New Organs

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

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

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

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

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

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

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

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

Tonal Resources
25 stops, 31 ranks, 1905 pipes

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

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

 

Kegg Pipe Organ Builders,
Hartville, Ohio
Christ Episcopal Church,
Eureka, California
It has often been stated that the most important stop of an organ is the room in which it is heard. True, but unremarkable. When a church actually takes to heart every suggestion of its acoustician and organbuilder and makes the needed improvements, that is remarkable indeed! Christ Episcopal Church in Eureka, California is such a church.
Sound-absorbing surfaces abounded at Christ Church. Carpeted floors, comfortably upholstered pews, and acres of Celotex on the ceiling and organ chambers offered dismal prospects for a successful new organ. The choir sat in pews on risers on one side of the chancel, with the organ console on the opposite side facing them. High above the altar, three lancets of stained glass let in so much light that the entire sanctuary area nearly disappeared in the glare.
Working with acoustician Ewart “Red” Wetherill, we established several imperatives. First, carpeting in the chancel needed to be replaced with a sound-reflective material of some kind. Second, absorptive material on the ceiling needed to be removed or covered, at least over the chancel area, but preferably throughout the entire nave. Third, at least part of the organ needed to speak on the main axis of the building. Lastly, any chamber spaces used needed to be covered in double-layer drywall.
In the end, the church made ALL the recommended improvements and the visual and acoustical result is stunning! The center tower and two flats of the new façade now give the three lancet windows a base, while the tall towers flanking the windows continue the lancet theme, stepping down away from the center. The semi-circle within a triangle motif at the tops of the towers comes directly from the trusses supporting the roof of the church. The beautiful wood altar, which had been nearly invisible in the old configuration, now sits in the middle of the chancel in a large circle inlaid in the new tile floor. Against the backdrop of the new organ case it is now very clearly the focal point of the front of the church. The choir now sits behind it in the optimum location for support from the organ, with the base of the case acting as a sort of acoustical shell projecting their sound. The altar and organ console are on wheels, and the choir chairs and chancel furniture are easily movable, creating a very flexible space without the appearance of a multipurpose room.
Because the Christ Church organ plays such an integral and varied role in the musical life of the community in addition to accompanying the Episcopal liturgy, we chose not to pattern its tonal scheme on any one particular musical period or style. But instead of the eclectic grab-bag that tries to cover all the bases, this organ speaks its own musical language with integrity and authority. And that language is decidedly American, though it converses fluently with most of Western Europe.
At its core, the instrument is a carefully developed two-manual that could function perfectly well with no borrowing at all. We then drew on our experience with unit organs to give the organist maximum flexibility in accessing those resources. The three-manual console and what appears to be a bevy of pernicious borrowing must always be viewed within that context.
Keeping the organ footprint small was a high priority. Projecting out less than 48 inches from the east wall, the front case houses the unenclosed Great chorus including the 16′ Violone, the full-length 16′ Trombone, the Pedal 16′ Subbass and generous walkboards for tuning access. The remainder of the organ is located in free-standing enclosures in the existing organ chambers. With the new double thickness of drywall on the chamber walls and the sloped ceilings of the swell boxes, organ sound now fills the church with very little effort. Building from the “Anglican mist” of the Flute Celeste to the thrilling satisfaction of full organ, each nearly imperceptible step along the way weaves an aural tapestry rich in color and texture.
An often unsung benefit of commissioning an organ from a relatively small company like ours is the relationship that develops between the organbuilding crew and a client congregation. Director of music Douglas Moorehead and his wife Carol (who surely is on the fast-track for sainthood), choir director Betty Burton, interim priest-in-charge Fr. Leo Joseph, parishioners Earl Morgan, John Patton, Leann Thoresen, Faye Judy and many others became like family to us and will stay in our hearts for a very long time. We invite you to visit them and their new Kegg organ.
—Fredrick Bahr, tonal director
Kegg Pipe Organ Builders
www.keggorgan.com

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

GREAT Manual I
12 stops, 15 ranks, 903 pipes
16′ Violone 73 pipes
8′ Principal 61 pipes
8′ Violone (ext)
8′ Rohrflute* 61 pipes
8′ Harmonic Flute* 49 pipes
1–12 from Rohrflute
8′ Flauto Dolce* 61 pipes
8′ Flute Celeste* TC 49 pipes
4′ Octave 61 pipes
4′ Koppelflute* 61 pipes
22⁄3′ Twelfth 61 pipes
2′ Super Octave 61 pipes
11⁄3′ Mixture IV 244 pipes
8′ Trumpet (Pedal)
8′ Clarinet* 61 pipes
Tremulant
Chimes Existing bells, new action
Great Unison Off–Great 4
Zimbelstern 5 handbells
* Enclosed

SWELL Manual II
11 stops, 14 ranks, 902 pipes
16′ Gedeckt 73 pipes
8′ Diapason 61 pipes
8′ Gedeckt (ext)
8′ Salicional 61 pipes
8′ Voix Celeste 61 pipes
4′ Octave 61 pipes
4′ Nachthorn 73 pipes
22⁄3′ Nazard 61 pipes
2′ Flute (ext Nachthorn)
13⁄5′ Tierce 61 pipes
2′ Mixture IV 244 pipes
1′ Scharf IV From Mixture,
cancels Mixture when drawn
16′ Bassoon 73 pipes
8′ Trompette 73 pipes
8′ Oboe (ext)
8′ Vox Humana (console preparation)
4′ Clairon (ext)
Tremulant
Swell 16–Swell Unison Off– Swell 4

