New Organs

Cover

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

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

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

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

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

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

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

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

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

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

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

—Thomas
R. Thomas

GREAT

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

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

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

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

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

Grave
Mixture II

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

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

SWELL

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

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

Plein
Jeu III

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

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

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

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

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

Tremolo

CHOIR

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

Tremolo

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—Larry Simpson

GREAT

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

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

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

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

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

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

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

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

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

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

Tremulant

Gt
16-UO-4

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Sw
16-UO-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

Couplers

Gt/Ped
8

Sw/Ped
8-4

Sw/Gt
16-8-4

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

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

New Organs

Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California

Opus 46

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

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

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

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

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

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

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

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

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

--Quimby Pipe Organs, Inc.

GREAT (unenclosed)

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

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Quint

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

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

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

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

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

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

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

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

Tremolo

Chimes
(Solo)

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

Tower
Chimes (prepared for)

MIDI
on Great

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

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

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

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

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

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

Tremolo

Chimes
(Solo)

MIDI
on Swell

CHOIR (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

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

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

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

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

Tremolo

Chimes
(Solo)

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

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

MIDI
on Choir

SOLO (enclosed)

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

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

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

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

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

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

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

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

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

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

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

Tremolo

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

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

Tower
Chimes (prepared for)

Chimes
(20 tubes)

MIDI
on Solo

PEDAL (unenclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Chimes
(Solo)

MIDI
on Pedal

Lively-Fulcher Organbuilders, Alexandria, Virginia

St. Olaf Catholic Church,
Minneapolis, Minnesota

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

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

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

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

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

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

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

--Lynn Trapp

GRAND ORGUE

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Quinte

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

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

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

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

Tremulant

Octaves
graves

Récit
sur G.O.

Positif
sur G.O.

Bombarde
sur G.O.

POSITIF EXPRESSIF

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

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

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

Tremulant

Octaves
graves

Récit
sur Positif

Bombarde
sur Positif

Positif
unison off

RÉCIT EXPRESSIF

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Octaves
graves

BOMBARDE (floating)

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

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

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

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

PÉDALE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tirasse
Bombarde

Tirasse
G.O.

Tirasse
Positif

Tirasse
Récit

G.O./Positif manual transfer

Chimes sur G.O.

Tower Bells sur Récit

Cymbelstern

Pedal & Manual pistons coupled

Sequencer

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

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

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

--Weston Harris

GREAT (enclosed)

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

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

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

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

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

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

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

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

Mixture
IV

Cymbale
III

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

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

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

Tremulant

Gt/Gt
16-4

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Sw/Sw
16-UO-4

POSITIV (unenclosed)

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

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

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

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

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

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

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

Pos/Pos

Pos/Gt

Tower
Bells (8 Whitehall bells)

STATE TRUMPET (unenclosed)

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

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

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

Trumpet
to Gt

Trumpet
to Sw

Trumpet
to Pos

PEDAL (enclosed in Great)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Full interdivisional couplers

*indicates unification

New Organs

Cover

Bedient Organ Company, Lincoln, Nebraska

Sharon United Methodist Church, Charlotte, North Carolina

The chancel of Sharon United Methodist sanctuary soars to a
height of about 55 feet from the chancel floor. However, the ceiling slopes
abruptly downward until it is scarcely 12 feet from the floor at the rear of
the sanctuary. Although the walls of the sanctuary are brick, it is a very
porous brick. These elements combined with carpeting and pew cushions made for
an interesting challenge in designing and voicing an instrument to sound well
in the space.

When the church was built in the 1960s, a large organ
chamber was incorporated into the front of the chancel. Directly in front of
the organ chamber is the choir area, which consists of four levels of risers.
We used the existing organ chamber which happens to be very solid, and the back
walls of the chamber were made from very hard, nonporous brick. Thus the
chamber projects the sound out into the room very effectively.

Sharon United Methodist Church has a very active music
program under the direction of organist/choirmaster/ composer David M. Hines.
Our goal was to create an organ rich in fundamental sound and one that would
generate a wide dynamic range for the various accompanimental tasks it would be
expected to perform. Equally important, it needed to lead hymn singing in the
Methodist tradition. For the
latter we chose 18th-century German instruments as a basic model to satisfy
this goal. For the accompanimental sounds we designed the Swell division of the
organ after 19th-century French and American traditions. All three traditions
provide a broad palette of musical possibilities which are useful to lead
worship at Sharon United Methodist Church.

The front of the organ chamber was enclosed with vertical
oak slats. We designed and built an organ façade of Honduras mahogany;
that is attached to the front of the organ chamber and gives the appearance
that the organ is in a case. The oak slats were cut away inside the
façade woodwork to permit maximum egress of sound.

The organ's key action is mechanical and controlled by a
detached console located at the front and center of the choir area. The
trackers are made of Alaskan yellow cedar, and run approximately 10 feet
horizontally and 12 feet vertically into the organ chamber. The console is of
the 19th-century French style and is therefore low and convenient for the use
of a director/organist. The keyboard naturals are covered with cow bone and the
accidentals are of ebony. The pedal keys are made of oak and the accidentals
are capped with moradillo. The stop knobs are made of cocobola.

