New Organs

Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

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

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

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

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

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

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

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

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal  (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

                        Great
to Great 4

                        Swell
to Great 16-8-4

                        Choir
to Great 16-8-4

                        Zimbelstern

SWELL

16'  Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola  (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4       

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave  (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass  (32 pipes)

II Rauschquint (64 pipes)

II Mixture  (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

 

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

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

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

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

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

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

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

                        Positiv
to Hauptwerk

                        Hauptwerk
to Pedal          

                        Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

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

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

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

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

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

                        Gt
& Sw to Ped 8

                        Sw
to Gt 16-8-4

                        Gt
4

                        Sw
16-UO-4

                        Antiph
to Ped 8

                        Antiph
to Gt 8

                        Antiph
to Sw 8

J. Zamberlan & Co.,
Wintersville, Ohio
Oakmont Presbyterian Church, Oakmont, Pennsylvania
The firm’s Opus 2 began as a two-manual Möller of 16 ranks and 1,054 pipes, built in 1991 as Opus 11826—quite possibly one of the last instruments produced by Möller. When inspected in the spring of 2004, several of the principal ranks already exhibited signs of collapse; in addition, the 4′ chest cantilevered out over the choir had begun to droop, and access within the chamber was a challenge.
The church expressed interest in expanding the instrument to three manuals. A new Great, securely cantilevered out from the chamber façade, is now ideally located to lead congregational song. All pipework of this division is new except for the mixture, which was retained but rescaled with some new pipework, to be lower in pitch. Five decorative panels from previous choir light enclosures were refinished and the highlights gilded before being attached to the front of the Great casework. The old Great chest inside the chamber has become a Positive, with the locations formerly occupied by the collapsing Principal 8′ and Octave 4′ now filled by a Viola 8′ and Prestant 4′, which are much happier in the allocated space. The low octave of the Viola is on an offset chest with the new Trompette 8′. A 3-rank Scharff was installed on a new toeboard where the old mixture was located. The Swell was retained as is, due to restricted space.
Although not part of the original proposal, in the end the wind system within the chamber was essentially rebuilt, replacing long runs of Flexaust with solid conductors and adding winkers to all divisions. Although the bottom part of the chamber now includes a full-length Bombarde 16′ (the low 18 resonators are mainly of copper and lie on their sides) unified to 8′ and 4′, access is much easier. Wind pressures are 75 mm for the Great, 87 mm for the Swell, 76 mm for the Positive, and 80 mm for the Pedal.
A new three-manual console was provided as well. Its curved, terraced stopjambs place a large number of stops within convenient reach of the organist, while also providing for a lower overall profile. The shell is of quartersawn white oak, stained and finished, while the interior is of Honduras mahogany, including the music rack, finished with oil and paste wax. Stopknobs, piston bodies and expression shoes are of bocote, while the stopknob disks, toe stud labels, piston faces and nameplate are laser engraved on certified legal ivory. The keyboard naturals are of fine-grained bone, with sharps of ebony. The compasses are 61/32 and the temperament is Kellner.
The organ now comprises 25 ranks and 1,551 pipes. It was dedicated on Sunday, June 26, 2005, by Dr. David A. Billings, director of music and organist at the church.
—Joseph G. Zamberlan
740/765-9028
[email protected]

GREAT (Manual II)
16′ Bourdon (Pos)
8′ Diapason
8′ Bourdon
8′ Viola (Pos)
8′ Gemshorn (Sw)
4′ Octave
2′ Fifteenth
11⁄3′ Mixture III–IV*
8′ Trompette
Cymbelstern
Chimes*

SWELL (Manual III, enclosed)
8′ Rohrflöte*
8′ Gemshorn*
8′ Gemshorn Céleste (from c13)*
4′ Spitzprincipal*
4′ Rohrflöte (ext)*
4′ Gemshorn Céleste (ext)*
2′ Spitzoctave (ext)*
11⁄3′ Quinte (ext)*
16′ Contre Trompette*
8′ Petite Trompette (ext)*
4′ Clarion (ext)*
Tremulant*

POSITIVE (Manual I)
16′ Bourdon*
8′ Viola
8′ Gedackt (ext)*
4′ Prestant
4′ Gedackt (ext)*
2′ Gedackt (ext)*
22⁄3′ Sesquialtera II (from c13)*
1′ Scharff III
8′ Trompette (Gt)
8′ Schalmei*
Tremulant*

