New Organs

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

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

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

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

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

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

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

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

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

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

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

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

Hupalo & Repasky Pipe Organs, LLC, San Leandro, California
Zion Lutheran Church,
Piedmont, California

Church history
The Zion Lutheran congregation established itself in Oakland in 1882 and by 1886 had purchased their first house of worship. From the beginning, education and music have been important elements of the church’s mission. To this day, the church provides Christian education for kindergarten through the eighth grade, with music being a large part of the educational program at Zion Lutheran School.
During the 1920s, the congregation renewed their Victorian facilities in Oakland with a new parsonage, parish hall, school, and worship facility. It is here, in the church’s second worship facility, that in 1930 M. P. Möller built their opus 5769. This two-manual organ contained thirty-one registers.
In 2007, Piedmont was named “Best Place to Live” in the United States by Forbes. It was in this residential area surrounded by Oakland that the congregation of Zion Lutheran Church dedicated their most recent site on April 4, 1954. The current church complex is situated atop a high bluff, with a background of stone hills with pockets of dense shrubs and trees. Attached to the Mediterranean-style church is a bell tower, offices, school classrooms, meeting rooms, kitchen, barbeque area, library, and gymnasium. The church edifice is designed to accommodate 350 persons.

The church’s 1930 Möller pipe organ
Möller’s opus 5769 was brought from the parish’s second church in Oakland, relocated to their present site, and placed in two chambers with separate expression in the rear balcony behind the terraced choir seating area. As there was no façade, the choir “enjoyed” watching the two sets of vertical shades open and close. From the congregation’s vantage point, the organ looked like two rather large jalousie windows caged by wooden framing.
As with many organs of the 1950s and ’60s, Zion’s Möller organ was enlarged with several high-pitched ranks, and some of the original ranks were replaced with neo-Baroque substitutes. With actions and console parts failing, by 2005 plans were underway to provide Zion Lutheran Church with a new and reliable instrument. As part of this plan, many of the ranks of the extant organ were to be incorporated into their new instrument. The 1930 Möller organ with its additions served the parish until it was removed by us in July 2006. With the organ removed, we loaned the church our large seven-rank continuo organ.

Another Möller organ
Also, as part of the plans for Zion’s new organ, the pipework and offset chests were removed from the 1946 Möller organ, opus 7370, at St. Mark’s Lutheran Church in San Francisco. This organ became available because of the retrofitting of the church and plans by the parish to purchase a new Taylor & Boody organ. It was noted that Richard Purvis was the organist at St. Mark’s during the time this three-manual organ of twenty-four ranks was installed. It is with these two instruments (the augmented Möller opus 5769 and opus 7370) that Hupalo & Repasky Pipe Organs rebuilt, rescaled, and revoiced pipework that provided the new organ for Zion Lutheran Church.

Tonal design of the new instrument
Our concerns were to provide the church with a tonally versatile and cohesive musical instrument, which would have a visual presence in the room, and would be reliable and serviceable. Using many ranks from Möller’s opus 5769 and opus 7370, the original conception for Zion’s new pipe organ envisioned a three-manual organ of forty ranks. This organ would have included a Rückpositiv. However, the organ committee decided instead to plan for a large two-manual instrument.
In working with the organist, David Babbitt, it was decided that the new organ would have a Pedal based on a 16′ Principal. The Great would have a 16′ plenum, the Swell an 8′ plenum, and there would be an assortment of unison tone. There would be a wide variety of flute tone (stopped, chimneyed, open, harmonic) represented. Also included in the tonal design was a selection of wide and narrow strings. Mutation ranks would be drawn from the flute and principal families. This two-manual organ would boast five 16′ ranks. Benefiting the Great plenum, a new German-style Trumpet would be built. For the Swell, a harmonic-rich French-style Trumpet would be provided.
Unfortunately, Mr. Babbitt passed away during the planning stages of the organ. This was a great loss not only to Zion, but also to the musical community in the Bay Area. The church soon found an admirable organist/choir director, Dr. David Hunsberger. It was his opinion that the Cornet Composée in the Swell should be a little stronger. Recalling how he enjoyed the sound of the Cornet on the Silbermann-style organ at the University of Michigan, it was decided to change the ranks to the larger scales used by the Fisk company. So, with the help of Stephen Kowalyshyn, we replaced the Swell mutation ranks with pipes based on Mr. Kowalyshyn’s information.
During the installation it was decided that the beautiful Clarinet from opus 7370 was too similar in volume to the Oboe. So, a full-throated Cromorne replaced the Clarinet. John Hupalo also decided to use French “tear drop” shallots in the new Cromorne. The generous inclusion of four reed voices in the Swell division of this moderate-sized two-manual organ provides both variety in color and a progression in volume.
Physical layout
The previous organ at Zion was installed in two non-communicating chambers. With the removal of opus 5769, the in-between area was opened up to allow placement for the Pedal ranks and to allow pitch transfer from one division to the other during tuning. This was virtually impossible on the previous organ. To aid tonal projection, the chambers were lined with two layers of 5/8″ sheetrock and then painted. The Swell chamber was placed in the left, the unenclosed Great in the right chamber, and the Pedal ranks placed in the center area.