The Great windchests are divided in two halves and are
placed at the front of the organ chamber with the bass pipes to the outside of
the chamber walls and the treble pipes towards the center. The Swell division
is located above the Great and is perpendicular to the façade, in the
tradition of many 19th-century French organs. Swell shades open on the end and
two sides to make the Swell very effective. The Pedal division windchests
utilize electro-pneumatic action and are located behind and to the side of the
Great windchests.

The stop action system is electro-pneumatic, utilizing high
pressure air cylinders activated by electric valves to move the windchest
sliders on and off. The console also includes a multi-level solid state
combination action.

The 29 sets of pipes in the organ are combined into 29
individual stops and total 1,550 pipes. Most of them are made of an alloy of 2%
tin and the remainder lead. The pipes of the Great Trompete are mounted
horizontally at the impost level of the façade. The resonators of the
horizontal Trompete are made of 80% tin. The façade pipes are made of
zinc. The wooden pipes are made of poplar and mahogany. The metal open flue
pipes are cone tuned and the stopped metal pipes have soldered caps for good
tuning stability.

Wind to the manual divisions is supplied by a single large
horizontal bellows which is located on top of the Swell box. The Pedal division
has a separate reservoir for each windchest.

The organ was installed starting in February 1999. It was
dedicated on September 19 by David Arcus, Duke University Chapel Organist, who
played for the morning services and performed an organ recital in the
afternoon. James Kelbaugh was chairman of the organ committee. Johnny Bradburn
was a consultant on the project. A CD recording of the Arcus recital is
available from the Bedient website:

www.4w.com/bedientorgan/

--Gene R. Bedient

The organbuilders: Alan Baehr, design, façade
woodwork, assembly, installation, supervision; Gene Bedient, concept, design,
keyboards, installation, voicing, administration; Gwen Bedient, administration;
Ryan Consolver, structure; William Fenster, structure, action, wind system,
assembly, installation; Duane Grosse, metal pipes, assembly, wooden parts,
wiring; Jerry Hill, façade woodwork, assembly, installation, supervision;
Chad Johnson, production control, wooden pipes, wiring, wooden parts, assembly,
installation; Rick LaBrune, windchests, wooden parts, assembly; Paul Lytle,
windchests, wooden parts, assembly, supervision, installation, administration;
Sarah Ohlschwager, financial management, administration; Dan Oltjenbruns,
action parts; Stan Pypenko, metal pipes, assembly; Ed Stibal, structure, swell
box, wooden parts, assembly; Kathy Vaughan, metal pipes; Fred Zander,
windchests, wooden parts, pedalboard, assembly, supervision.

GREAT

16'
style='mso-tab-count:1'> Principal
(1-2 from Ped)

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

8'
style='mso-tab-count:1'> Rohrflöte

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

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

22⁄3'
style='mso-tab-count:1'> Quinte

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

Mixture
III-V

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

SWELL

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

13⁄5'
style='mso-tab-count:1'> Tierce

Cymbale
III

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

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

PEDAL

32'
style='mso-tab-count:1'> Contrebasse
(1-12 resultant, 20-30 from Princ 16')

16'
style='mso-tab-count:1'> Principal
(1-2 from 32', 3-12 Gt)

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

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

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

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

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

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

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

Couplers

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

Patrick J. Murphy & Associates, Inc
style='font-weight:normal'>., Stowe, Pennsylvania, has built a new organ for
St. Mark's Lutheran Church in Pennsburg, Pennsylvania. A compact instrument of
two manuals and 27 ranks, the new organ replaces a 1929 Möller of two
manuals and 12 stops. The installation utilized an existing chamber on the left
of the chancel as well as modifying the existing façade to create a
striking visual and musical effect. The stoplist includes five stops from the
former Möller as well as some strings and reeds by Aeolian-Skinner. The
resulting stoplist handles a wide range of solo literature as well as providing
resources for hymn and anthem accompaniment, including MIDI capability. The
organ also features a hand-crafted white oak console built in the Murphy shop.
The inaugural service took place on December 3, 2000, and the dedicatory
recital was by Michael Krentz on May 20, 2001.

GREAT

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

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

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

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

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

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

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

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

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

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

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

MIDI

SWELL

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

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

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

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

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

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

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

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

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

16'
style='mso-tab-count:1'> Clarinet
(73 pipes)

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

Tremolo

MIDI

PEDAL

16'
style='mso-tab-count:1'> Contrabass
(24 pipes)

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

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

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

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

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

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

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

2'
style='mso-tab-count:1'> Flute
(Gt Bdn)

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

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

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

MIDI

J W Walker & Sons Ltd, Brandon, Suffolk, England, has built a new organ for Nykerk Hall of
Music at Hope College, Holland, Michigan. Situated on campus in the studio of
Dr. Huw Lewis, this mechanical-action organ was designed primarily as a
teaching organ. Due to limited space, three stops are shared between the Great
and Pedal divisions, and the larger basses are shared between Choir and Swell
divisions, which share one Swell box. The stop action is electric with solid
state combination and sequencer actions.