PEDAL
16′ Principal*
16′ Bourdon (Pos)
8′ Octave (ext)*
8′ Gedackt (Pos)
8′ Rohrflöte (Sw)
4′ Choralbass (ext)*
4′ Gedackt (Pos)
32′ Bassoon (electr)*
16′ Bombarde
16′ Contre Trompette (Sw)
8′ Trompette (ext)
4′ Clairon (ext)

*from Möller

Swell to Great
Positive to Great
Swell to Positive
Swell to Swell 16′
Swell Unison Off
Positive to Swell
Great to Pedal
Swell to Pedal
Positive to Pedal
Positive to Pedal 4′

Tutti
Manual transfer switch I/II

Dobson Pipe Organ Builders,
Lake City, Iowa
University of Delaware,
Newark, Delaware
For years without a pipe organ on campus, the University of Delaware in Newark is now the home of Dobson Op. 74, a two-manual mechanical-action instrument of 22 ranks. Made possible by the generosity of Edward and Naomi Jefferson and named in their honor, the new organ is installed in the original home of Newark’s St. Thomas Church (Episcopal), which stands adjacent to the campus and was purchased and restored by the university for use as a small recital hall. Deconsecrated in 1956, the former church’s subsequent physical decline has been arrested by a careful restoration directed by Homsey Architects of Wilmington, Delaware.
Located in an intimate setting with only seventy seats, Op. 74 has been designed primarily for use as a teaching and recital instrument. It is capable of accommodating a generous range of organ literature and is well suited for use with small instrumental ensembles. Because of the modest size of the hall, the voicing treatment emphasizes warmth and color rather than strength or brilliance. The metal pipes are made of alloys containing from hammered 12% tin to burnished 75% tin. The Pedal Subbass and basses of the manual 8' flute stops are made of poplar and cherry, while the Great Flute 4' has open pipes of hard maple. The instrument is voiced on a wind pressure of 70 millimeters, supplied from a large, weighted, single-rise reservoir.
The instrument’s location in a balcony of modest depth led to the unusual placement of the console on the right side of the instrument when viewed from the front. The Great is located immediately adjacent to the console; the Swell, whose enclosure has shutters on three sides, is in the center of the case; the Pedal is at the left side. The casework is constructed of white oak with a fumed, oiled and lacquered finish, and is embellished with colors and 24K gold leaf. The woodwork of the drawknob console incorporates black walnut, ebony, rosewood, Carpathian elm burl and cow bone. The instrument has mechanical key and stop actions. For increased versatility, a system of mechanical duplexing permits the three Pedal voices to play at both unison and octave pitches.
Dedication series recitalists included David Herman (Trustees Distinguished Professor of Music and University Organist), Thomas Trotter, and William Owen. In addition to being the first organ on campus, the instrument carries another distinction: it is thought to be the first pipe organ whose entire installation, from delivery to final tuning, was broadcast live on the Internet. Video clips and stills recorded by the webcam can still be found at
<http://www.udel.edu/pipeorgan/&gt;.
—John Panning

GREAT (58 notes)
8' Prestant
8' Chimney Flute
4' Octave
4' Flute
2' Super Octave
11⁄3' Mixture IV
8' Trumpet
Swell to Great

SWELL (58 notes, expressive)
8' Bourdon
8' Salicional
4' Principal
4' Chimney Flute
2' Piccolo
11⁄3' Gemsquinte
22⁄3' Cornet II
8' Oboe
Tremulant (affects entire organ)

PEDAL (32 notes)
16' Subbass
8' Principal
8' Gedackt (ext)
4' Choralbass (ext)
16' Trombone
8' Trumpet (ext)
Great to Pedal
Swell to Pedal