SOLO Manual III
8′ Solo Diapason III (Gt and Ped)
8′ Harmonic Flute (Gt)
8′ Salicional (Sw)
8′ Voix Celeste (Sw)
8′ Flute Celestes II (Gt)
Cornet V (Sw)
8′ State Trumpet (console preparation)
8′ Trumpet (Ped)
8′ Trompette (Sw)
8′ Oboe (Sw)
8′ Clarinet (Gt)
Tremulant
Chimes
Solo 16–Solo Unison Off–Solo 4

ANTIPHONAL Floating
Prepared in console only
8′ Principal 61 pipes
8′ Bourdon 85 pipes
8′ Dulciana 61 pipes
4′ Octave 61 pipes
4′ Flute (ext)
2′ Piccolo (ext)
Tremulant
8′ State Trumpet 61 pipes
flared bells, polished brass
Antiphonal to Great
Antiphonal to Swell
Antiphonal to Choir
Antiphonal to Pedal

PEDAL
3 stops, 3 ranks, 173 pipes
32′ Bourdon (ext, 1–12 generators)
32′ Resultant (derived)
16′ Open Wood 12 existing pipes,
44 new pipes
16′ Subbass 44 pipes
16′ Violone (Gt)
16′ Gedeckt (Sw)
8′ Octave (ext)
8′ Subbass (ext)
8′ Violone (Gt)
8′ Gedeckt (Sw)
4′ Super Octave (ext)
4′ Cantus Flute (Gt)
32′ Harmonics (derived)
16′ Trombone 73 pipes
16′ Bassoon (Sw)
8′ Trumpet (ext)
4′ Clarion (ext)
4′ Clarinet (Gt)

Tonal resources
26 stops, 32 ranks, 1978 pipes

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

Cover Feature

Kegg Pipe
Organ Builders, Hartville, Ohio

First United
Methodist Church, Winnsboro, North Carolina

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

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

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

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

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

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

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

--Charles Kegg

GREAT

9
ranks, 6 stops, 549 pipes

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

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

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

8' Viole
(ext 16' Violone)

8' Viole
Celeste TC (Sw)

4' Octave
61
pipes

4' Gedeckt
(Sw)

2' Flute
(ext Hohlflute)

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

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

8' Trumpet
(Sw)

Chimes
(existing)

Great
4

Swell
to Great 16

Swell
to Great 8

Swell
to Great 4

*Unenclosed

SWELL

6
ranks, 6 stops, 390 pipes

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

8' Viole
(Gt Violone)

8' Viole
Celeste TC 49
pipes

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

4' Hohlflute
(Gt)

22/3' Nazard
TC (ext Quinte)

2' Octave
(ext 4')

11/3' Quinte
49
pipes

16' Contra
Trumpet 85
pipes

8' Trumpet
(ext)

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

4' Clarion
(ext)

Tremulant

Swell
to Swell 16

Swell
Unison Off

Swell
to Swell 4

PEDAL

1
rank, 1 stop, 44 pipes

32' Resultant
(from Bourdon)

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

16' Violone
(Gt)

8' Prestant
(Gt)

8' Bourdon
(ext)

8' Viole
(Gt)

8' Gedeckt
(Sw)

4' Octave
(Gt 8')

16' Trumpet
(Sw)

8' Trumpet
(Sw)

4' Oboe
(Sw)

Great
to Pedal 8

Great
to Pedal 4

Swell
to Pedal 8

Swell
to Pedal 4

Tonal Resources

13
stops

16
ranks

983
pipes

Accessories

Expression
Pedal with indicator

Dual
level Crescendo Pedal with numeric ndicator

Concave
and radiating pedal clavier

Adjustable
Bench

Full
Organ indicator light

Combination
lock with indicator

Transposer

Performance
Sequencer

Photo credit: Charles Kegg

Kegg Pipe Organ Builders

1184 Woodland St. SW

Hartville, OH 44632

330/966-2499

www.keggorgan.com

Muller Pipe Organ Company, Croton, Ohio

First English
Lutheran Church, Mansfield, Ohio

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

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

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

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

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

--John Muller

Photo by Steven Elbert

GREAT

16' Violone

8' Principal

8' Bourdon

8' Viola

8' Erzähler

8' Erzähler
Celeste TC

4' Octave

4' Rohrflöte

2' Super
Octave

IV Mixture

8' Trompette

Chimes

Tremolo

SWELL (expressive)

16' Waldflöte

8' Geigen
Principal

8' Waldflöte

8' Salicional

8' Voix
Celeste TC

4' Geigen
Principal

4' Spillflöte

22/3' Nazard

2' Flageolet

III Plein
Jeu

16' Bassoon

8' Trumpet

8' Oboe

8' Vox
Humana

4' Clairon

Tremolo

CHOIR (expressive)

8' Rohrflöte

8' Dulciana

8' Unda
Maris TC

4' Principal

4' Koppelflöte

4' Dulciana

22/3' Nazard

2' Blockflöte

13/5' Tierce

11/3' Quint

8' Clarinet

Tremolo

ANTIPHONAL (expressive)