GREAT

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

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

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

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

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

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

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

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

Fourniture
IV

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

Sw/Gt

Ch/Gt

SWELL

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

13⁄5'
style='mso-tab-count:1'> Tierce

Mixture
III

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

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

Tremulant

CHOIR

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

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

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

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

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

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

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

Sw/Ch

PEDAL

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

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

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

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

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

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

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

Sw/Ped

Gt/Ped

Ch/Ped

Elmer E. Goetz,
formerly of Daytona Beach, Florida (currently of Bloomfield, New Jersey) has
recently completed a new 29-rank organ for Trinity Lutheran Church of Holly
Hill, Florida. For this instrument, his Opus V, Mr. Goetz was assisted by
volunteer labor from members of the congregation. Built on site, the
two-and-a-half year project allowed time for changes, additions, and
improvements to the original specifications. Several ranks were added requiring
a few design modifications. The tonal finishing was under the direction of
Allan Van Zoeren and Thomas Helms. One of the hallmarks of this organ is a
translucent principal chorus which permits clear counterpoint and leadership
for hymns, canticles, and responses. All pipework came from Aug. Laukhuff of
Germany and Stinkens of Holland. The specifications were drawn up by Mr. Goetz,
with Allen Van Zoeren of Portland, Oregon, and Robert Penn of Port Orange,
Florida, as consultants.

The chest work is all electric action operating on 2.75
inches of wind pressure. The electronics employ the Syndyne Multiplexing
System, which can be programmed directly on the driver boards. The casework and
console are made of solid oak with walnut trim; inner frame supports are of
poplar. Three crosses adorn the facade: one 24-inch cross at the top of the
casework and two 11-inch crosses on the outside towers. The case is 26 feet
high, 18 feet wide, and 7 feet deep. The dedication recital was played by
Thomas Helms on December 3, 2000.

GREAT

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nasat

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

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

13⁄5'
style='mso-tab-count:1'> Terz

11⁄3'
style='mso-tab-count:1'> Quint

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

Trumpet

Celeste

SWELL

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nasat

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

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

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

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

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

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

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

PEDAL

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

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

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

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

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

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

51⁄3'
style='mso-tab-count:1'> Quint

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

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

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

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

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

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

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

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

New Organs

Cover

Berghaus Organ Company, Inc., Bellwood, Illinois

First United Methodist Church, DeKalb, Illinois

The Berghaus Organ Company of Bellwood, Illinois, recently
completed the installation of a three-manual organ of twenty-eight registers
and thirty-five ranks for the First United Methodist Church of DeKalb,
Illinois. The church is a late nineteenth-century structure in the so-called
Akron design that was popular among Methodist churches at the time. In plan,
the room is square with the balcony, center aisle and visual axis on the
diagonal, and in this case the organ is along one side behind an arch. The
ceiling of this alcove is likewise arched like a band shell that helps project
the sound of the organ.

Except for the Solo Trumpet, the stop-list involves no
unification, and most of the instrument is placed on three slider windchests
that correspond to the three sections of the façade design. The Great,
Swell, and Pedal divisions stand respectively behind the left, center, and
right hand sections of the façade, with the Solo Trumpet placed in front
of the Swell. The façade pipes, masking the Great and Pedal, are from
the 8' Principals of those divisions, and screening the Swell enclosure
are the first twenty-three of the 16' Quintadena (six of them are around
the corners) with internal canisters as stoppers. This central section is
cantilevered further forward than the other two by a steel frame supporting all
the windchests and the façade, the weight of which is counterbalanced by
the windchests behind it.

The wind pressure of each of the three slider windchests is
70 mm and the Solo Trumpet is on 130 mm. A few ranks were retained from the
previous organ: the 8' Rohrflöte and 4' Holzflöte on the
Great, the Swell Viole, Celeste and 11/3' Spitz Nasat, and the 4'
Choralbass and III rank Mixtur of the Pedal. Schwimmers are built into each of
the three slider windchests to ensure absolute wind stability, and reservoirs
are used to wind the various offset and unit windchests.

The console is mobile and the Great division is played from
its lowest keyboard, the Swell from the middle, and the Solo from the highest
one. This manual, which is provided primarily for the Solo Trumpet and MIDI,
also serves as a coupling manual from the other two. Stops and couplers are
controlled by drawknobs in a traditionally arranged console, and there is
digital readout for the ninety-nine levels of combination memory, piston
sequencer, transposer, and crescendo.

The façade pipes are 75% polished tin, and the tin
content of the new metal pipes, made by Giesecke in Germany, ranges between 52%
and 75%. The wooden Subbass and Swell Holzgedackt were made by John Nolte in
Milwaukee. The reeds include a 16' Posaune with pine resonators, an
8' Oboe with capped resonators and adjustable tone holes, an 8'
Trompete as a blending ensemble reed with German shallots, an 8' Solo
Trumpet with copper hooded resonators and parallel shallots, and a 4'
Holzregal with mahogany resonators and German closed shallots.