Temperament
Another suggestion of Dr. Hunsberger was that the organ should be tuned in a well temperament. The Thomas Young temperament was chosen for its purer major thirds and playability in all keys. Like a good choral ensemble, this tuning helps the organ lock pitch in the more common keys.

Pipework
It was evident from the first that much of the Möller pipework was of excellent quality, especially the pre-World War II zinc pipes. The wooden pipes were cleaned and refinished. The stopped pipes were releathered. The Great 8′, 4′, 22⁄3′, and 2′ plenum ranks were rescaled as appropriate to the tonal scheme of the organ. The Great principals also received new languids. The removal of the old languids had the advantage of lowering the cut-ups, allowing us to revoice the Great plenum. This turned the old Möller diapasons into clear-toned principals. To provide a tonal contrast to the Great principals, the Swell diapasons are voiced and scaled towards a more neo-Romantic sound. The neo-Baroque 8′ Principal from opus 5769 was rescaled and made into the Great 8′ Gamba. Length and slotting were added to these pipes patterned after the Gambas of Cavaillé-Coll. Besides the two manual trumpets, Cromorne, and the Swell Nazard and Tierce, the other newly made stops for this organ include the Great Harmonic Flute and the Swell mixture.

Chests
Both the new Great and Swell main chests are slider chests with magnet pull-downs. It is our philosophy that these traditional-style chests provide a noticeable ensemble for the pipework. Even Ernest Skinner later in his life recognized the benefits of slider chests, with each note sharing a common channel of wind.
Many of the electro-pneumatic bass offset chests from opus 7370 were releathered and incorporated into the new organ. Given the large size of the pallets, they provide a lightning-fast response for the lower notes of the organ.

Façade
To match the architectural style of the church, it was decided to fashion the façade in the American Craftsman style. The center five-pipe flat is flanked on both sides by three flats of five pipes each. The styles, rails, toe boards, and corbels are of quarter-sawn white oak proportioned in the Craftsman manner. The styles are punctuated with medallions. The molding is highlighted by areas of crimson red.
Starting with low F-sharp of the Pedal 16′ Principal, the façade incorporates the lowest pipes of the Pedal 16′ and Great 8′ Principal. To provide visual uniformity, these zinc pipes were mottled in a terra cotta color, with the upper and lower lips in painted verdigris.

Console and control system
The console is our standard terraced-style, roll-top design, with three rows of drawknobs on either side of the keyboards. The shell is made of quarter-sawn white oak, with French polished European pearwood used in the stop jamb and nameboard area. The drawknobs are of ebony, as are the sharps. The manual key covers are of bone. The console is placed in a fixed central position in the choir loft to provide the organist with space for conducting both choir and instrumentalists.
A computerized system controls the combination action, memory, and the complex switching system of the organ. It provides the organist with a transposer, 99 levels of memory, a piston sequencer, and MIDI In and Out, as well as many programmable features.

Personnel
The following craftsmen assisted in the construction of our opus 3: Mark Dahlberg (technical designer), Robin Fox, John Haskey, Robert Hoffmann, John Hupalo, Bruno Largarce, Gerard Montana, Steve Repasky, Bob Schertle, Lawrence Strohm, William Visscher, Shayne Ward, and David H. Zechman.

Organ dedication
The organ was dedicated to a full house in a solo recital on Sunday afternoon, January 25, 2009 by Stanford University Organist Robert Huw Morgan.
Dedication program:
Dialogue, L. Marchand
Fantasia in f, K. 608, W. A. Mozart
Homage to Handel, S. Karg-Elert
Prelude in E-flat, S. 552, J. S. Bach
An Wasserflüssen Babylon, S. 653, Bach
Sonata V in C, S. 529, Bach
Fugue in E-flat, S. 552, Bach
—Steve Repasky

Hupalo & Repasky Pipe Organs, LLC, 2008, 35 stops, 33 ranks

GREAT
16′ Hohl Flute 61 pipes
8′ Principal 61 pipes
8′ Harmonic Flute 49 pipes
8′ Gamba 61 pipes
4′ Octave 61 pipes
4′ Röhr Flute 61 pipes
22⁄3′ Twelfth 61 pipes
2′ Fifteenth 61 pipes
13⁄5′ Seventeenth 61 pipes
Mixture IV 244 pipes
8′ Trumpet 61 pipes
Chimes 25 tubes