Fowler Organ Company, Lansing, Michigan, Opus 21
Andrews University, Theological Seminary Chapel
Berrien Springs, Michigan
The instrument is centered in the front of the chapel, which seats approximately 400. It is housed in a free-standing case built of red oak with the console contained within the case. The case is a contemporary adaptation of a classic case form with the bass pipes of the 8' Principal/8' Pedal Octave in flamed copper. The upper flat is from the Great Principal, the lower flat is the Pedal Octave, both in polished tin.
Since the instrument dominates the front of the chapel, it was felt that it needed to make a statement of purpose beyond simply being a musical instrument. The pipe shades were designed in collaboration with the builder and carved by Norman Moll; he and his wife Dorothy are significant benefactors to the university and to this instrument. The carvings are symbols that can be seen both in a traditional sense and yet be open to wider interpretation. The center tower contains the circle surrounding the Alpha and Omega, representing God the Father and creator eternal. The other carvings—the dove, the lamp, the book, and the praying hands—can be interpreted in a variety of ways depending on the experiences of the viewer. These are set on a background of rays radiating outward, clad in flamed copper.
The layout of the instrument follows the case design with the Swell in the lower center, the Great directly above, and the Pedal divided on either side. The action is electro-mechanical throughout, and the operating system is multiplex solid state. This includes a multi-memory combination action, transposer, and MIDI control with onboard synthesizer and sequencer. The manual keys are rosewood with maple sharps; the drawknobs were hand turned from hard maple by Mr. Moll’s father.
Tonal design follows an “American Classic” model. The flues are generously scaled, voicing is lightly articulate and clearly defined. The reeds are quite colorful and distinctive. The Great Cromorne, built with “clarinet” style resonators and closed German shallots, has the ability to play solo or blend into the ensemble. The Trompette is extended to 16' with half-length basses and Cavaillé-Coll-style shallots.
—Brian Fowler

GREAT
8' Principal
8' Bourdon
4' Octave
4' Rohrflute
22⁄3' Nazard
2' Blockflute
13⁄5' Tierce (T/C)
III Mixture
8' Trompette (Sw)
8' Cromorne
Tremulant
MIDI on Great
16' Swell to Great
8' Swell to Great
4' Swell to Great
16' Great
Unison Silent
4' Great

SWELL
8' Holz Gedeckt
8' Viole de Gambe
8' Viole Celeste (T/C)
4' Harmonic Flute
4' Viola
2' Principal
8' Trompette
8' Cromorne (Gt)
4' Clarion
Tremulant
MIDI on Swell
16' Swell
Unison Silent
4' Swell

PEDAL
32' Resultant Bass
16' Subbass
16' Gedecktbass
8' Octave
8' Bourdon
4' Choralbass
2' Doublette
16' Bombarde
8' Trompette
4' Cromorne
MIDI on Pedal
8' Great to Pedal
4' Great to Pedal
8' Swell to Pedal
4' Swell to Pedal

Accessories
Multi-memory combination action
Transposer
Sequencer
Digital synthesizer
Balanced swell expression
Crescendo pedal

 

Bedient Pipe Organ Company, Roca, Nebraska
Residence of Elaine Mann,
Chippewa Falls, Wisconsin
In August, Gene Bedient installed and voiced Bedient Opus 82 at the home of Elaine Mann, Chippewa Falls, Wisconsin. Ms. Mann is organist at Grace Lutheran Church, Eau Claire, Wisconsin. She has written following the installation: “I just want you to know how happy I am with the organ. It is a dream come true.”
The intent was to design and build a small, encased organ with sensitive but not fragile suspended action, an ideal instrument for practicing. It features keyboards with natural playing surfaces of blackwood and accidentals of hard maple. The 30-note concave-radiating pedalboard has oak and maple playing surfaces. Wind is supplied from a small wedge bellows that is located in the top of the organ case.

MANUAL I
8′ Rohrflute (58 pipes)

MANUAL II
8′ Gedackt 8 (46 pipes; 1–12 common with Rohrflute)

PEDAL
Manual II/Pedal

 

R. T. Swanson, Inc.,
Grand Ledge, Michigan
Salem Lutheran Church,
Owosso, Michigan
Salem Lutheran Church was established in 1862, and its current edifice was built in 1893. The church’s first pipe organ was built by the Reuter Organ Company of Lawrence, Kansas in 1922 as Opus 70. This two-manual, 11-rank instrument was installed in a chamber located to the left of the chancel and above the sacristy. In 1964, William Kaltrider of Owosso, Michigan, relocated the organ to the rear gallery and added a new console and seven new ranks.
Deteriorating leather and other problems caused the church to request a proposal from our company. We agreed to build an essentially new organ of 21 ranks, reusing three ranks of the 1922 pipework and all seven ranks of the 1964 pipework. All of the old pipework was reconditioned and revoiced in order to blend with the new. While the 1964 console was recycled, it was refitted with new manual keyboards with rosewood naturals and maple sharps and new drawknobs. A new solid-state combination action and relay system were provided, which feature full MIDI capability. Action is electro-mechanical.
The new casework was designed to be in architectural harmony with the 1893 structure and is cantilevered into the room in order to provide better projection for the Great division. The new Swell enclosure helps focus and project the Swell division’s tone. Wind pressures are 3″ for the Great and 4½″ for the Swell.
—Richard Swanson