Specification and tonal design were by Leonard Berghaus,
voicing by Kelly Monette and John Streufert, visual design and engineering by
Allyn Hoverland, and construction and installation by Brian and Todd Berghaus,
Fred Beal, Mark Ber, Gordon Bruns, Jeff Hubbard, Mat Kessler, Kurt Linstead,
Mike Pelton, Jordan Smoots, Paul Sturm, and Randy Watkins.

David McCleary was chairman of the organ committee and was
closely involved in the entire
project from beginning to end. The Berghaus Company wishes to thank him and everyone
at First United Methodist, DeKalb, for their cooperation, help and confidence
in us.

—Allyn Hoverland

Designer,
Berghaus Organ Company

GREAT

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

8'
style='mso-tab-count:1'> Prinzipal
(façade)

8'
style='mso-tab-count:1'> Rohrflöte

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

4'
style='mso-tab-count:1'> Holzflöte

22⁄3'
style='mso-tab-count:1'> Quinte

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

13⁄5'
style='mso-tab-count:1'> Terz

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

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

Tremulant

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

SWELL

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

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

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

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

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

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

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

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

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

Tremulant

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

SOLO

16'
style='mso-tab-count:1'> Solo
Trumpet TC (ext)

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

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

Chimes

PEDAL

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

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

8'
style='mso-tab-count:1'> Prinzipal
(façade)

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

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

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

16'
style='mso-tab-count:1'> Posaune
(L/2)

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

Tremulant

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

Couplers

Sw/Sw
16-UO-4

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

Gt/Solo
16-8-4

Sw/Solo
16-8-4

Gt/Ped
8-4

Sw/Ped
8-4

Fabry Inc., Fox Lake, Illinois, recently completed phase two
of the up-dating and tonal additions for the 1966 Möller organ (opus
10216) at First Presbyterian Church, Rockford, Illinois; three manuals, 63
ranks. Phase one, completed in September of 1999, consisted of solid state
conversion of the console and relay system, the addition of three Pedal
electric 32's, electric tremolos, and electric expression systems. The
original 45-degree shutter system was changed to 90 degrees for better tonal
egress. The console is prepared for MIDI and several remaining tonal additions.
Phase two, completed in November of 2000, consisted of tonal additions and
changes. The new specification was designed by the church organist, Ryan A.
Kasten, and Fabry Inc. A new Positive division was installed directly above the
existing Swell division, with the bottom of the chest inside the Swell chamber
for easy maintenance. A new passage board and ladder system was built to aid in
tuning. The back wall of the Choir division was cut and pushed out to make room
for all the additions. New chests in the Great division were mounted on legs
above the existing pipes. The original Swell Mixture III toe boards were
removed and drilled to hold a new IV Mixture. All 13 new electro-pneumatic chests
were made by David G. Fabry. The dedication was held on November 10, 2000,
played by Ann Labounsky assisted by Lewis Steele, cantor. Crew leaders on the
project include Joseph W. Poland and David G. Fabry. Photo by Photographic
Design of Racine, Wisconsin.

GREAT

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

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

8'
style='mso-tab-count:1'> Harmonic
Flute (new)

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

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

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

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

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

II
style='mso-tab-count:1'> Sesquialtera
(1–12 new)

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

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

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

Tremolo
(new, electric)

Zimbelstern
(new)

Chimes
(moved)

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

Tremolo
(new, electric)

POSITIVE (new)

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

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

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

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

2'
style='mso-tab-count:1'> Doublette
(moved from Gt)

III
style='mso-tab-count:1'> Scharf
(moved from Sw)

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

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

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

Tremolo
(new, electric)

CHOIR

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

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

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

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

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

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

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

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

11⁄7'
style='mso-tab-count:1'> Septieme (new)

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

4'
style='mso-tab-count:1'> Trichter
Regal

Tremolo
(new, electric)

PEDAL

32'
style='mso-tab-count:1'> Contra
Bass (new, electric)

32'
style='mso-tab-count:1'> Subbass
(new, electric)

32'
style='mso-tab-count:1'> Resultant
(new, wired)

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

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

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

102⁄3'
style='mso-tab-count:1'> Quint

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

8'
style='mso-tab-count:1'> Principal
II (Pos)

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

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

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

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

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

32'
style='mso-tab-count:1'> Bombarde
(new, electric)

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

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

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

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

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

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

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

*Re-voiced

New Organs

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois, Opus 27

St. David's Episcopal Church,
Glenview, Illinois

From the builder

This instrument of 23 stops was installed and completed in
time for Easter Day, 2002. The church's limited ceiling height offered us quite
a design challenge. We wanted the instrument's design to assist the eye, to
give the illusion of greater height in a room in which the architecture did
not. Additionally, there was insufficient room in the balcony for the entire
organ. Therefore, the Swell and Pedal Organs are encased on the balcony floor,
but the Great Organ is housed in the smaller case overhanging the balcony rail.
The cases and console are made of beautiful dark walnut; the pipe shades in the
Great case are made of basswood. The façade pipes of the Great and Pedal
Principals are made of polished 75% tin. The roman mouths, round towers, and pipe
shades relate to the arched windows and the barrel vault ceiling. The Tuba is
made of polished copper, and is mounted horizontally off the pediment at the
top of the Swell case. Since its resonators tend to disappear into the shadows,
this somewhat "un-Georgian" feature does not disturb the proportions.