SWELL
8′ Diapason 61 pipes
8′ Stopt Diapason 61 pipes
8′ Salicional 61 pipes
8′ Celeste 61 pipes
4′ Principal 61 pipes
4′ Flute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Piccolo 61 pipes
13⁄5′ Tierce 61 pipes
Plein Jeu III 183 pipes
16′ Fagot 61 pipes
8′ Trompette 61 pipes
8′ Oboe 61 pipes
8′ Cromorne 61 pipes
Tremolo

PEDAL
16′ Principal 32 pipes
16′ Bourdon 32 pipes
8′ Octave 12 pipes
8′ Bourdon 12 pipes
4′ Choral Bass 12 pipes
4′ Bourdon 12 pipes
16′ Posaune 32 pipes
16′ Fagot Swell
8′ Trumpet 12 pipes
4′ Schalmei Fagot

Couplers
Unison, sub, and super couplers provided on tilting tablets

Accessories
6 general thumb pistons and toe studs
5 divisional thumb pistons for each of the three divisions
Setter and general cancel thumb pistons
Up and down thumb pistons
3 reversible thumb and toe pistons for unison couplers
Reversible thumb and toe pistons for full organ
Crescendo pedal
Zimbelstern: 8 bells

Tuning
Thomas Young

Photo credit: John Hupalo

Hupalo & Repasky Pipe Organs
510/483-6905
www.hupalorepasky.com

Cover

An organ built by J.L. van den Heuvel
style='font-weight:normal'>, Dordrecht, the Netherlands, has been installed at
the Church of the Holy Apostles, New York, NY. Originally installed at Castle
Shiloah, Fairview, TX, it was relocated by the Organ Clearing House, and
revoiced by Rosales Organ Builders. When a fire destroyed the Church of the
Holy Apostles in 1990, it also destoyed the church's Casavant organ. The parish
entered into an agreement with Rosales Organ Builders for a new instrument. As
the restoration of the building consumed available funds, it became apparent
that the congregation could no longer afford the new organ. In an effort to
make the best use of monies available, Rosales agreed to explore alternatives.
In 1991, Joseph and Marla Mooibroek of Fairview, TX, commissioned J.L. van den Heuvel
to build an organ for their home. The organ was installed in Castle Shiloah in
1994. In 1996 the Mooibroeks decided to sell their residence and organ. Manuel
Rosales examined the organ and notified Holy Apostles about its availability.
The Organ Clearing House, Alan Laufman, executive director, moved the organ to
its new home. After the two-month reassembly, Manuel Rosales revoiced the organ
for its new environment. The organ is housed in a Dutch Baroque-style case with
detailed sculpture and carvings. Tonally it is in early French romantic style.
The Organ Clearing House staff, Alan Laufman, executive director, included
Amory Atkin, Terence Atkin, William Dixon, Whitney Flecher, George Gibson,
Richard Hamar, Scott Huntington, and Joshua Wood. Manuel Rosales was assisted
by Peter Batchelder, Timothy Fink, and Scot Huntington. Donald Joyce is music
director of the church. Compass is 61/32. The nave of the church is used each
day for one of the parish's outreach programs--the Holy Apostles Soup Kitchen, which
serves over 1,000 meals per day. Photo by Amy Reichman.

GRAND ORGUE

16' Bourdon

8' Montre

8' Flûte a cheminée

8' Flûte harmonique

4' Prestant

2' Doublette

 Plein Jeu III-V

 Cornet IV (MC)

8' Trompette

 Tremblant

Pos/G.O.

Réc/G.O.

RÉCIT

8' Flûte traversière

8' Viole de Gambe

8' Voix céleste

4' Flûte Octaviante

2' Octavin

8' Basson-Hautbois

8' Voix Humaine

Tremulant

POSITIF

8' Bourdon

8' Salicional

8' Unda Maris

4' Flûte à fuseau

22/3' Nasard

2' Flageolet

13/5' Tierce

1' Piccolo

8' Clarinette

8' Trumpet Royal (horizontal)

   Tremulant

  Chimes

  Zimbelstern

  Réc/Pos

PÉDAL

32' Bourdon (electronic)

16' Soubasse (1-24 G.O.)