GREAT
16′ Rohrflöte (ext 8′)
8′ Principal
8′ Rohrflöte
8′ Gemshorn
4′ Octave
4′ Hohlflöte
22⁄3′ Twelfth
2′ Fifteenth
11⁄3′ Mixture III
8′ Trompete
Chimes
MIDI on Great
Great to Great 16, UO, 4
Swell to Great 16, 8, 4

SWELL
8′ Holzgedeckt
8′ Viole de Gambe
8′ Voix Celeste TC
4′ Principal
4′ Spitzflöte
22⁄3′ Nazard TC
2′ Octave (ext 4′ Principal)
2′ Spitzflöte (ext 4′ Spitzflöte)
11⁄3′ Larigot (ext 22⁄3′)
13⁄5′ Tierce TC
Tremulant
8′ Hautbois
MIDI on Swell
Swell to Swell 16, UO, 4

PEDAL
32′ Resultant
16′ Subbass
16′ Rohrbass (Gt)
8′ Octave
8′ Bassflöte (ext 16′ Subbass)
8′ Gemshorn (Gt)
4′ Superoctave (ext 8′ Octave)
4′ Flöte (ext 16′ Subbass)
2′ Twentysecond (ext 8′ Octave)
16′ Posaune (ext Gt 8′ Trompete)
8′ Trompete (Gt)
4′ Hautbois (Sw)
MIDI on Pedal
Great to Pedal 8, 4
Swell to Pedal 8, 4

