16' Bourdon when used in combination. Its use as a double on
the Great adds just the amount of weight needed in a modest room. In order to
provide a strong leading voice in the organ, we have provided a Sesquialtera on
the Great; this is a 37-note stop running from C13 to C49. The pipes of the
22/3' pitch are taken from the bottom 37 pipes of the first rank of the
Mixture. Thus the Sesquialtera only requires the extra space for the small
pipes of the 13/5' rank. This stop can easily lead hymn singing when built
using the principal chorus. When built using flutes, it is a charming solo
voice.

Another feature that furthers the reputation of organ builders as innovators
is the air conditioning ducts. The previous organ had large A/C grilles
directly on the front of the case, blowing out over the heads of the choir
members. These had to stay and were not negotiable in the deep South, and being
a chorister myself, I could completely understand the request. But what to do?
I couldn't have grilles on the new case, or so I thought. Another look at the
case and you will find that there are indeed A/C grilles on the front in the
form of quatrefoils just below the impost.

This organ is installed in the existing chamber that opens out through the
right of three arches. The space available was 6' deep, 13' wide at the front
and 16' wide at the back. The height of the chamber went above the opening creating
a tone pocket that would hinder sound egress. The solution was to build a swell
box in the chamber, eliminating the excess space above the tone opening and
with it the tone pocket. The entire organ is under one expression except the
Great Principal 8', the Pedal Bourdon 16' and the chimes. While the organ is
very dense in the space available, all parts and pipes are easily accessible
for tuning and maintenance. The largest pipes of the wood Pedal Bourdon are
laying on the floor under the main chest. The blower is in a dedicated space in
the basement under the organ.

The stepped terrace drawknob console is what we normally provide with our
two-manual organs. It is very compact and easy to see over, and is fitted with
bone and rosewood keys as is our custom. The combination system by Z-Tronics
provides piston range and copy functions along with archive of memory levels to
disk. There is also a performance sequencer.

The organ was dedicated in concert on November 10, 2002 by consultant
Stephen Williams. I would like to acknowledge the organ committee chaired by
Jim Gladden, organist Esther Baughman, and Al Williams, without whom this
project would not have been possible. The people of First United Methodist
Church embraced the new organ from beginning to end in a way that brought
uncommon joy to the Kegg company. We were indeed honored to have been chosen.
We would invite you to stop and see this instrument when you find yourself in
the Charlotte or Columbia area.

--Charles Kegg

GREAT

9
ranks, 6 stops, 549 pipes

16' Violone
style='mso-tab-count:1'> 73 pipes

8' Prestant*
style='mso-tab-count:2'> 61
pipes

8' Hohlflute
style='mso-tab-count:2'> 73
existing pipes

8' Viole
(ext 16' Violone)

8' Viole
Celeste TC (Sw)

4' Octave
61
pipes

4' Gedeckt
(Sw)

2' Flute
(ext Hohlflute)

II Sesquialtera
style='mso-tab-count:1'> 37
pipes & from Mixture

IV Mixture
style='mso-tab-count:1'> 244 pipes

8' Trumpet
(Sw)

Chimes
(existing)

Great
4

Swell
to Great 16

Swell
to Great 8

Swell
to Great 4

*Unenclosed

SWELL

6
ranks, 6 stops, 390 pipes

8' Gedeckt
style='mso-tab-count:2'> 73
existing pipes

8' Viole
(Gt Violone)

8' Viole
Celeste TC 49
pipes

4' Principal
style='mso-tab-count:2'> 73
pipes

4' Hohlflute
(Gt)

22/3' Nazard
TC (ext Quinte)

2' Octave
(ext 4')

11/3' Quinte
49
pipes

16' Contra
Trumpet 85
pipes

8' Trumpet
(ext)

8' Oboe
style='mso-tab-count:2'> 61
pipes

4' Clarion
(ext)

Tremulant

Swell
to Swell 16

Swell
Unison Off

Swell
to Swell 4

PEDAL

1
rank, 1 stop, 44 pipes

32' Resultant
(from Bourdon)

16' Bourdon
style='mso-tab-count:2'> 44
existing pipes

16' Violone
(Gt)

8' Prestant
(Gt)

8' Bourdon
(ext)

8' Viole
(Gt)

8' Gedeckt
(Sw)

4' Octave
(Gt 8')

16' Trumpet
(Sw)

8' Trumpet
(Sw)

4' Oboe
(Sw)