8' Flûte

8' Violoncelle

16' Basson

4' Chalumeau

  G.O./Péd

  Pos/Péd

  Réc/Péd

Bond Organ Builders, Inc., Portland, OR, has completed the restoration of the organ at St. Mary's
Cathedral of the Immaculate Conception, also in Portland. The organ was
originally built in 1904 by the Los Angeles Art Organ Co., opus 42, under the
direction of Murray M. Harris, for Holy Cross Catholic Church in San Francisco.
It was severely damaged in the 1906 earthquake. Falling debris largely
destroyed the Great and Choir divisions; the original Fleming windchests for
these divisions were replaced by new chests of the Spencer design. Repairs were
carried out by a local firm using new pipes, windchests, and other parts
supplied by Murray Harris. Some original stops survived, notably the Great 16'
and 8' Diapasons, most of the 4'Octave, and the Doppel Flute, as well as the
Choir Melodia. The Great Second Open Diapason was added at this time, and the
Choir tremolo deleted. By the 1980s, the organ was in need of a complete
restoration; nevertheless, it was heard at the 1988 OHS convention. The church
was damaged again by the Loma Prieta earthquake of 1989, and the parish closed
at that time. In 1995, the Archdiocese of Portland acquired the organ.
Disassembly and removal from Holy Cross Church began in September, 1995.
Smaller internal parts were carried by hand down a narrow staircase from the
balcony. Windchests, pedal pipes, reservoir, etc., were too large to handle in
this manner. A crane was erected outside the church, a hole was broken in the
roof just large enough to allow the crane hook to pass into the building, and
the large parts were lowered to the floor.

Restoration began with a thorough cleaning. All parts of the
original patented electro-pneumatic action were retained and restored,
including releathering. All pipes were washed and voiced for the new room.
Damaged pipes were repaired, missing pipes replaced. Front casework and console
were well preserved; it was necessary only to clean and repair scratches. Side
casework was re-engineered to provide access to the mechanism inside and
strengthened. The console mechanism was retained in its entirety, including 10
combination pedals. Stenciling on the facade pipes was copied, the pipes
stripped, and new paint applied using the original design. After much
deliberation, it was decided to add Mixtures to the Great and Swell, as well as
a Pedal 16'  Trombone. The
additions were carried out after study of extant mixtures and trombones built
by Murray Harris. 41 ranks, 37 stops.

GREAT

16' Double Open Diapason

8' Open Diapason

8' Open Diapason (2nd)

8' Viola da Gamba

8' Viola d'Amour

8' Doppel Flute

4' Octave

22/3 Octave Quinte

2' Super Octave

Mixture III-IV*

8' Trumpet

SWELL

16' Bourdon

8' Violin Diapason

8' Viol d'Orchestre

8' Aeoline

8' Voix Celeste

8' Stopped Diapason

4' Fugara

4' Harmonic Flute

2' Flautina

                        Cornet
IV*

8' Oboe

8' Vox Humana

                        Tremolo

CHOIR

8' Geigen Principal

8' Dulciana

8' Melodia

4' Violina

4' Flute d'Amour

2' Harmonic Piccolo

8' Clarinet

PEDAL

32' Resultant*

16' Open Diapason (wood)

16' Bourdon

16' Lieblich Gedeckt (Sw)

8' Violoncello

8' Flute Stop'd

16' Trombone*

*additions by Bond

Berghaus Organ Company, Inc., Bellwood, IL, has built a new organ for Trinity Lutheran Church,
Faribault, MN. The new organ comprises 23 ranks (1,263 pipes) on two manuals
and pedal. Slider windchests are used for the Great, Swell, and Pedal
divisions, with an all-electric action windchest for the Trompete stop. The
movable oak console has keyboards of maple naturals and rosewood sharps. Stops
and couplers are controlled by tilting tablets placed above the top keyboard.
Preparations have been made for future installation of MIDI. The Swell division
is located in wooden chambers to the left and under expression. Great division
is to the right of the Swell, and the Pedal is housed in a chamber behind the
Great.

GREAT

8' Principal

8' Rohrfloete

4' Octave

4' Spillfloete

22/3' Nasat

2' Hohlfloete

13/5' Terz

IV Mixtur

8' Trompete

                        Tremulant

                        Chimes

                        Zimbelstern
(prep)

SWELL

8' Gedackt

8' Viola

8' Celeste

4' Spitzfloete

2' Principal

11/3' Quinte

III Scharf-Zimbel (prep)

8' Schalmei

Tremulant

8' Trompete

PEDAL

16' Subbass

8' Offenbass

4' Choralbass

II Rauschquinte (prep)

16' Still Posaune

8' Trompete

4' Trompete

Temple Organs, St.
Joseph, MO, has rebuilt the 1968/1986 Wicks organ at West Hills Presbyterian
Church, Omaha, NE. All original pipework was retained in new casework of oak
trim over birch panels, painted to match the church walls. A new 3-manual
console includes an Artisan control system, with preparation for future digital
additions. The Principal, Octave, and Subbass form the facade. The low octave
of the 16' Trumpet, by Killinger, was added as a donation by one of the
church's organists, Dr. Ted Holyoke. Music director is Dwaine Price.