Parkey OrganBuilders,
Duluth, Georgia
Opus 11, First Presbyterian Church, Gainesville, Georgia
Our first conversations with Michael Henry, director of music for First Presbyterian Church, Gainesville, Georgia, took place in early 2007. At that time, the church had a two-manual, 23-rank Möller organ installed in 1975. Our discussions revolved around the mechanical condition of the Möller and the limitations of the tonal design. The church knew that work was imminent for the Möller in order to maintain reliability. As usual, funding remained an issue.
In mid-2008, Joseph S. Hatfield, a local business owner and church member, made provisions for a large bequest shortly before he passed away. This meant that the budget actually became larger than originally projected, and the discussions expanded to replacement of the Möller organ. The planning process broadened to include a consultant, James Mellichamp, Vice-President of Academic Affairs and organ professor of Piedmont College in Demorest, Georgia.
The original organ was a product of the neo-baroque influence and presented many challenges for use in church services. Our collaboration with Dr. Mellichamp produced a new three-manual and pedal specification of 40 ranks. The specification was designed to provide a more comprehensive instrument for choral accompaniment, congregational hymns, and an expansive list of organ literature.
The new organ incorporates two enclosed divisions—Swell and Choir. The Great and main Pedal stops remain unenclosed. Secondary Pedal stops are drawn from the Swell and Choir divisions, offering options for enclosed Pedal. The organ offers a tremendous level of independent stops, with very minimal unification. Three principal choruses are available. The primary principal chorus is located in the Great division, with a secondary principal chorus located in the Choir division. The Pedal division also features its own independent chorus from 16′ pitch to Mixture. The organ retains some of the flutes and strings from the previous Möller. These stops were rescaled and revoiced for new locations and pitches. We then completed the complement of flutes. Along with new strings in the Swell division, a secondary string and celeste stop were added to the Choir division.
The Great division is more eclectic than our previous designs. The principals are generously scaled, with the foundation pitch focused on the 8′ rather than the 4′ pitch as in the previous organ. The principals offer a warm body of sound, with a clear articulation and singing character to provide an excellent backbone for congregational singing. The 8′ and 4′ flutes offer a nice complement to the principals, while providing good color on their own. The 8′ and 4′ flutes also provide the foundation for a complete French flute Cornet décomposé. The Great Trompete is of German design, so while powerful it allows for a good blend with the principal chorus for ensemble use.
The Swell division is conceived as a French-based design, including the use of harmonic flutes at 4′ and 2′ pitches. The Trompette is fiery and is complemented by the 16′ Basson and 8′ Oboe. The commanding presence of the 8′ Trompette in the space did not require a 4′ reed. The foundations are drawn from the 8′ Viola and 8′ Chimney Flute, with the focus of the chorus from the 4′ Principal. Our use of violas helps to reinforce the 8′ foundation in a division that does not contain separate principal or diapason tone. Our violas provide a slightly more weighted sound, yet retain the sonority of string tone. The 4′ Harmonic Flute and 2′ Octavin (Harmonic Piccolo) provide a soaring intensity for the Swell division and tie in well to the Plein Jeu IV. The swell box construction features our own sound-insulated, double-wall design for excellent expression, providing a much greater effect than the previous Möller swell box.
The Choir division offers the versatility of an English Choir, while blending some of the options for sounds of a Positiv. The Choir features the same style of expression box construction as the Swell division. An 8′ Violin Diapason is our starting point for the Choir division. The 8′ Violin Diapason and 4′ Violin Principal were conceived to provide some of the missing sounds from the old organ. First Presbyterian has long enjoyed the presence of a strong choral ministry, with an expansive repertoire of anthems and oratorios from the Baroque period to the contemporary era. The shortcomings in choral support and expressiveness of the Möller organ were the main considerations and concerns of the organ committee. The principals and the inclusion of an 8′ Dulciana and 8′ Unda Maris add a new dimension of options and sound that the organist never had in the old organ. The 2′ Principal and 11⁄3′ Quint add the final clarity to the Choir division with sparkling elegance. The 8′ Schalmei provides a pleasant crossover between a small ensemble reed and a light solo reed.
The Pedal division provides more than ample undergirding for the entire organ. A new polished façade comprises the Pedal 16′ Principal and 8′ Octave as well as the bass of the Great 8′ Principal. The division hosts an independent 16′ Subbass, 4′ Choral Bass, 4′ Nachthorn, Mixture III, and 16′ Posaune. After our discussions with the consultant, we provided both a 32′ Resultant and a derived 32′ Cornet from the tonal resources. Both offer that extra level of depth in the pedal line between soft and full registrations.
During the construction of an organ at Parkey OrganBuilders, it is our goal to provide a cohesive musical instrument. While adopting influences and ideas from many of the schools of organ construction, the specification nomenclature and the tonal finishing reflect the solidity of American organbuilding. One of the best compliments we receive regularly is that “stops blend beautifully and do what they are supposed to do.” Much care is given to the scaling of each stop as it relates to its solo and ensemble needs. All of our instruments are carefully finished in their space at completion of the installation.
When tracker action is not an option, our firm elects to use electro-pneumatic action in slider, unit, and pitman variations. Winding systems are always regulated via wedge or box reservoirs for optimal control, yet allowing for a gentle wind flex to prevent a sterile sound. Our operation in Duluth, Georgia is one of the largest facilities in the southeastern United States dedicated solely to the construction of pipe organs. Our use of modern-day technology—including CAD (computer-aided design), Photoshop, and CNC (computer numerically controlled) machinery—allows us to create organs with artistic flair, established mechanical designs, and high levels of accuracy. Our staff is involved with the creation of the organ from paper to final installation. Custom consoles, casework, windchests, wooden pipework, and winding systems are all constructed in our Duluth location.
The console for Opus 11 is constructed in a solid walnut case with burled walnut veneers as well as maple, mahogany, and ebony. The console features turned wooden drawknobs in ebony with maple faces. Engravings provided throughout are laser-engraved in our shop. Custom English keyboards feature bleached bone naturals with ebony sharps. Our ergonomic designs for console construction are based on AGO standards to provide a comfortable familiarity for the organist. Solid State Organ Systems are used for capture, relay, and MIDI and are known the world over for their reliability and intuitive designs for the organist.
We appreciate the cooperation of Michael Henry and the staff and members of First Presbyterian Church, Gainesville, Georgia. The church has made a conscious effort already on three occasions to involve children and youth in the organ project through the removal of the original pipework, an excursion to our shop to view the new organ through assembly, and a hands-on “bringing in the pipes” event for celebratory installation of the first pipes on Epiphany. We also thank James Mellichamp for his direction and cooperative collaboration in this instrument. The end results have provided a substantial experience in both sight and sound. Instruments of this caliber continue to provide enthusiasm and excitement for our staff. The dedicatory recital is scheduled for April 18, 2010, and will be performed by Dr. Mellichamp. First Presbyterian Church appreciates the generosity of Mr. and Mrs. Joseph S. Hatfield, who made this project a reality.
—Phillip K. Parkey
President and Tonal Director
Parkey OrganBuilders