The instrument reflects my tonal aesthetic, in which the
organ's primary responsibility is to accompany singing and be an active and
full participant in the liturgy. To this end, the organ's tonal forces can be
smoothly built up in a seamless crescendo; unison pitched stops of softer
volumes are incorporated into the specification to offer a great variety of
accompanimental textures; a lyrical cantabile reed on each manual may be used
for obbligato playing and coloring of ensembles. The full swell has the
necessary "clang" to dramatically color the full organ, but can
accompany the choir when the shutters are closed. The Tuba, here voiced on 11 inches of wind, sings smoothly,
but commandingly, above the full organ for thrilling rendering of ceremonial
music.

The instrument plays solo organ literature of many styles
and periods with an innate musicality and warmth. The choruses are finely
balanced within themselves, and between divisions. The chorus reeds color the ensembles,
adding just enough fire in this close acoustical environment to spice things
up, but not overtake. The mixtures truly reinforce fundamental pitch, and
clarify ensembles, rather than confuse them.

It has been a privilege and honor to design and build this
new pipe organ for the people of Saint David's Church. Special thanks to their
Rector, The Rev. Graham Smith, music director Victoria Jicha, and the kind
parishioners and members of the organ committee and vestry who became
captivated by our somewhat unconventional visual design and layout, fell in
love with our tonal style, and worked tirelessly to prepare the space for the
new instrument.

Thanks also to my dedicated staff who
style="mso-spacerun: yes"> worked tirelessly to have the
instrument ready for Easter--in a year in which Easter came as early as
possible(!): Brian Davis, associate tonal director; Steve Downes, tonal
assistant; Charles Eames, general manager; JoAnne Hutchcraft, reception; Bob
Leach, cabinetmaker; Stuart Martin, cabinetmaker; Ken McCabe, winding system;
Evan Rench, shop manager and tonal assistant; Jay Salmon, office manager; Ray
Wiggs, windchests; Keith Williams, service manager.

--John-Paul Buzard

From the organist and choirmaster

The organ committee that met for the first time in August,
1999, was charged by the vestry to research the need for a new organ. The
committee produced an informative brochure, Sound Exultations, that outlined
the history of music at St. David's, defined the present musical needs of the
parish, and made recommendations for a new pipe organ. The pamphlet was
distributed to the congregation and meetings were held to answer any questions
that parishioners might have. With vestry approval committee members visited
many churches in the Chicago area during the next few months to hear organs by
various makers and invited five organ builders to submit proposals; four
companies responded affirmatively. Visits with these companies were scheduled
through out the summer of 2000, and by November it was clear that the design
submitted by Buzard Organ Builders was the most creative approach to an
inherent architectural problem-a limited ceiling height.

However, two more organ tours were scheduled-one in
December, and a second in January, 2001 to insure that the decision was
correct. Paul Frazer presented the committee's recommendation to the vestry in
February and a contract was signed with Buzard Pipe Organ Builders March 1,
2001.

The organ design required extending the loft into the nave
approximately eight feet, and the previous organ was removed during the summer
to begin the loft reconstruction. Worship services were led by the choir from
the front of the church, accompanied by a piano, from September 2001 until
early November when the loft construction was finished. March 4, 2002 the organ
arrived in thousands of pieces, and the installation was completed by Easter
Day, March 31st, 2002. The organ committee included Marilyn Berdick, Louise
Curry, Linné Dosé, Paul Frazer, Victoria Jicha, Debbie Lowe, Lonn
Myers, Graham Smith, Newland Smith, and Norman Smith.

-Victoria Jicha

Organist and Choirmaster

Saint David's Episcopal Church,

Glenview, Illinois

John-Paul Buzard Pipe Organ Builders, Opus 27

23 stops, 29 ranks

GREAT (4" wind)

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

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

8'
style='mso-tab-count:1'> Melodia
(open wood)

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

Tremulant

Cymbalstern
(7 bells)

Chimes
(21 tubes)

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

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

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

SWELL (4" wind)

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

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

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

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

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

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

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

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

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

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

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

Sw/Sw
16-UO-4

PEDAL (4" & 41⁄2" wind)

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

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

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

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

8'
style='mso-tab-count:1'> Principal
(polished tin in façade)

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

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

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

16'
style='mso-tab-count:1'> Trombone
(41⁄2" wind)

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

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

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

Gt/Ped
8-4

Sw/Ped
8-4

A. E. Schlueter Pipe Organ Company
style='font-weight:normal'> of Lithonia, Georgia, has completed a new
instrument for Lumpkin United Methodist Church in Lumpkin, Georgia. This
congregation in rural Georgia pursued replacement of their electronic
instrument with several goals in mind. Foremost was the desire for the superior
sound of wind-blown pipes and the longevity of a pipe organ. Many of the organ committee
members were descendants of the founders or longtime members of this church and
they saw this project as an opportunity to provide an instrument for future
generations.

The placement of this instrument was a challenge because
there was no planned space for a pipe organ and no good location for the
console. The sanctuary is a half-round configuration with seating for 125
congregants. With proper placement of the organ, the intimacy and acoustics of
the room would allow the use of moderate scales and unforced voicing.