8' Principal

8' Spitzflöte

4' Octave

4' Spitzflöte

2' Fifteenth

III Mixture

PEDAL

16' Diapason

16' Bourdon

16' Waldflöte

16' Violone

102/3' Quint

8' Diapason

8' Bourdon

8' Waldflöte

8' Viola

4' Choral
Bass

4' Bourdon

II Mixture

16' Posaune

16' Bassoon

8' Posaune

8' Trumpet

4' Rohrschalmei

Chimes

Couplers

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

Ant/Gt
8-4

MIDI/Gt

[if !supportEmptyParas] [endif]

Sw/Sw
16-UO-4

Ant/Sw
8

MIDI/Sw

Ch/Ch
16-UO-4

Sw/Ch
16-8-4

Ant/Ch
8

MIDI/Ch

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

Ant/Ped
8

MIDI/Ped

Carillon
I

Carillon
II

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

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

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

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

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

--John-Paul Buzard

[if !supportEmptyParas] [endif]

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

GREAT

8' Open
Diapason (polished tin in façade)

8' Flûte
à Bibéron (metal chimney flute)

4' Principal

2' Recorder

11/3' Mixture
IV

Tremulant

Gt
16-UO-4

Sw/Gt
16-8-4

SWELL (expressive)

8' Stopped
Diapason

8' Salicional

8' Voix
Celeste

4' Spire
Flute

2' Principal

8' Minor
Trumpet

Tremulant

Sw
16-UO-4

PEDAL

16' Bourdon
(stoppered, wood)

8' Principal
(polished tin in façade)

8' Bass
Flute (ext)

4' Choral
Bass (ext)

16' Bassoon

Gt/Ped
8-4

Sw/Ped
8-4

Kegg Pipe Organ Builders, Hartville, Ohio Private Residence, Palm Springs, California

Kegg Pipe Organ Builders, 

Hartville, Ohio

Private Residence, Palm Springs, California

Traditionally, American residence organs have taken one of two roads. In the first half of the twentieth century, the Aeolian company specialized in a style of organ that was heard but not seen. The pipes were typically in fairly remote chambers, and the music was mostly intended to provide a luxurious background to some other activity around the house. Scaling and voicing could be done in a normal or even aggressive way, relying on distance to blend and mellow the final result.

In the second half of the century, with the advent of the Organ Reform movement, a residence organ became much less of an entertainment device (radio and recordings had filled that role) and more of a practice instrument. Crisp, responsive key actions were far more important than variety of color, and many an organist spent countless hours training his fingers and feet to control two eight-foot flutes while his mind’s ear heard Schnitger.

The function of the new Kegg organ for a private residence in Palm Springs, California, falls somewhere between these two. The client uses it to practice, yes. But his organ playing is something he does purely for pleasure, not a first or even second job. It is nearly impossible in these pages to find the term “unification” without the qualifier “judicious” close at hand. The Palm Springs organ goes beyond simply embracing the unit organ concept: it exploits it! Even this electric-action unit organ needs to be responsive and meticulously regulated to encourage good technique, but it also must be beautiful to listen to, musical in its own right, and visually cooperative with the guest suite whose 16′ x 24′ space it shares.

It begins with taking into account that the requirements of this organ differ significantly from a church organ of the same size. There is no congregation to lead in singing, no choir to accompany, no bride to bring down the aisle, and no Easter Sunday postlude, although all of that music will probably be played.  

The specification is built around trying to extract as many different color combinations as possible from the resources available. All eight of the ranks are quite similar in volume, so that any given pair of stops drawn from them has a reasonable chance at sounding balanced. The two flute stops in particular change construction frequently in order to emphasize different colors at different pitch ranges. They include stopped wood, capped metal, chimney flute, koppelflute, spitzflute, open and harmonic pipes. The Viola and Celeste are scaled small enough to have a definite string tone, but are voiced gently enough to beguile even a listener standing directly in front of them. The Quinte is voiced to work well with the Octave in the wired Mixture, providing a satisfying but not earsplitting top end to the ensemble. The unenclosed Principal gives a solid foundation to the rest of the organ with the shades open, but also sings a rich velvety solo line, particularly in the tenor range, when the shades are closed. Finally, the capped Flugelhorn walks the fine line of being able to simulate “full Swell” as a chorus reed, or play solo melodies against a variety of accompaniment registrations. 

Two other components are crucial to the success of this instrument: a very effective swell box, and a virtually silent, well-regulated tremulant. A great deal of care was taken in making the swell box as airtight as possible. The bottom 15 pipes of the 16′ flute are wood, and mounted horizontally behind the swell box, with their mouths speaking into it. The 16 swell shades are operated noiselessly in 32 stages by an electric shade motor.

At a small dinner party the evening the tonal finishing was completed, the client chose as his opening selection Alec Wyton’s arrangement of the Billy Strayhorn tune, “Lotus Blossom.” We did not hear an organ preparing a player for a real performance somewhere else. We heard an instrument completely content with its surroundings, happy to get out of its own way and let the beautiful music sing for itself. And that is a deeply rewarding experience for our company of organ builders.