Parkey OrganBuilders
Staff listing, Opus 11
Tonal design and finishing: Phillip Parkey
Mechanical engineering and visual design, installation: Michael Morris
CNC operations for console, structure, windchest construction winding systems and installation: Philip Read, Josh Okeson
Console and relay wiring, installation: Doug Rogers
Chest actions, wiring, winding, assembly, installation: Otilia Gamboa
Office manager and installation: Josh Duncan
Voicing and tonal finishing, installation: Kenny Lewis

Parkey OrganBuilders, Opus 11
First Presbyterian Church,
Gainesville, Georgia

GREAT (Unenclosed)
16′ Bourdon Swell
8′ Principal 61 pipes
8′ Metal Gedackt 61 pipes
4′ Octave 61 pipes
4′ Spitz Flute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Tapered Flute 61 pipes
13⁄5′ Tierce 61 pipes
11⁄3′ Mixture IV 244 pipes
8′ Trompete 61 pipes
8′ Fanfare Trumpet Prepared for
Tremolo
Zimbelstern

SWELL (Enclosed)
16′ Bourdon 12 pipes
8′ Chimney Flute 61 pipes
8′ Viola 61 pipes
8′ Viola Celeste GG 54 pipes
4′ Principal 61 pipes
4′ Harmonic Flute 61 pipes
2′ Octavin 61 pipes
1′ Plein Jeu IV 244 pipes
16′ Bassoon 12 pipes
8′ Trompette 61 pipes
8′ Oboe 61 pipes
Tremolo
Swell 16
Swell Unison Off
Swell 4

CHOIR (Enclosed)
8′ Violin Diapason 61 pipes
8′ Gedeckt 61 pipes
8′ Dulciana 61 pipes
8′ Unda Maris TC 49 pipes
4′ Violin Principal 61 pipes
2′ Principal 61 pipes
11⁄3′ Quint 61 pipes
8′ Schalmei 61 pipes
8′ Fanfare Trumpet Great
(Uncoupled)
Tremolo
Choir 16
Choir Unison Off
Choir 4

PEDAL
32′ Resultant 32 notes
16′ Principal 32 pipes
16′ Subbass 32 pipes
16′ Bourdon Swell
8′ Octave 12 pipes
8′ Bass Flute 12 pipes
4′ Choral Bass 32 pipes
4′ Nachthorn 32 pipes
2′ Mixture III 96 pipes
32′ Cornet V 32 notes
16′ Posaune 32 pipes
16′ Bassoon Swell
8′ Trompete 12 pipes
4′ Schalmei Choir
8′ Fanfare Trumpet Great

Couplers
Great to Pedal 8
Great to Pedal 4
Swell to Pedal 8
Swell to Pedal 4
Choir to Pedal 8
Choir to Pedal 4

Swell to Great 16
Swell to Great 8
Swell to Great 4
Choir to Great 16
Choir to Great 8
Choir to Great 4

Swell to Choir 16
Swell to Choir 8
Swell to Choir 4

MIDI on Swell
MIDI on Great
MIDI on Choir
MIDI on Pedal

Great/Choir transfer

Capture System
(100 levels of memory)
10 general pistons, thumb and toe
6 divisional pistons, thumb/manual
6 divisional toe studs for Pedal
Swell to Pedal reversible, thumb and toe
Great to Pedal reversible, thumb and toe
Choir to Pedal reversible, thumb and toe
Swell to Great reversible, thumb only
32′ Resultant reversible, toe only
32′ Cornet reversible, toe only
Zimbelstern reversible, thumb and toe
Full Organ reversible, thumb and toe
General Cancel, thumb only
Set piston, thumb only

“Any Piston Next” sequencer

Full MIDI interface and record/playback is included
Cover photo by Travis Massey, Magic Craft Studio

Hupalo & Repasky Pipe Organs, LLC, San Leandro, California

St. Maria Goretti Parish, Scottsdale, Arizona

Hupalo & Repasky Pipe Organs bring Möller Opus 10,731 into the 21st century
Located due east of Phoenix, the Scottsdale parish of St. Maria Goretti today boasts a healthy membership of 1,200 families. Established in 1967, by 1971 the parish had constructed its present church building based on the floor plan of a Greek cross. Going up from the cross arms of the floor are four hyperbolic arches, which meet to form a center dome rising to a height of 70 feet. In 1973 M. P. Möller, Inc. completed its Opus 10,731 for St. Maria Goretti parish consisting of 39 ranks in five divisions.