The former choir loft was immediately considered for
placement of the organ. It offered an offset right exposure that would allow
placement of the organ in proximity to the choir and worship center.
Furthermore, the adjacent non-parallel surfaces offered excellent dispersion of
organ tone throughout the sanctuary. Proving to be the ideal space, the niche
dimensioned at 10' of width, 5' of depth, and 14' of height, had in recent
years been used for the piano and electronic organ. To solve the problem of
console location, it was decided to provide an attached console. This location
of the organ resulted in the offset of four choir chairs that were moved to the
right and left forward of the organ case.

Architecturally the organ case is historically inspired and
evocative of design elements found in many southern rural churches around the
turn of the century. This blends well with the church architecture that is
itself a blending of many style elements found in Southern post-Reconstruction
architecture. The pipe shades are open carvings composed of interlocked arched
elements; they are gilded and ornament the pipe towers and upper organ case.
The gilding is antiqued to soften the visual impact of this otherwise strong
case element. The organ case was constructed of rift-sawn white oak finished to
match the sanctuary furnishings.

The tonal design of small instruments offers challenges that
are not present with larger instruments. The balance, timbre, weight, and
speech of each register take on greater importance inter and
intra-divisionally. Tonally the organ was conceived to provide the resources
that are normally found in a much larger instrument while maintaining
independence of choruses. It was determined that the two-manual instrument
should have a complete principal chorus, a flute chorus, a companion celeste
for the Viole de Gamba, an ensemble/solo Trompette, and adequate pedal
inclusive of two 16' registers--achieved within a 9-rank scheme.

In this design, it was important to maintain division
independence and to minimize octave parallel borrows within a division. For
example, the Great can be registered with flutes and principals at 8', 4', 2',
and Mixture II for congregational accompaniment without the presence of
parallel borrows. The organ is conceived as a one-manual instrument duplexed to
two manuals under one common expression (Principal 8'--unenclosed). This
expressive treatment allows unique duplexing of organ stops. The duplexing was
designed so that the Swell 8' Gedeckt plays as the 4' Gedeckt in the Great. The
Great 8' Koppelflute plays as the 4' Koppelflute in the Swell. This allows 8'
and 4' divisional independence. Stop design, mixed materials
style="mso-spacerun: yes"> (wood and metal), variable scales and
careful voicing allow for the full effectiveness of this tonal design. The
pedal division necessarily has the most duplexing. However, careful
registrations can allow manual and pedal independence.

Though small, the completed instrument embodies tonal
concepts key to all instruments that A. E. Schlueter Pipe Organ Company builds.
It is a revision and expansion of the eclectic American classic concept. Very
simply put, the tonal ideal is to have "warmth not at the expense of
clarity and clarity not at the expense of warmth."

The console drawknobs are of turned macasar ebony with
engraved insets. Other console features include tracker touch keyboards,
playback/record capability, and multi-level combination memory.

The completed instrument visually and tonally ties itself to
the sanctuary as it serves in worship. One of the finest compliments paid to
the firm was made by an elder member of the congregation: "It looks as if
it were designed with the building and has always been here. Now that it's
here, we can't imagine not having it."

A. E. Schlueter Pipe Organ Company (www.pipe-organ.com) can
be reached at P.O. Box 838, Lithonia, GA 30058, or via phone at 770/482-4845.

--Arthur E. Schlueter III

GREAT

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

8'
style='mso-tab-count:1'> Koppelflote
(37 pipes, bass from Subbass)

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

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

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

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

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

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

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

Sw/Gt

SWELL

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

8'
style='mso-tab-count:1'> Viola
(49 pipes, 1-12 Ged)

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

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

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

2'
style='mso-tab-count:1'> Waldflote
(24 pipes)

11⁄3'
style='mso-tab-count:1'> Quint (54 notes)

II
style='mso-tab-count:1'> Sesquialtera
(37 pipes)

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

Tremolo

PEDAL

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

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

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

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

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

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

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

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

Gt/Ped

Sw/Ped

Schoenstein & Co.,
San Francisco, California, has completed a two-manual, 11-rank organ for First
Church of Christ, Scientist in Belvedere, California. In the late 1930s G.
Donald Harrison and Walter Holtkamp each developed very interesting designs for
small churches that did not want unit organs. This instrument was inspired by
Harrison's design for a one-manual organ disposed over two manuals and pedal
with couplers. The choice and position of voices makes it quite versatile
despite its small size. The softer voices are in the open and the stronger ones
are under expression. The Flugelhorn is based on E.M. Skinner's successful
model. The church, designed in 1953 by renowned architect Warren Callister, is
one of the most respected examples of modern church design in America. An
important element of the project was making the instrument blend so perfectly
with the church fabric so as to make no intrusion on the lovely interior, which
has become a shrine for students of architecture. Mr. Callister worked closely
with Schoenstein, particularly on the console design, which is in a
"neo-craftsman" style and is made of oiled genuine mahogany. The
instrument comprises nine registers and 11 ranks on electric-pneumatic action,
18 speaking stops, 671 pipes.