—Fredrick Bahr

 

Kegg Pipe Organ Builders

Charles Kegg, President*

Fredrick Bahr, Tonal Director*

Philip Brown

Michael Carden

Joyce Harper*

Philip Laakso

Thomas Mierau*

Bruce Schutrum

*members, American Institute of Organbuilders

 

Kegg Pipe Organ Builders

1184 Woodland St., SW

Hartville, OH 44632

330/877-8800

[email protected]

www.keggorgan.com

Tonal Resources

1. 8′ Principal (unenclosed) 61 pipes

2. 16′ Rohrflute 85 pipes

3. 4′ Harmonic Flute GG 54 pipes

4. 8′ Viola GG 42 pipes

5. 8′ Viola Celeste TC 37 pipes

6. 4′ Octave 73 pipes

7. 11⁄3′ Quinte 49 pipes

8. 16′ Flugelhorn 85 pipes

GREAT

16′ Viola TC 4

8′ Principal 1

8′ Harmonic Flute 2 & 3

8′ Rohrflute 2

8′ Viola 4

8′ Viola Celeste 5

4′ Octave 6

4′ Harmonic Flute 3

4′ Rohrflute 2

2′ Piccolo 3 & 6

III Mixture 6 & 7

8′ Flugelhorn 8

Swell to Great 8

MIDI Ch. 1

MIDI Ch. 2

 

SWELL

8′ Rohrflute 2

8′ Viola 4

8′ Viola Celeste 5

4′ Principal 6

4′ Harmonic Flute 3

22⁄3′ Nazard 7

2′ Octave 6

2′ Flute 2 & 6

13⁄5′ Tierce 2 & 6

11⁄3′ Quinte 7

1′ Fife 2 & 6

16′ Bassoon 8

8′ Flugelhorn 8

4′ Hautbois 8

Tremulant

Swell 16, UO, 4

MIDI Ch. 3

PEDAL

16′ Bourdon 2

8′ Principal 1

8′ Flute 2

8′ Viola 4

4′ Octave 1

2′ Cantus Flute 3

16′ Bassoon 8

8′ Flugelhorn 8

4′ Hautbois 8

Great to Pedal 8

Swell to Pedal 8, 4

MIDI Ch. 4

Kegg Pipe Organ Builders,
Hartville, Ohio
Zion Lutheran Church,
Wausau, Wisconsin
Zion Lutheran Church in Wausau, Wisconsin, has deep roots in Lutheran church music, laying claim to both Paul Bunjes and Carl Schalk in a distinguished lineage of musical leadership. Though less well known, Viola Bonsa was also a part of that lineage, and we are delighted to give a wink in her direction with the name of the Swell 8′ string. Virginia Giese is the current Kantor and Music Director, and Rev. Steven Gjerde is Pastor.
An organ that had served the church well in a previous space was moved to the new building in the 1950s and placed on platforms in the rear gallery that were to be surrounded with appropriate casework. The layout was tight at best, and the casework never materialized. As the musical understanding and requirements developed and changed over the years, so did the organ. Various revisions and additions were made, sometimes with little or no regard for scaling and even less for accessibility for tuning or repair. The organ lost its identity and virtually choked on itself.
Designing a new organ for Zion gave us an opportunity to exploit some of the effects of placement. There is no question that the focused sound of encased pipework in direct line of sight to the listener differs substantially from the reflected sound of pipes enclosed in a swell box perpendicular to the listener. Yet each of those placements can have distinct advantages. Our often-copied all-electric chest design with expansion chambers fitted to each note allowed us the freedom to locate pipes where they needed to be in the tonal strategy, and still arrange them for greatest ease of tuning.
The sounds most often used to lead congregational singing—Great and Positiv—are placed in the front of the cases in direct line of sight to the congregation. These two Principal choruses are nearly equal in volume, but are quite different in color and weight. Instead of the more usual front-to-back or up-and-down relationship of these two choruses, they dialog from side to side, complementing each other when used together.
The sounds most often used to accompany the choir—Swell and Enclosed Great—sit farther back, with the shades opening toward the choir loft. This placement gives the singers the advantage of hearing direct sound from the organ, but gives the congregation a perspective with the voices distinctly in the foreground.
The previous organ had the lowest nine pipes of the 16′ Open Wood installed in the ladder shaft at the very back of the right organ platform, in what appeared to be a hopelessly buried location. Surprisingly, the room responds very favorably to bass frequencies generated there, and we followed the cue, successfully installing the 16′ Subbass in the matching location on the other side.
The Festival Trumpet, with its resonators and flared bells of polished brass, was originally planned for a location high on the front corner of the chancel. In a decision made just hours before the organ left the shop, the church requested that it be relocated to the back with the rest of the organ. After some re-engineering and new chest construction, it now makes its dramatic statement from the gallery rail.
One might fear that such a mix of direct and reflected sound would result in chaos in the listener’s ears. Such is not the case! The sound in the nave is rich, clean and bold—a sound with a depth of field that no speaker system can begin to reproduce.
One of the most important goals of the new organ project was providing a fitting visual design. After decades of exposure to naked organ parts, we wanted to reward the people of Zion with an organ case that doesn’t just “clothe the naked,” but also feeds those who hunger for beauty as part of worship. As with all of our designs, we aim to have the new organ appear to have been built with and for the building. It is deeply satisfying when parishioners tell us that the new organ looks like it has always been there.
Several elements make this case interesting. The four towers on each case, especially the large corner ones, appear to extend weightlessly over the edge of the organ platforms, even though their cantilevered supports are anchored securely by the weight of the rest of the organ. The effect is subtly enhanced by the fact that the bottom of the casework sits 1/8″ above the platform and seems not to touch it at all.
Our use of CAD software, particularly in 3D modeling, was of tremendous help not only in engineering this much organ into the available space, but also in planning the many visual aspects.
The tower crowns have discreet polychrome accents of gold and aqua to coordinate with other decoration in the roof beams. Decorative bands across the flat sections are also polychromed and topped with carved crosses. The use of exaggerated foot and body lengths in these sections that face the choir lends the impression that these pipes are delicately scaled, greatly reducing their visual weight in the gallery.
The 100 façade pipes all speak, and are from the Pedal, Great and Positiv Principals, Octaves and Choralbass.
The pipe shades, hand-carved from basswood by Spirit Williams of Hocking Hills, Ohio, feature Archangels Gabriel, Michael, Uriel, and Raphael on the two large corner towers. The pipe shades on the remaining towers depict the traditional symbols of the twelve Apostles.
Pastor Steven Gjerde writes:
Choral music has been a longstanding and cherished feature of worship at Zion. In the Lutheran liturgical tradition, choirs have often been likened to the company of angels: “Praise him, all his angels, praise him, all his heavenly hosts” (Psalm 148:2). For this reason, they are typically placed in a gallery at the back of the nave, where their voices can fall upon the congregation like a benediction and raise congregational singing to heights that it cannot reach on its own. This “celestial” role of the choir led to our suggestion that the pipe shades feature carvings of the archangels. It gives visible expression to our working theology of music, in which the Church joins the heavenly hosts in their unending hymn.
An additional, deliberately planned case decoration is brought about by the reflection of the large stained glass window in the highly polished façade pipes. This kaleidoscopic effect changes minute by minute, and we found it particularly beautiful in the early morning winter light during our January tonal finishing.
Kegg consoles are known for their luxurious comfort and ease of use. Whenever practicable, they are easily movable on integral casters. At Zion, space in the gallery is at a premium and there is really only one choice for console location. We chose to make it stationary, and actually narrowed our standard geometry slightly, without sacrificing anything, to make the new console fit precisely where the previous one had been.
Many parishioners turned out to help unload the moving van and carry all the pipes, pieces and parts into the church. In a scenario familiar to every pipe organ installation team, we watched as their joy in finally receiving their long-awaited new organ slowly faded to concern, then changed to all-out panic as every square inch of their spiritual home was covered with at least one layer of organ. By Sunday morning, 90% of those organ parts had been moved at least twice more, once up into the gallery, then up once more into place on the organ platforms. Ten days after the van pulled up in front of the church, everything was in place, working, and ready for tonal finishing.
The organ was dedicated during the morning liturgy on February 21, 2010, with a concert that afternoon played by Dr. David Heller of Trinity University, San Antonio, Texas, who also served as consultant to the church.
As music director, Virginia Giese is putting the new organ through its paces, both in excellent support of the parish liturgies, and reaching out to the larger community through performance opportunities. An extensive concert series has already begun, featuring Kathrine Handford, Ken Cowan, Michael Burkhardt, Paul Jacobs, and Chelsea Chen, among several others. Details of these and other concerts on Kegg organs can be found at <www.keggorgan.com&gt;.
We laud Pastor Gjerde and the people of Zion for making this strong investment in the enduring importance of sacred music in our increasingly secular world, and we are grateful for having had this opportunity to practice our art.
—Fredrick Bahr