Visually the Möller design at St. Maria Goretti is reminiscent of the Cadet Chapel organ in Colorado Springs. At St. Maria Goretti, the Great, Choir, Swell, and Pedal are installed in a gallery over the north transept. Speaking from a balcony in the west transept is the Nave division. The large four-manual console was placed in the choir area between the main part of the organ and the sanctuary.

Unfortunately, the organ was installed without service lights in the organ chambers. Any service person walking into the organ was not only faced with the formidable task of tuning a multi-layered organ, but also with attempting to fix numerous note failures. Without proper lighting, these undertakings would have overwhelmed even the most seasoned organ technician. The increasing inability to properly maintain the organ coupled with the popularity of guitar and piano accompaniments led the organ down a path toward oblivion. Its salvation lay in the organ’s stunning visual design (a constant reminder to the parishioners that they actually had a pipe organ) and the vision of a handful of people.
Inspired by the new guidelines on music for the Roman Catholic Church, Ann Weiss, director of music and liturgy for the church, decided to take action. With the help and support of the pastor, Fr. Greg Schlarb, Weiss formed a plan to save the organ. A generous benefactor was found within the parish who provided the funds for a restoration and had the forethought to include provisions for future maintenance. With the blessings of Bishop Thomas J. Olmsted, the project to renovate the organ took shape.

In April of 2005, Hupalo & Repasky Pipe Organs (H&RPO) were contacted to evaluate the organ’s condition. It was found that the Nave division, bearing the full brunt of the late afternoon sun, had suffered the most leather deterioration. The remainder of the organ, located in the north transept, was not far behind in this respect. The church is cooled by a large swamp cooler. Normally, an air-conditioning system reduces humidity in a building, but the swamp cooler does the opposite. This added humidity in the room caused severe corrosion on the metal tuners and the surface of the exposed pipework. The large four-manual console also exhibited typical leather failure, worn bushings, and corroded contacts.

By May of 2005, the church had decided to retain and restore the original Möller chest actions and layout without alterations. The console, however, was another matter. Due to its size, there was no sight line for the organist to any spot in the church. A four-manual drawknob console is not easy to see over. The bulky console also hindered the pianist’s view to the sanctuary.

Ann Weiss asked if we could build a smaller console yet have all the controls of the old Möller console. The new console would also need to be easily movable. Now for the question that may have been the deal breaker. Could we finish releathering the entire instrument and provide a new console by September 1, 2005? The answer was no. A compromise was therefore in order. We could releather the organ and have it playing by September. The new low-profile solid-state console would by ready for the rededication on December 1. An agreement was reached, and we started the work in May.

The project began with the removal of the numerous reservoirs; there were at least three per division. The term “impacted molar” took on an entirely new meaning. The intricate web of wind trunks was then removed. Next, all bottom boards came down. All pipes were taken out for cleaning and fitted with new stainless steel tuning slides. Washing of the pipes was begun outside the church. As soon as the temperature reached 115°, Fr. Greg, acting like a good shepherd, moved us into a more comfortable air-conditioned space in the parish hall.

By the end of the very hot summer of 2005, all the cleaned pipes with their new tuners were placed back in the organ after service lights were installed and all the toe and rack boards were vacuumed and cleaned. Before the releathered pouch boards were installed, all the pitman valves and retainers were replaced. Next, the numerous releathered regulators were put in place and wind lines reattached. The organ was then made (minimally) playable to the old four-manual console.

As far as the new console was concerned, everyone at H&RPO agreed a terraced drawknob console would solve the sight line problems. A maximum height of 48" was our goal. Mark Dahlberg, our design/engineer, was given the job of designing the console. He developed a plan incorporating casters directly inside the console thus eliminating the need for a rolling platform. For the new console, it was decided to eliminate the top Nave manual and make it a floating division. When completed, the new three-manual console measured 47" from floor to the top of the console lid. We installed a solid-state switching and combination system in conjunction with optical key sensing.