Analysis

16' Subbass (44 pipes)

16' Gedeckt (97)

8' Principal (61)

8' Geigen (73)

8' Gemshorn (61)

8' Gemshorn Celeste (77)

8' Bourdon (73)

4' Octave (73)

22/3' Twelfth (61)

16' Trompette (85)

8' Oboe (61)

                        Chimes
(25 tubes)

GREAT

8' Principal

8' Bourdon

8' Gemshorn

4' Octave

22/3' Twelfth

2' Fifteenth

Mixture III

8' Trompette

Chimes

Couplers

SWELL

16' Gedeckt

8' Geigen Principal

8' Rohrgedeckt

8' Gemshorn

8' Gemshorn Celeste

4' Prestant

4' Bourdon

22/3' Quinte

2' Blockflöte

13/5' Tierce

Scharf III

16' Trompette

8' Trompette

8' Oboe

4' Clarion

Tremulant

Couplers

CHOIR

Digital preparation

10 knobs

Couplers

PEDAL

16' Subbass

16' Lieblich Gedeckt

8' Principal

8' Pedalflöte

4' Choralbass

4' Rohrflöte

2' Super Octave

Mixture III

16' Trompette

8' Trompette

8' Fagotto

4' Clarion

Robert P. Rapp

Robert P. Rapp has combined careers in medicine and music, earning his M.D. degree from the University of Texas Medical Branch in Galveston in 1956. After serving in the U.S. Air Force, he went into private practice in Austin, Texas. Dr. Rapp has been active in the American Guild of Organists since age 14, serving as dean of the Austin chapter 1979–81. He studied organ in Galveston 1937–46 with Norman Niles and Georgia Anne Rahe, with Lee Norrell in San Antonio (1946–47), Anthony Rahe in Houston (1949–50), Walter Haacke in Wiesbaden, Germany (1958–60), and Jerald Hamilton at the University of Texas (1961–62). He has held church organist positions at St. Mary’s Cathedral, Galveston; St. Joseph’s German Church, Galveston; the Shrine of the Little Flower, San Antonio; First Baptist Church, Galveston; St. Matthew’s Episcopal Church, Austin; and Good Shepherd Episcopal Church, Austin. Dr. Rapp acted on behalf of St. Andrew’s Episcopal Church, Amarillo, Texas, beginning in 1996, to purchase the Aeolian-Skinner organ from the University of Texas, and worked closely with the UT Dean of Fine Arts, Dr. David Deming.

“The largest pre-war (World War II) Aeolian-Skinner built by G. Donald Harrison remaining almost entirely as built has been acquired by St. Andrew’s Episcopal Church, Amarillo, Texas.” Thus starts the article in The Tracker (Journal of the Organ Historical Society), volume 41, number 3, 1997.
In 1938, Dr. Ezra William Doty, at the age of 31, was hired to be the first dean of the College of Fine Arts at the University of Texas in Austin. At the time there was no faculty, no curriculum, no building, and a $64,000 budget for assembling all of these. In 1940, a new Music Building was built—the only air-conditioned building on the campus—and by 1942 Dean Doty had assembled an art, music, and drama faculty that combined professional expertise with academic credentials.
The October 1, 1941 issue of The Diapason reports that Aeolian-Skinner was awarded the contract to build a new instrument for the Music Building in the summer of that year at a price of $35,000.1 Their Opus 1024 quickly became the “crown jewel” of the school. Dr. Palmer Christian, professor of organ at the University of Michigan and with whom Dean Doty had studied, played the dedication on November 10, 1942.
In various issues of The American Organist in 1944, there are detailed accounts of the recital hall and the organ, along with much information long forgotten. Dr. Christian is quoted:

The new Aeolian-Skinner is an excellent job, one of the best yet. The clarified ensemble does not sound like a horrified ensemble—there is orchestral color. The Orchestral Oboe is excellent. The floating Positiv is a fine achievement, likewise the floating String Organ. Full organ is perfectly tempered to the size of the room—106 stops in a room seating 504—and the climaxes do not blow one out of the seats.2

Opus 1024 was described in the University of Texas campus newspaper The Daily Texan as being