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

From the consultant and artist
When a church makes the decision to purchase a new organ, it provides a golden opportunity to look at the situation from a new perspective. From the start, this congregation asked all of the right questions: What are our priorities? What are our expectations for this instrument in our worship services? The selection of Charles Kegg was a big decision for this congregation, which has a rich history of traditional Lutheran worship supported by a superb choral program. Rather than continue down a well-worn trail in tonal design, the decision was made to follow a slightly different path—and the end result was an instrument that provides a unique balance between “tradition” while embracing some ideas that were outside the box of neo-classic organ design.
One glance at the stoplist will make apparent the importance both the builder and the consultant placed on foundation tone. The rich abundance of 8′ stops provides a wide palette of choice for the organist when accompanying voices (solo, choral, and congregational), giving the instrument a great sense of breadth without sacrificing clarity. Each of the manual divisions has a distinctive Principal chorus with a strong foundation that is balanced by evenly voiced upperwork. Of special note here is the inclusion of a Principal-scale 13⁄5′ stop on the Great, a color that enhances that division’s plenum and is so useful in German music of the 17th and 18th centuries. The inclusion of an 8′ Principal on the Positiv division is a nod to the builders of 18th-century middle Germany and the music of J. S. Bach. Not only is this division a perfect foil to the Great division, it is also one of the few contemporary instruments I have played in which the Positiv Principal chorus balances superbly with the Pedal Principal chorus at 16′ – 8′ – 4′ pitch—and without coupling it to another keyboard!
Another glance at the stoplist will point out the generous number of flute stops throughout the entire instrument. Each one has a different character, providing the player with a wonderful array of color at a variety of pitch levels. The flutes are complemented by two different sets of strings on the Great and Swell, as well as a Gemshorn at 16′ and 8′—all of which can produce some superb effects in both service repertoire as well as concert literature.
The number of reed choices for an instrument of this size is a delight. In the Swell division, one finds the typical work-horse chorus reeds (Trompette 8′, Clairon 4′), but they are complemented with a Bassoon 16′/Oboe 8′ unit that is of a smooth, darker color that opens up many possibilities not only for vocal accompaniment, but for the repertoire as well. A Vox Humana might be considered by some as non-essential or even a luxury—but in this case, its inclusion makes complete sense not only for the literature, but for the added variety it can provide as a solo stop. The Cromorne, located on both the Great and Positiv divisions, possesses a beautiful, piquant quality that is superb for solo lines. And finally, the reed stop that gathers the most attention (both visually and tonally) is the Festival Trumpet, mounted on the rail of the gallery.
As a church musician, I look for flexibility in an instrument to provide me with as many tonal options as possible, particularly in the area of choral accompanying. One of the distinctive features of this instrument is that seven of the stops in the Great division are under expression, including the 8′ Trumpet. The possibilities are endless with regard to accompaniment, and this use of a partially enclosed Great provides the perfect counterweight to the Positiv division, which is unenclosed.
As a performer and a church musician, I also look for ease in performance when I sit down to play a service or a recital. The layout design of the console of this new instrument is a dream for the player; everything is where it’s supposed to be located—from the order of the drawknobs and pistons to the location of the sequencer. This is one of the most user-friendly consoles you will ever find, which further enhances the experience for the player.
It goes without saying that the visual aspects of this instrument are matched by the aural experience one has in both playing and listening to the organ out in the room. At the dedication recital, I stated to the audience that if I could only work with this one single instrument for the rest of my professional life, I would be completely happy. I still stand by that statement today! Zion Lutheran Church and the city of Wausau can take great pride in their new instrument, which will lead future generations in worship and stand as a symbol of excellence and craftsmanship in North Central Wisconsin.
—Dr. David A. Heller
Trinity University
San Antonio, Texas