The cabinetry of the console incorporated the finest quality materials. They were selected not only to match the case of the existing instrument, but also to blend with the details of the environment. The console shell is made from quarter-sawn white oak with a tung oil finish. A six-sided marquetry design taken from the church’s cast bronze doors was incorporated into the upper side and back panels. The jambs and nameboard are European pear wood with a French polish. To accentuate the connection between the organist’s fingers and the keys, we prefer to use organic materials for key coverings. The natural keys therefore were made of polished bone. The sharps are made of the darkest ebony known (diospyros mollis, often used in black dyes). Rosewood key cheeks were chosen to contrast with the pear wood. Ebony was used for the hand-turned stop knobs. To distinguish the MIDI stops, mesquite, a native tree of the Southwest, was selected. The console connects the organist with the pipes in order to create music. Because of this, it is necessary for the console to be a pleasing and well-planned tactile environment for the musician. The music rack, stop faces, pedalboard, and the adjustable bench must be all carefully and ergonomically located in order to work together and assist the organist’s ability to communicate through the instrument.

By November, the new console was in Scottsdale ready to be connected and by the first of December it was ready for its debut. Dr. Robert Huw Morgan, Stanford University Organist, was chosen to be the rededication recitalist.

The following personnel and suppliers were involved in this successful project: Rick Celestino, Mark Dahlberg, John N. Hupalo, Bill Klinger, Joe Lamberina, Steve Repasky, Samuel Rohas, Jan Rowland, William Visscher, Shayne Ward, Classic Organ Works, F. Booth & Son, Ltd., P&S Supply Company, and Organ Supply Industries.

—John Hupalo & Steve Repasky




Blessing and Program, December 1, 2005

St. Maria Goretti Parish, Scottsdale, Arizona

Bishop Thomas Olmsted

Fr. Greg Schlarb, V.P., pastor

St. Maria Goretti Music Ministry Choir, Ann Weiss, director; David McDaniel, accompanist

Robert Huw Morgan, organ recitalist



Blessing Service

Let Us Go Rejoicing, B. Hurd

Psalm 66—Let All The Earth, M. Haugen

Gloria, A. Vivaldi




Organ Recital

Marcia from Symphony No. 3, C. M. Widor

Wie schön leuchtet der Morgenstern, D. Buxtehude

Fantasia in F minor, W. A. Mozart

Fantasia and Fugue on ‘Ad nos ad salutarem undam’, F. Liszt




GREAT

8’ Principal

8’ Bourdon

8’ Gemshorn

4’ Octave

2’ Waldflöte

IV Mixture

Chimes

MIDI


CHOIR

8’ Holz Gedeckt

8’ Dulciana

8’ Unda Maris

4’ Koppelflöte

2’ Flöten Principal

11⁄3’ Larigot

8 Zajic Regal

8 Trompette en Chamade

Tremolo

MIDI


SWELL

16’ Flute Conique (ext)

8’ Flute Conique

8’ Viole d’Gambe

8’ Viole Celeste

4’ Geigen Octave

4’ Flute Triangular

22⁄3’ Nazard

2’ Harmonic Flute

13⁄5’ Tierce

III Plein Jeu

8’ Trompette

4’ Clarion (ext)

Tremolo

MIDI


NAVE

16’ Quintaten (prep)

8’ Montre

8’ Bourdon

8’ Erzähler & Celeste

4’ Italian Principal

2’ Flachflöte

III Cymbale (prep)

MIDI


PEDAL

32’ Untersatz (digital)

16’ Violone

16’ Bourdon

16’ Flute Conique (Sw)

8’ Octave Violone (ext)

8’ Major Flute (ext)

8’ Conique Flute (Sw)

4’ Spitz Principal

2’ Spitz Principal (ext)

16’ Contra Trompet (ext, Sw)

16’ Zajic Regal (ext, Ch)

8’ Trompet (Sw)

4’ Clarion (Sw)

MIDI


NAVE PEDAL

16’ Montre (ext)

16’ Subbass (main Ped Bourdon)

16’ Quintaton (prep)

8’ Octave Bass (manual)
4’ Super Octave (manual)

MIDI