eight organs in one: there is the Positiv, an authentic 17th-century instrument, and a Great organ which is designed in 18th-century tonal style. The usual Swell, Choir, Solo and Pedal organs are included, but these have a choice collection of orchestral solo stops. The other organs included in the one instrument are the Bombarde, which contains heavy reed stops, and a floating String division, both of which may be drawn on any of the four manuals or pedal. The console has four keyboards of 61 notes each and a pedal board with 32 notes. The round and square pipes are made of tin, lead, zinc, and wood.3
Thus began the life of this magnificent, state-of-the-art instrument, containing 6,173 pipes, 103 ranks, 106 stops and 84 voices, with 45 couplers and 70 combination pistons. It quickly became the landmark organ for Aeolian-Skinner. Organists and organ committees from afar came to play, listen, and gain insight into organ planning, construction, and choices of specifications.
As Opus 1024’s fame grew, so did Aeolian-Skinner’s reputation as the maker of highly esteemed organs. Opus 1024 stands out with its famous Aeolian-Skinner kin in Texas as a masterwork of American organ building. G. Donald Harrison last visited Opus 1024 on July 26, 1954. In his letter to Henry Willis (in London), he remarked that the temperature was an astounding 113 degrees!
The music library at the University of Texas verifies that 130 individual organists had performed 293 programs on Opus 1024 over the years 1942–1981. Among the famous organists presented were Catharine Crozier, Alexander Schreiner, Arthur Poister, David Craighead, Marcel Dupré, Carl Weinrich, Virgil Fox, Flor Peeters, Claire Coci, Fernando Germani, Marilyn Mason, Jean Langlais, E. Power Biggs, Robert Noehren, Jeanne Demessieux, George Markey, Vernon de Tar, Jack Ossewarde, John Weaver, Jerald Hamilton, Robert Baker, William Teague, Heinz Wunderlich, William Whitehead, Pierre Cochereau, André Marchal, John Rose, Peter Hurford, Gillian Weir, and Michael Murray.4
In 1965, after countless hours of heavy use for over 23 years by students and visiting artists, it became obvious that renovation was required. Aeolian-Skinner provided a new console, a new combination action, some mechanical repairs and revoicing of reeds, and some revoicing of flues at a total cost of $65,000.5
Following this, the organ was once again heard by the public. These performances were popular (and free), giving the listening public an opportunity to enjoy classical pipe organ music constantly, and continued until 1975. (Michael Murray was the last noted recitalist to perform in the series.) In 1979, Opus 1024 ceased to be used for degree performances. The churches about the campus were used instead. In 1981, the last public hearing of the organ was played by American Guild of Organists members, with Dean Doty in attendance.
In 1983 a new music building was completed (Bates Recital Hall), and a large tracker organ was installed there. The old Music Building recital hall was used for lecture space by the Architecture Department. Various music programs were given there, but the organ sat silent on stage, console locked, with façade pipes still visible.
So ends one chapter of Opus 1024; now begins the next. On February 11, 1996, an accidental fire destroyed St. Andrew’s Episcopal Church in Amarillo, Texas. It was at this time that it was brought to the attention of Margaret Lacy, the organist of St. Andrew’s, that perhaps the UT organ could be purchased and become a part of the new sanctuary.
After many inquiries and contacts with the UT regents and staff, in 1997 Opus 1024 was rescued from its “retired” status and bought by St. Andrew’s Church. The church chose Schoenstein & Co. to rebuild the organ because of the company’s Aeolian-Skinner connection (Louis Schoenstein worked for
E. M. Skinner, and Lawrence Schoenstein was the West Coast representative for Aeolian-Skinner).
From the very beginning of the construction of the new St. Andrew’s sanctuary, acoustics and placement for the instrument were of utmost importance. Space for the organ was prepared, similar in size to the organ chamber as it existed in the recital hall in Austin, but with better tonal egress. Thanks to the joint efforts of Margaret Lacy and the church’s forward-looking leaders, Jack Bethards, president and tonal director of Schoenstein & Co., Ewart “Red” Wetherill, acoustical consultant, and the Overland Partners, architects, of San Antonio, Texas, Opus 1024 was on its way to having a truly favorable environment to enhance its American Classic tones, which G. Donald Harrison had labored so hard to achieve.
In its Austin home, the only drawback the organ had was that the hall was without reverberation (planned that way by “experts”), so that G. Donald Harrison was never pleased with its placement. In fact, a news article in The Daily Texan of November 11, 1942 quotes a comment gleaned from audience criticism: “the auditorium is too completely lacking in echo.” Now, in Amarillo, it would have the luxury of 3–4 seconds of reverberation, thus giving all the qualities of sound that its original designer had hoped for.