Salmen Organ Company, 2007, Wessington Springs, South Dakota
The Yankton College Memorial
Organ at United Church of
Christ-Congregational,
Yankton, South Dakota
One cannot speak of the Yankton, South Dakota organ without mentioning a parallel project in Boulder, Colorado. We have been privileged to have recently worked with Organ Supply Industries as we built these two new
3-manual instruments for the United Church of Christ-Congregational, Yankton, South Dakota, and First Congregational Church, Boulder, Colorado. These congregations and the experiences with them are so nearly parallel that they deserve to be told almost as a single story. Both are thriving downtown congregations with historic buildings that had suffered the neglect of time. Both had existing instruments; while unique and somewhat interesting, neither served its congregation in a reliable and musical manner. Each church has a music program without rival in its own community. And each—while offering an array of meaningful and much needed social ministries—has also been an influential medium in which music and fine arts have been fostered and shared with a larger community.
When the opportunity arose to design new instruments for the Yankton and Boulder congregations, we took our typically conservative approach. This approach seeks to use viable existing materials in an environmentally and musically sound manner, while always keeping the stewardship of the congregation as a focusing factor in our design recommendations. Each of the congregations’ existing instruments had some beautifully crafted pipework from previous incarnations, mostly in which the true color and clarity of the stops had not yet been realized. Working with the architects and contractors for Yankton and Boulder, we were able to influence the outcome visually and acoustically of each of the historic conservation efforts.
Historic conservation, I believe, is an ideal approach to working with older buildings. It recognizes the historic integrity, inherent beauty, and original design intent of a structure; and while maintaining this character, it brings the building into full usefulness and compliance for today’s needs and service. It would seem that most historic American churches have suffered from decades-old attempts at modernizations. Too often, one will find ceilings covered in acoustically absorbent tiles as a perceived cure for a problem caused by the installation of a poor amplification system. In addition, one will usually find a sea of aging, thick carpet installed, often over a beautiful wooden floor. Paneling covers cracking plaster over lath.
Visually the rooms appear straight out of the 1950s post-WW II era. Gone are the encased instruments and decorative façades that complemented and graced the original building’s design. Quite often an inadequate or neglected pipe organ speaks through a tattered grille-covered opening. Fortunately for the Yankton and Boulder congregations, they were served with leadership from within and design teams from outside the congregation to recreate exciting new worship spaces—relevant to today while being faithful to their past. For me, worshipping with these congregations while working on their instruments has reinforced the UCC mantra, “God Is Still Speaking.” Yes, there is great historical importance to the biblical message and the message of sanctuaries of a more ancient time, but both are also being rediscovered today in a way that is fresh, relevant and new!
As an organbuilder, I have relied upon our friends at Organ Supply Industries as valued partners in our musical endeavors. Their business model of being our partner in production while never our competitor in the marketplace has served us and our clients well. For the past ten years, following the termination of a relationship with a national organ building firm, I have been able to work more closely with and appreciate the knowledge and craftsmanship of our friends at OSI in Erie. Their attitude is refreshing in that they are always looking for ways to serve us; they are creative in assisting us in finding solutions when some seem impossible; they openly embrace new concepts and layouts with the premise that “anything is possible”; most importantly from a strictly business perspective, we get what we want, when we need it, delivered as promised for a fair and open price. I believe that the partnership we enjoy with OSI has allowed us to deliver higher quality instruments for a lower price than was previously possible in our business.
—David Salmen