Great
to Pedal 8

Great
to Pedal 4

Swell
to Pedal 8

Swell
to Pedal 4

Tonal Resources

13
stops

16
ranks

983
pipes

Accessories

Expression
Pedal with indicator

Dual
level Crescendo Pedal with numeric ndicator

Concave
and radiating pedal clavier

Adjustable
Bench

Full
Organ indicator light

Combination
lock with indicator

Transposer

Performance
Sequencer

Photo credit: Charles Kegg

Kegg Pipe Organ Builders

1184 Woodland St. SW

Hartville, OH 44632

330/966-2499

www.keggorgan.com

Muller Pipe Organ Company, Croton, Ohio

First English
Lutheran Church, Mansfield, Ohio

Muller Pipe Organ Company has completed installation of the III/50 organ at
the First English Lutheran Church of Mansfield, Ohio. M. P. Möller
installed the original organ in 1950 (Opus 7997), and made tonal additions in
1961. In the 1980s, minor stopgap repairs were completed, and the Great 8'
Principal and 4' Octave ranks were replaced. In recent years, the condition of
the windchests and console had deteriorated nearly to the point of failure.

In addition to the new pipework, select ranks of the existing pipework were
restored, then revoiced and rebalanced to serve in new capacities within the
ensemble of the new instrument. The Great Organ now features a robust principal
chorus of new pipework, a full complement of flutes and strings, and a fiery
Trompette. The Swell Organ boasts a secondary principal chorus and a battery of
chorus reeds. The Choir Organ is both the most intimate and most colorful
division of the instrument, containing a flute-based Cornet and the sonorous
Clarinet from the original organ. The Antiphonal Organ (the Great principal
chorus in the original instrument) helps support congregational singing for
those seated in the rear of the nave. Due to its relatively poor placement,
this pipework was substantially revoiced and regulated to speak on much higher
wind pressure to insure adequate volume. The Pedal Organ, with its independent
principal chorus and powerful Posaune, provides an exciting foundation for the
instrument. From the softest stops to full organ, the instrument is versatile
and exciting, a wonderful example of the American Classic tradition.

The church completed significant renovations to the chancel area while work
was in progress at our facility. The new area is much more flexible, providing
a suitable space for orchestras or large choirs. Acoustics were improved by
replacing the plush carpeting in the chancel with hardwood flooring. In
addition, substantially improved tonal projection was achieved by removing the
original plaster wall that served as the front of the organ chamber and
replacing it with grille cloth.

The entire playing mechanism is new, with the exception of selected offset
windchests, replacing a problematic Möller mechanism. The beautiful
original console cabinet was refinished and fitted with wheels, and is playable
from three locations in the chancel. The ivory and ebony manual keyboards and
the pedal keyboard were restored. New solid-state operating systems were
installed, including MIDI with record/playback capability, as well as new
drawknob and tilting tablet assemblies. A custom music rack was built,
featuring walnut with bird's eye maple inlay, and a new adjustable bench with
backrest was provided.

For his invaluable contributions to the development of the specification, we
extend special thanks to Dr. Timothy E. Guenther, director of music and
organist of First English Lutheran Church (ELCA), and adjunct instructor in
organ and university organist, Ashland University of Ashland, Ohio.

--John Muller

Photo by Steven Elbert

GREAT

16' Violone

8' Principal

8' Bourdon

8' Viola

8' Erzähler

8' Erzähler
Celeste TC

4' Octave

4' Rohrflöte

2' Super
Octave

IV Mixture

8' Trompette

Chimes

Tremolo

SWELL (expressive)

16' Waldflöte

8' Geigen
Principal

8' Waldflöte

8' Salicional

8' Voix
Celeste TC

4' Geigen
Principal

4' Spillflöte

22/3' Nazard

2' Flageolet

III Plein
Jeu

16' Bassoon

8' Trumpet

8' Oboe

8' Vox
Humana

4' Clairon

Tremolo

CHOIR (expressive)

8' Rohrflöte

8' Dulciana

8' Unda
Maris TC

4' Principal

4' Koppelflöte

4' Dulciana

22/3' Nazard

2' Blockflöte

13/5' Tierce

11/3' Quint

8' Clarinet

Tremolo

ANTIPHONAL (expressive)