Schoenstein & Co. meticulously made sure that the 1942 Harrison installation was true to the maker’s original tonal ideas. Any changes made in configuration were to the betterment of the pipe locations, with correct speech being maintained. These were as follows:
1) The huge pipes of the 32′ Contra Bourdon were put on the third level above the enclosed boxes for the Choir, Swell, String and Solo divisions, thereby giving them direct speech into the nave rather than being placed in a far left alcove as in Austin;
2) The 32′ Kontra Posaune pipes were likewise placed directly in front of the exposed chests (Pedal, Great, and Positiv divisions), giving them a similar clarity rather than being muffled as in the original layout;
3) The Solo Tuba 8′ did not fit properly on the Solo chest, and was placed unenclosed also in front of the exposed chests described above, thereby giving it direct egress (Research in Aeolian-Skinner records fails to reveal why the Tuba had been placed on a toe board that was too small. It may have been a last minute change, an error, or one of the 1964 changes.);
4) On the Solo chest in the Tuba position Schoenstein added their beautiful Symphonic Flute 8′, thus providing an open solo flute to complement the stopped one;
5) There were two complete changes. The Great mixture, Fourniture III–V, was of extremely large scale in the trebles and at full volume would have been too loud for its new home. Therefore 285 new pipes were made and the original pipes were carefully wrapped and boxed and are in the storage area of the new sanctuary. The same was true of the treble pipes of the Great Quint, which were replaced.
The organ has two additions other than the Symphonic Flute: a Cymbelstern and a medium-volume, medium-scale Pedal 16′ Bourdon. The original stopped Subbass of huge scale was too large in the responsive acoustics of the church and could be used only in large combinations. Its name was changed to Major Bass.
All this makes the organ absolutely complete, lacking nothing for any organist or literature being played. There should be no complaints from any source as to these enhancing changes to an instrument so well respected.
In August 2002, the new sanctuary was completed, and in September 2004 the installation of Opus 1024 began. The huge van arrived containing the vast cargo of the instrument. This included all eleven chests, along with the Vibraharp mechanism, the 62-year-old sugar pine wood for the structure and expression boxes (Choir, Swell, Solo, String, and Bombarde divisions), the reservoirs, tremulants, expression motors, and other parts that had been completely restored to their original pristine condition by Schoenstein over the prior three years.
Work was under the direction of vice president and plant superintendent, Louis Patterson. Tonal finishing was by Jack Bethards with Mark Hotzenpiller and Steuart Goodwin with Wendell Bolltyme. Other key Schoenstein personnel were David Beck, Peter Botto, Chris Hansford, Oliver Jaggi, Joe Lamberana, George Morten, Robert R. Rhoads and Chet Spencer. To provide mobility and multiple memories, the console was equipped with a Peterson ICS control system (replacing the original combination action and relay) and Harris stop knob actions.
Over the next several months, the people of St. Andrew’s marveled at the installation process, and eagerly awaited the day that they could hear Opus 1024. That day came in November 2004, when 25 ranks of the Swell and Choir were playing. Margaret Lacy played it for the first time and was just amazed. She said, “It was a glorious sound, and with over three seconds of reverberation time. Opus 1024 had been given a vibrant and thrilling new voice.” (Seventy-eight ranks were yet to be heard!) In February 2005 the installation was completed. All 103 ranks were in and playing. The Aeolian-Skinner was brought back to life.
The Amarillo Globe-News reported the event of the organ’s arrival as “An Unusual Organ Transplant.”6 There can never be a happier group than those people living in the city of Amarillo who weekly (and quite often daily) get to enjoy the tones of one of the most spectacular organs ever produced by the Aeolian-Skinner company.
The list of organists who have played Opus 1024 in its new home keeps growing, with each performer declaring what a thrill it is to play. The transition from Austin to Amarillo made all the difference and extended the playing life of Opus 1024.
The exciting inaugural event occurred in June 2005 with Thomas Murray performing solo and in conjunction with the Amarillo Symphony Orchestra (playing Handel’s Concerto in F and Poulenc’s Concerto in G). The future of the organ is nothing but exciting as Margaret Lacy continues to bring the brightest and best musicians to come and enjoy the renovated and renewed powerful and beautiful tones of Opus 1024, first heard 63 years ago.
Thus the organ has reached its final destination and fulfilled the dreams of not only its designer, but the dreams of a vast number of organists and non-organists in the west Texas city of Amarillo. It is waiting for any and all who desire to hear what a “vintage” Aeolian-Skinner can sound like in the electronic age. Nothing can compare to what you will experience when you sit in St. Andrew’s Episcopal Church on South Georgia Street.