Historical sketch of organ music at First Congregational Church
The Civil War had ended, and Yankton was a frontier town of approximately 400 inhabitants. Immigrants came to take advantage of the Homestead Act, signed into law by President Lincoln in 1862. Imagine that—160 acres of free land for those brave enough to leave the Old Country and come to Dakota Territory. The people who came were religious and wanted a church.
The Congregational Church was organized here on April 6, 1868, at the home of A. G. Fuller by the Rev. E. W. Cook from Wisconsin. On November 6, 1868, Rev. Joseph Ward and his bride Sarah arrived in Dakota Territory as missionaries. Services were held two days later (November 8, 1868) in the lower level of the Dakota Territorial Capitol Building. Thirty-three people attended.
A charter member of this congregation was J. B. S. Todd, a cousin of Mary Lincoln, wife of the president. At the Christmas Eve service, he pinned a note on the Christmas tree, which read: “lots for the church.” On Christmas Day, Rev. Ward, one of the trustees, and J. B. S. Todd went to see the lots. They chose the lots this church still occupies today. Some members questioned, “Who would attend a church so far from town? . . . way out on the prairie!”
The earliest church was built of wood and dedicated July 17, 1870. It is reported to have had a “hand-organ.” The present brick church was built in 1904 and dedicated May 14, 1905.
In 1880 Rev. Ward founded Yankton College. It was the first institution of higher learning in the Dakota Territory. It had a School of Theology, which graduated German-speaking Congregational ministers, who served many communities in the Dakota Territory and beyond.
Yankton College had a highly respected Conservatory of Music, which originally used the (brick) church sanctuary as its concert hall. Staff included musicians such as Dr. Lee N. Bailey, Ida Clawsen Hunt, J. Laiten Weed, Dr. Evelyn Hohf, Floyd McClain, Lewis Hamvas, Gene Brinkmeyer, Stan Rishoi, and others. Dr. Hohf and Mr. Brinkmeyer were organists of this church for many years.
The first pipe organ in Yankton was installed in First Congregational Church. Records reveal that the congregation voted to form a “Committee on Music” on January 5, 1882. In 1888 a Johnson tracker organ was installed. A recital was given on September 6 of that same year, with an offering of $52.90 received.
In 1905 this organ was enlarged and placed in the present brick church building. In 1957 the organ was modernized, and the console moved to the choir loft. The tracker action was changed to an electrically controlled system. This project cost $14,000. In 1980 the organ was enlarged and renovated to three manuals for a cost of $40,000 by Eugene Doutt of Watertown, South Dakota.
During the historic renovation of the sanctuary in 2004, it was necessary to remove all organ pipes and parts because of construction dust. The organ was removed in October 2003 by David Salmen of Salmen Organs & Farms, Wessington Springs, South Dakota. Among the pipes saved and put in storage, until a new organ could be built and safely installed, were some that were part of the original 1888 organ.
Plans for a new organ were on hold until the Yankton College Board of Trustees announced a $100,000 named grant in appreciation for the support given by this congregation to the college over many years. The grant challenged the congregation to pledge an equal amount. Plans that were on hold were now put into action. The organ chamber had to be prepared with new walls, proper insulation, new wiring, and a new floor. This added to the daunting tasks addressed so conscientiously by the renovation committee.
On January 9, 2005, a semi-trailer loaded with over 2,000 pipes arrived at the church; it was unloaded by a host of excited members. David Salmen began the installation of the new Yankton College Organ. The three-manual organ with 33 ranks of pipes and a beautiful new console was installed. The visible (black) expression shutters and a few pipes dating to the original 1888 organ were reminders that the organ had yet to be completed. For nearly three years the members of the congregation worked together to pay down the remaining building renovation debt and raise the funds to complete the new organ.
February 2008 again found the congregation assembled to unload another semi-trailer of pipes, windchests, reservoirs, and the casework necessary to complete the organ. The organ now contains 46 ranks of pipes.
It has truly been a labor of love and sacrifice for the members of this congregation, who love to sing with the majestic accompaniment of a pipe organ. Music has always been central in worship to this church. The 45-member Adult Choir enjoys this fine instrument as they prepare not only to lead Sunday worship, but also for special masterworks concerts and cantatas.
We remain ever grateful to Yankton College, the J. Laiten Weed Endowment, and to the generous members and friends of this congregation for their support. Yankton College Conservatory graduates Ted and Jennifer Powell are the present organist and choir director. Chelsea Chen played the dedicatory recital.
We look forward to the next 100 years as we continue the tradition of wonderful music to the glory of God, which began at the First Congregational Church, way out on the prairie in Dakota Territory 120 years ago.
—Brooks and Vi Ranney

Photo credit: David Salmen

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The Yankton College Memorial Organ at United Church of Christ-Congregational, Yankton, South Dakota
Salmen Organ Company, 2007
Wessington Springs, South Dakota
3 manuals, 36 stops, 46 ranks

GREAT
16′ Bourdon (Choir)
8′ Principal 61 pipes
8′ Harmonic Flute 61 pipes
8′ Bourdon (Choir)
8′ Chimney Flute (Swell)
4′ Octave 61 pipes
2′ Flachflute 61 pipes
IV Fourniture 244 pipes
8′ Tromba (Choir)
8′ Basson (Choir)
8′ Posaune (Pedal)
Cymbelstern
Tremulant
Great-Great 16-UO-4
Swell-Great 16-8-4
Choir-Great 16-8-4
Pedal on Great Continuo
MIDI I
SWELL
8′ Montre 61 pipes
8′ Chimney Flute 61 pipes
8′ Viola 61 pipes
8′ Voix Celeste (TC) 49 pipes
4′ Principal 61 pipes
4′ Hohlflute 61 pipes
22⁄3′ Nasard 61 pipes
2′ Blockflute 61 pipes
13⁄5′ Tierce 61 pipes
IV Plein Jeu 244 pipes
16′ Bombarde 85 pipes
8′ Trompette 61 pipes
8′ Bombarde (ext)
8′ Hautbois 61 pipes
4′ Bombarde Clarion (ext)
8′ Festival Trompette preparation
Tremulant
Swell-Swell 16-UO-4
Choir-Swell 8
MIDI II