--Larry Simpson

GREAT

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

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

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

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

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

Tremulant

Gt
4

Sw/Gt
16-8-4

SWELL

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

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

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

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

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

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

Tremulant

Sw
16

Sw
4

PEDAL

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

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

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

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

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

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

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

Gt/Ped
8

Sw/Ped
8

New Organs

Cover

Martin Pasi, Roy, Washington

Bedford Presbyterian Church, Bedford, New York

The Millennium Organ

The organ committee of Bedford Presbyterian Church, Bedford,
New York, was charged to commission an organ that would fulfill the roles of
leading congregational singing, accompanying the church's choirs, and
playing a broad range of solo organ literature. It must also blend well with
the elegant Carpenter Gothic architecture of the 1872 church, and give a long
life of reliable service.

After studying and listening to many organs over a period of
several years, the committee determined that the church's needs would
best be met by a new mechanical-action pipe organ designed and built by Martin
Pasi. He developed a 2-manual organ of 29 stops to be placed in a rebuilt and
extended rear gallery. The organ is entirely encased in painted solid poplar
casework. Its shape and decorative elements pick up architectural elements from
the sanctuary. The organ is laid out horizontally in order to preserve a view
of the large rear window. Therefore the pipes of the Great and Pedal divisions
are placed on windchests divided on either side of the Swell, which is slightly
lower in the center of the case. The pedal Subbass and Posaune stand on a
separate chest at the lower rear of the organ. The organ has a suspended key
action with the console detached from the organ case, allowing the choir to see
the organist clearly. The stop action is electric with an eight-level
combination action. The console and bench are made of cherry, with walnut
highlights.

The organ draws its principal tonal inspiration from the
great North German organs of the 17th
and 18th centuries, leavening its resources with several stops inspired
by 19th and 20th century models. The presence of three façade Principals
at 8-foot pitch is unusual for an organ of this size. Of the organ's reed
stops all but the Oboe are inspired by stops in the baroque organs of North
Germany, especially those built by Arp Schnitger. The Oboe is modeled after
stops by Cavaillé-Coll. An unusual addition to the organ's tonal
palette is the Chamade, which begins at middle C on the Great. All of the
pipes, metal and wood, flue and reed, were made in the Pasi shop, from the
casting of the metal through to the completed pipes. The metal pipes are made
of hammered lead. The Subbass and the lowest 12 pipes of the Great Bourdon are
made of poplar, the only wood pipes in the organ.

The organ is tuned in the Kellner/Bach unequal temperament,
which favors the keys nearer C Major, and yet remains harmonious through all
keys.

Following time-honored principles gleaned from the work of
the great historic organ builders, Martin Pasi has built a thoroughly modern
organ to serve the musical needs of an active church at the beginning of the
new millennium. The congregation of Bedford Presbyterian Church is inspired by
their new organ's warm and lively sounds. The Rev. Kathryn L. Nichols is
minister of music and outreach. Dr. Mark A. Brombaugh was consultant.

—Mark A. Brombaugh

GREAT

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

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

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

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

4'
style='mso-tab-count:1'> Rohrflöte

22⁄3'
style='mso-tab-count:1'> Quinte

22⁄3'
style='mso-tab-count:1'> Nasard

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

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

13⁄5'
style='mso-tab-count:1'> Tierce

Mixture

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

8'
style='mso-tab-count:1'> Chamade
(c')

SWELL

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

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

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

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

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

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

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

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

Sesquialtera

Scharf

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

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

PEDAL

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

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

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

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

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

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

Sw/Gt,
Gt/Ped, Sw/Ped

Tremulant
to entire organ

Zimbelstern
with rotating gilded star

Vogelgesang

Suspended
key action

Solid-state
combination action (8 memory levels)

Kellner/Bach
1/5-comma temperament

Temple Organs, St.
Joseph, Missouri, has completed a new organ for St. John LaLande Catholic
Church, Blue Springs, Missouri. Most of the 40 ranks of pipes were taken from
the Austin organ, op. 2409, purchased from Trinity United Methodist Church,
Tallahassee, Florida. This is the largest organ built by the Temple Company
since the re-tirement of its founder N. Frederick Cool in 1999. Since 1953
Temple Organ has built and rebuilt over 150 pipe organs.

The low two octaves of aluminum Great and Pedal 16'
Principals, by Justin Matters, form matching facades in this newly renovated
modern building. The acoustics were improved in spite of the low central
ceiling. Clerestories on either side made possible the inclusion of independent
16' stops in all divisions. Cornets are playable on all divisions as well.
Summary: 33 speaking stops, 40 ranks.

Music director Ron Sondag and organist David Wischmeier
collaborated with David Cool and Jon Bertschinger of Temple Organs in achieving
the largest and most tonally independent stoplist possible in the limited space
available. Mr. Wischmeier played the dedication recital.