8' Principal

8' Spitzflöte

4' Octave

4' Spitzflöte

2' Fifteenth

III Mixture

PEDAL

16' Diapason

16' Bourdon

16' Waldflöte

16' Violone

102/3' Quint

8' Diapason

8' Bourdon

8' Waldflöte

8' Viola

4' Choral
Bass

4' Bourdon

II Mixture

16' Posaune

16' Bassoon

8' Posaune

8' Trumpet

4' Rohrschalmei

Chimes

Couplers

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

Ant/Gt
8-4

MIDI/Gt

[if !supportEmptyParas] [endif]

Sw/Sw
16-UO-4

Ant/Sw
8

MIDI/Sw

Ch/Ch
16-UO-4

Sw/Ch
16-8-4

Ant/Ch
8

MIDI/Ch

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

Ant/Ped
8

MIDI/Ped

Carillon
I

Carillon
II

John-Paul Buzard Pipe Organ Builders
of Champaign, Illinois, has built a new organ for St. Bartholomew Episcopal
Church, Estes Park, Colorado. Our opus 30 was installed during March, 2004,
ready for Palm Sunday, about a month ahead of the contracted schedule.

The church is a simple log cabin structure about 7,500 feet up in the Rocky
Mountains. The view of snow-capped Long's Peak through the plate glass window
behind the altar (along with the thin air) literally takes one's breath away.
Folks who have made their lives in this rugged terrain are used to doing things
pretty much for themselves, and in their own time. Witness their former pipe
organ, fondly nicknamed "Little Toot." This homemade three-rank
instrument (Diapason, Dulciana, Flute) served the congregation for many, many
years, until its deteriorating mechanical condition begged for replacement. The
old organ had been located in a cramped balcony projecting over the last four
rows of pews. It was too small for a choir, or for a pipe organ of adequate
size. The ceiling under the balcony was covered with acoustic tile, which at
best discouraged anyone seated there from singing. We began our conversations
with the church four years ago.

Folks who have made this church their parish home were also used to things
just the way they were, and so it was remarkable that they ultimately agreed to
remove the balcony, locate the organ in the elevated area over the narthex, and
provide space for a choir on the main floor of the nave. The instrument and the
reconfiguration of the space looks natural and relaxed, as though it had always
been that way.

The organ is small, but beautiful things come in small packages! The
instrument has a complete Principal chorus on the Great, flute choruses, a
string and celeste, as well as independent manual and pedal reeds. It is
intended to lead hymn-singing, accompany singers and other musicians, and play
voluntaries before and after services. The altitude was taken into account in
the organ's scaling, voicing, and engineering. The result is that, even though
small in the number of stops, it fills the building with a rich, full sound,
even when playing softly. The visual design plays upon the earth-tone colors in
the room, and the roof line. The organ speaks unimpeded down the axis of the
building.

Thanks to The Rev. M. Paul Garrett, rector; Martha Sandford, organ consultant;
and to The Rev. Al Persons, who, with his late wife Marcia, guaranteed the
purchase of the organ. Thanks also to the dedicated members of my staff who
make every project a special and life's work undertaking: Charles Eames,
executive vice-president; Brian Davis, associate tonal director; Keith
Williams, director of service; Shayne Tippett, production manager; Jay Salmon,
office manager; Stuart Martin, cabinetmaker; C. Robert Leach, cabinetmaker;
Kenneth McCabe, cabinetmaker; Stephen Downes, tonal assistant; Evan Rench,
pipemaker, tonal assistant, tonal department scheduling; Ray Wiggs, consoles,
windchests, wiring; Bob Ference, service technician; Jonathan Borchardt,
service technician; Stuart Weber, service technician; JoAnne Hutchcraft Rench,
receptionist, administrative assistant.

--John-Paul Buzard

[if !supportEmptyParas] [endif]

Buzard Opus 30: 14 stops, 17 ranks, across two manuals and
pedal; voiced on 4 inches wind pressure

GREAT

8' Open
Diapason (polished tin in façade)

8' Flûte
à Bibéron (metal chimney flute)

4' Principal

2' Recorder

11/3' Mixture
IV

Tremulant

Gt
16-UO-4

Sw/Gt
16-8-4

SWELL (expressive)

8' Stopped
Diapason

8' Salicional

8' Voix
Celeste

4' Spire
Flute

2' Principal

8' Minor
Trumpet

Tremulant

Sw
16-UO-4

PEDAL

16' Bourdon
(stoppered, wood)

8' Principal
(polished tin in façade)

8' Bass
Flute (ext)

4' Choral
Bass (ext)

16' Bassoon

Gt/Ped
8-4

Sw/Ped
8-4

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