CHOIR
16′ Bourdon 73 pipes
8′ Diapason 61 pipes
8′ Bourdon (ext)
8′ Spitzflute 61 pipes
8′ Flute Celeste (TC) 49 pipes
4′ Geigen Octave 61 pipes
4′ Koppelflute 61 pipes
22⁄3′ Twelfth 61 pipes
2 Fifteenth 61 pipes
13⁄5′ Seventeenth 61 pipes
IV Scharf 244 pipes
16′ Basson 73 pipes
8′ Tromba 61 pipes
8′ Clarinet 61 pipes
16′ Posaune (Pedal)
8′ Posaune (Pedal)
Tremulant
Choir-Choir 16-UO-4
Swell-Choir 16-8-4
Pedal on Choir 8
Great/Choir Transfer
MIDI III

PEDAL
32′ Resultant
16′ Principal 32 pipes
16′ Subbass 32 pipes
16′ Bourdon (Choir)
8′ Oktav 44 pipes
8′ Diapason (Choir)
8′ Chimney Flute (Swell)
8′ Bourdon (Choir)
4′ Oktav (ext)
4′ Chimney Flute (Swell)
II Mixture 68 pipes
16′ Posaune 73 pipes
16′ Bombarde (Swell)
16′ Basson (Choir)
8′ Posaune (ext)
8′ Bombarde (Swell)
4′ Posaune (ext)
4′ Basson (Choir)
4′ Clarinet (Choir)
Great-Pedal 8-4
Swell-Pedal 8-4
Choir-Pedal 8-4
MIDI IV

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First Congregational Church,
Boulder, Colorado
Salmen Organ Company, 2007
Wessington Springs, South Dakota
3 manuals, 41 stops, 51 ranks

GREAT
16′ Rohrflute (Swell)
8′ Principal 61 pipes
8′ Harmonic Flute 49 pipes
(1–12 from Bourdon)
8′ Bourdon 61 pipes
8′ Rohrflute (Swell)
8′ Gemshorn (Choir)
8′ Flauto Dolce* 61 pipes
8′ Flute Celeste* 49 pipes
4′ Octave 61 pipes
4′ Spillflute 61 pipes
2′ Flachflute 61 pipes
IV Fourniture 244 pipes
16′ Basson (Choir)
8′ Tromba 61 pipes
8′ Basson (Choir)
8′ Festival Trumpet preparation
Tremulant
Sawyer Cymbelstern
Great-Great 16-UO-4
Swell-Great 16-8-4
Choir-Great 16-8-4
Pedal Continuo on Great
MIDI on Great
* located in Swell

SWELL
16′ Rohrflute 73 pipes
8′ Montre 61 pipes
8′ Rohrflute (ext)
8′ Salicional 61 pipes
8′ Voix Celeste 49 pipes
4′ Prestant 61 pipes
4′ Hohlflute 61 pipes
22⁄3′ Nasard 61 pipes
2′ Blockflute 61 pipes
13⁄5′ Tierce 61 pipes
IV Plein Jeu 244 pipes
16′ Bombarde 85 pipes
8′ Trompette 61 pipes
8′ Hautbois 61 pipes
4′ Bombarde Clarion (ext)
16′ Festival Trumpet preparation
8′ Festival Trumpet preparation
Tremulant
Swell-Swell 16-UO-4
Choir-Swell 8
MIDI on Swell

CHOIR
16′ Gemshorn 73 pipes
8′ Geigen Principal 61 pipes
8′ Doppel Flute 49 pipes
(1–12 from Stopt Diapason)
8′ Stopt Diapason 61 pipes
8′ Gemshorn (ext)
8′ Gemshorn Celeste 49 pipes
4′ Octave 61 pipes
4′ Koppelflute 61 pipes
22⁄3′ Twelfth 61 pipes
2′ Fifteenth 61 pipes
13⁄5′ Seventeenth 61 pipes
IV Scharf 244 pipes
16′ Basson 73 pipes
8′ Posaune (Pedal)
8′ Basson (ext)
8′ Clarinet 61 pipes
8′ Festival Trumpet preparation
Tremulant
Choir-Choir 16-UO-4
Swell-Choir 16-8-4
Pedal on Choir
Great/Choir Transfer
MIDI on Choir

PEDAL
32′ Resultant
16′ Contra Bass 32 pipes
16′ Subbass 44 pipes
16′ Gemshorn (Choir)
16′ Rohrflute (Swell)
8′ Oktav 44 pipes
8′ Subbass (ext)
8′ Gemshorn (Choir)
8′ Rohrflute (Swell)
4′ Oktav (ext)
4′ Rohrflute (Swell)
4′ Gemshorn (Choir)
II Mixture 64 pipes
16′ Posaune** 73 pipes
16′ Bombarde (Swell)
16′ Basson (Choir)
8′ Posaune (ext)**
8′ Bombarde (Swell)
4′ Posaune (ext)**
4′ Basson (Choir)
8′ Festival Trumpet preparation
Great-Pedal 8-4
Swell-Pedal 8-4
Choir-Pedal 8-4
MIDI on Pedal
** located in Choir

Salmen Organ Company
38569 SD Hwy. 34
Wessington Springs, SD 57382
Telephone: 605/354-1694
Cell: 605/354-1694
Fax : 605/539-1915
E-mail: [email protected]
Web: www.salmenorgans.com