GREAT

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

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

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

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

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

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

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

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

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

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

2'
style='mso-tab-count:1'> Spitzflote
(Hohl)

13⁄5
style='mso-tab-count:1'> Terz
(Ch)

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

Cornet
V (Ch)

8'
style='mso-tab-count:1'> Bombarde
(Ped)

Chimes
(prep)

SWELL

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

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

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

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

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

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

22⁄3
style='mso-tab-count:1'> Nazard

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

1'
style='mso-tab-count:1'> Scharf
III (ext Mix)

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

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

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

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

Tremulant

CHOIR

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Quint

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

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

13⁄5'
style='mso-tab-count:1'> Terz

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

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

2⁄3'
style='mso-tab-count:1'> Cymbel
III

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

Tremulant

PEDAL

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

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

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

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

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

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

102⁄3'
style='mso-tab-count:1'> Grossequinte (Gems)

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

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

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

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

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

51⁄3'
style='mso-tab-count:1'> Quinte (Gems)

31⁄5'
style='mso-tab-count:1'> Terz (Ch)

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

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

Mixture
IV (Gt)

32'
style='mso-tab-count:1'> Grossekornet
VI (Ch)

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

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

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

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

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

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

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

Andover Organ Company,
Methuen, Massachusetts, has completed restoration and repair work on the 1884
Ryder organ, opus 124, at the United Methodist Church, Woburn, Massachusetts.
The organ reservoir blew a gusset right before a wedding in August 2000. As
Andover taped up the reservoir to get through the weekend, the church planned
for some major work on the organ. The congregation had transferred the
two-manual, 12-stop organ to their present building in 1890.

First in the current project, Andover releathered the
reservoir. In addition, there had been problems for years with the pedals. Upon
replacing the very worn pedal trackers, Michael Eaton of Andover discovered
that the tracker guide had been installed two inches too high, a simple mistake
in construction that caused trackers to splinter and break over time. This rail
was lowered, pedal and coupler action redone, all trackers, nuts, and punchings
replaced, rollerboard cleaned and repinned, and a new brass pin installed in
the pedal square rail. The pedal coupler backfall was repaired and repinned,
and received new nuts and punchings.

GREAT

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

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

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

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

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

Sw/Gt

Gt/Gt
4'

SWELL

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

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

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

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

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

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

Tremolo

PEDAL

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

Gt/Ped

Sw/Ped

New Organs

Cover

Grant Edwards, Portland,
Oregon

Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia

From the builder

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

Temporary lodging

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

From the Northwest to the Southeast

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

Nips and tucks

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

Small is beautiful

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

A tonal world where none exclude

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

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

A firm foundation

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

Features create flexibility

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

Heavenly casework

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

Summary

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

--Grant Edwards

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

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

From the organist

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

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

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

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

John E. Wigal

Organist/Choirmaster

Grant Edwards, Portland, Oregon, Opus 1

Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia

16 ranks, 810 pipes

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

Lower Manual

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

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

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

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

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

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

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

Mixture
III (double-draw)

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

Upper Manual

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

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

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

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

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

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

Tremulant
(affects entire organ)

Pedal

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

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

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

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

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

Lower
Manual to Pedal

Upper
Manual to Pedal

Manual
Coupler

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

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

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

—Wes Remmey

Fenris Pipe Organ, Inc.

GREAT

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

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

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

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

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

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

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

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

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

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

Gt/Gt
4

Sw/Gt
16-8-4

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sw/Sw
16-4

Tremolo

PEDAL

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

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

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

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

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

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

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

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

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

Gt/Ped

Sw/Ped

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

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

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

--James Lauck

Lauck Pipe Organ Company

GREAT

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

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

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

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

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

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

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

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

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

Gt/Gt
4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

SWELL

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Sw/Sw
16-UO-4

CHOIR

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

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

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

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

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

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

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

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

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

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

Tremulant

Ch/Ch
16-UO-4

Sw/Ch
16-8-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

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

GREAT

8'
style='mso-tab-count:1'> Open
Diapason (new, façade, 28%)

8'
style='mso-tab-count:1'> Stopped
Diapason*

4'
style='mso-tab-count:1'> Octave*

22/3'
style='mso-tab-count:1'> Twelfth*

2'
style='mso-tab-count:1'> Fifteenth*

4'
style='mso-tab-count:1'> Cornet
IV (new, from c13-c49, 28%)

11/3'
style='mso-tab-count:1'> Mixture III-IV (new,
28%)

8'
style='mso-tab-count:1'> Trumpet
(new, zinc & 52% resonators)

SWELL (enclosed)

8'
style='mso-tab-count:1'> Geigen
Diapason+ (1-12, stp fl)

8'
style='mso-tab-count:1'> Stopped
Flute+ (1-6 new, cypress)

8'
style='mso-tab-count:1'> Voix
Céleste*

4'
style='mso-tab-count:1'> Principal+

4'
style='mso-tab-count:1'> Flute+

2'
style='mso-tab-count:1'> Flautino+

16'
style='mso-tab-count:1'> Bassoon
(new, 52% resonators)

8'
style='mso-tab-count:1'> Hautboy
(new, 52% resonators)

PEDAL (flat pedalboard)

16'
style='mso-tab-count:1'> Bourdon
(new, soft maple)

16'
style='mso-tab-count:1'> Trombone
(new, zinc & 28% resonators)

* E. & G.G. Hook, 1870

+ Stevens & Jewett, 1856

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