St. Andrew’s Episcopal Church
Amarillo, Texas
Aeolian-Skinner Organ Co., Opus 1024
84 voices, 103 ranks

GREAT (3″ wp)
16′ Double Open Diapason*
16′ Quintaten
8′ Diapason
8′ Principal
8′ Bourdon
4′ Octave
4′ Rohrflöte
22⁄3′ Quint
2′ Super Octave
13⁄5′ Tierce
III–V Fourniture
III Cymbel
Vibra-Harp (Choir)
Harp (Choir)
Chimes (Solo)
Harp-Celesta (Choir)
Bombarde on Great
String on Great
* Rank to be added when casework is completed.

SWELL (3¾″ wp)
16′ Rohrgedeckt
16′ Contra Salicional
8′ Geigen Prinzipal
8′ Stopped Flute
8′ Flauto Dolce
8′ Flute Celeste
8′ Salicional
8′ Voix Céleste
4′ Oktave Geigen
4′ Flauto Traverso
22⁄3′ Nazard
2′ Flautina
13⁄5′ Tierce
IV Plein-Jeu
16′ Fagotto
8′ Trompette
8′ Oboe
8′ Vox Humana
4′ Clarion
Vibra-Harp (Choir)
Harp (Choir)
Harp-Celesta (Choir)
Tremulant
Bombarde on Swell
String on Swell
Swell 16′
Swell Unison Off
Swell 4′

CHOIR (3¾″ wp)
16′ Contra Viola
8′ English Diapason
8′ Concert Flute
8′ Viola
8′ Viole Sourdine
8′ Viole Celeste
8′ Dulciana
8′ Unda-Maris
4′ Fugara
4′ Harmonic Flute
2′ Zauberflöte
16′ Bassoon
8′ Clarinet
8′ Cor Anglais
Vibra-Harp
Harp
Chimes (Solo)
Harp-Celesta (Toe lever with indica- tor for dampers)
Tremulant
Bombarde on Choir
String on Choir
Choir 16′
Choir Unison Off
Choir 4′

BOMBARDE (7″ wp)
16′ Bombarde
8′ Trompette Harmonique
4′ Clarion Harmonique
IV–VI Grand Choeur

SOLO (10″ wp)
8′ Symphonic Flute
8′ Doppelflöte
8′ Violoncello
8′ Violoncello Céleste
4′ Concert Flute
8′ French Horn
8′ Orchestral Oboe
Chimes
Tremulant
8′ Tuba (Unenclosed)
Bombarde on Solo
String on Solo
Solo 16′
Solo Unison Off
Solo 4′

POSITIV (2½″ wp)
8′ Nachthorn
4′ Koppelflöte
22⁄3′ Nasat
2′ Prinzipal
13⁄5′ Terz
1′ Sifflöte
III Zimbel
Cymbelstern

STRING (10″ wp)
16′ Contre Viole
8′ Viole de Gambe
8′ Gambe Celeste
8′ Viole d’Orchestre
8′ Viole Celeste
8′ Gemshorn
8′ Gemshorn Celeste
4′ Violina

PEDAL (5″ wp)
32′ Contra Bourdon (ext. Major Bass)
16′ Principal
16′ Major Bass
16′ Sub Bass
16′ Contra Salicional (Swell)
16′ Contre Viole (String)
16′ Lieblich Gedeckt (Swell)
8′ Principal
8′ Gedeckt Pommer
8′ Still Gedeckt (Swell)
8′ Salicional (Swell)
51⁄3′ Quint
4′ Super Octave
4′ Nachthorn
2′ Spitzflöte
V Mixture
32′ Kontra Posaune
16′ Posaune
16′ Bombarde (Bombarde)
16′ Bassoon (Choir)
8′ Trumpet
4′ Clarion
2′ Rohrschalmei
Chimes (Solo)
Bombarde on Pedal
String on Pedal

Couplers
Great to Pedal 8′
Swell to Pedal 8′
Swell to Pedal 4′
Choir to Pedal 8′
Choir to Pedal 4′
Solo to Pedal 8′
Solo to Pedal 4′
Positiv to Pedal 8′

Swell to Great 16′
Swell to Great 8′
Swell to Great 4′
Choir to Great 16′
Choir to Great 8′
Choir to Great 4′
Solo to Great 16′
Solo to Great 8′
Solo to Great 4′
Positiv to Great 8′

Swell to Choir 16′
Swell to Choir 8′
Swell to Choir 4′
Solo to Choir 8′
Positiv to Choir 8′
Pedal to Choir 8′

Great to Solo 8′
Swell to Solo 8′

Great/Choir Transfer

Console
Peterson ICS-4000, capture combination action: 100 memories and lock
16 General pistons (13 duplicated by toe studs)
10 Great pistons
10 Swell pistons
10 Choir pistons
10 Solo pistons
10 Pedal pistons
4 Coupler pistons
1 Set piston
1 General Cancel piston
Programmable piston range for each memory

Swell to Great reversible piston and toe stud
Positiv to Great reversible piston
Choir to Great reversible piston
Solo to Great reversible piston
Swell to Choir reversible piston
Positiv to Choir reversible piston
Solo to Choir reversible piston
Great to Solo reversible piston
Swell to Solo reversible piston
Great to Pedal reversible piston and toe stud
Swell to Pedal reversible piston and toe stud
Choir to Pedal reversible piston and toe stud
Positiv to Pedal reversible piston
Solo to Pedal reversible piston and toe stud
32′ Posaune reversible toe stud
32′ Bourdon reversible toe stud
All Swells to Swell reversible piston and toe lever with indicator
Manual 16s and Pedal 32s Off reversible piston and toe lever with indicator
Mixtures Off reversible piston and toe lever with indicator
Reeds Off reversible piston and toe lever with indicator
Cymbelstern reversible toe lever
Full Organ reversible piston and toe lever with indicator

Three balanced expression pedals
Crescendo pedal with indicator
Pedal on Solo combinations
Pedal on Swell combinations
Pedal on Great combinations
Pedal on Choir combinations

Peterson ICS-4000 relay system

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