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

Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California

Opus 46

 

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

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

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

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

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

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

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

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

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

--Quimby Pipe Organs, Inc.

GREAT (unenclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Chimes
(Solo)

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

                                    Tower
Chimes (prepared for)

                                    MIDI
on Great

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Chimes
(Solo)

                                    MIDI
on Swell

CHOIR (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Chimes
(Solo)

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

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

                                    MIDI
on Choir

SOLO (enclosed)

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

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

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

                                    Tower
Chimes (prepared for)

                                    Chimes
(20 tubes)

                                    MIDI
on Solo

PEDAL (unenclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Chimes
(Solo)

                                    MIDI
on Pedal

Lively-Fulcher Organbuilders, Alexandria, Virginia

St. Olaf Catholic Church,
Minneapolis, Minnesota

 

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

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

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

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

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

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

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

--Lynn Trapp

 

GRAND ORGUE

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur G.O.

                                    Positif
sur G.O.

                                    Bombarde
sur G.O.

POSITIF EXPRESSIF

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur Positif

                                    Bombarde
sur Positif

                                    Positif
unison off

RÉCIT EXPRESSIF

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Octaves
graves

BOMBARDE (floating)

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

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

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

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

PÉDALE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tirasse
Bombarde

                                    Tirasse
G.O.

                                    Tirasse
Positif

                                    Tirasse
Récit

 

G.O./Positif manual transfer

Chimes sur G.O.

Tower Bells sur Récit

Cymbelstern

Pedal & Manual pistons coupled

Sequencer

 

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

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

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

--Weston Harris

 

GREAT (enclosed)

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

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

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

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

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

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

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

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

                                    Mixture
IV

                                    Cymbale
III

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

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

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

                                    Tremulant

                                    Gt/Gt
16-4

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Sw/Sw
16-UO-4

POSITIV (unenclosed)

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

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

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

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

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

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

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

                                    Pos/Pos

                                    Pos/Gt

                                    Tower
Bells (8 Whitehall bells)

STATE TRUMPET (unenclosed)

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

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

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

                                    Trumpet
to Gt

                                    Trumpet
to Sw

                                    Trumpet
to Pos

PEDAL (enclosed in Great)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Full interdivisional couplers

*indicates unification

Berghaus Organ Company, Inc., Bellwood, Illinois

St. Mary’s Roman Catholic Church, Port Washington,
Wisconsin

Set upon a hill, significantly above the shores of Lake
Michigan, is St. Mary’s Church of Port Washington, Wisconsin. Its
American gothic structure, built in 1884, can be seen for many miles from any
direction and in the 1800s served as a navigation aid for ships coming into
port.

In July of 2002, a contract was negotiated for a new
two-manual and pedal organ. The key action was to be tracker and the stop
action to be electric, in order that a combination system could be available
for the convenience of the organists. The organ case is made of red oak, with
plywood, oak-veneered panels set into massive solid oak frames. The keydesk is
built into the lower portion of the case with drawknobs set into terraced,
horizontal side jambs also made of solid oak.

The main case of the organ embraces the Great and Swell
organs. The upper façade displays the pipes of the Great 8’
Principal. The lower façade displays the pipes of the Swell 8’
Principal. The entire Swell 8’ Principal is outside of the swell box.
Between the upper and lower façades are the pipes of the Great 4’
Octave. Behind the main case is the Pedal organ. Casework covers the lower
portion of this division; from windchest level on up, all the pipework is
un-encased. Because of the good acoustic of the church, the Pedal has no
difficulty in speaking into the nave. The Pedal Kontrabass 16’ plays from
its own ventil action, pallet chest on a wind pressure of 125 mm. These pipes
are original to the first instrument. It was decided not to rebuild these
pipes, just to accommodate a lower wind pressure. The remaining stops in the
Pedal are voiced on a wind pressure of 75 mm. Wind pressures of the Great and
Swell organs are 70 mm.  Much of
this organ remains as “preparations” since funds were not available
to build this organ as a totally completed instrument.

The organ’s case design is by Allyn Hoverland and
Abraham Batten. Tonal specifications were by Leonard Berghaus in collaboration
with the parish organist, Drew Rutz. Brian Berghaus oversaw the case
construction and installation. Tonal finishing in the church was performed by
John Streufert, head voicer, and by Leonard Berghaus. Organbuilders and installers
included the following: Todd Berghaus, Jeff Hubbard, Jordan Smoots, Paul Sturm,
Paul Serresseque, Mitch Blum, Gordon Bruns, Randy Watkins, Mike Pelton, and
Kurt Linstead.

The blessing and dedication of the organ took place on
August 10, 2003. The organist for this service was Alan Hommerding. The pastor
of St. Mary’s Parish is Fr. Allan Sommer.  Parish and school music director is Drew Rutz.

--Leonard Berghaus

GREAT (Unenclosed)

16’        Bourdon*

8’           Prestant
(façade)

8’           Gamba*

8’           Rohrflöte

4’           Octave

4’           Spitzflöte
(prep)

22/3’   Quinte
(prep)

2’           Octave

13/5’   Terz
(prep)

                  Mixture
V (draws 2’)

8’           Trompete
(prep)

                  Tremulant

SWELL (Enclosed)

8’           Principal
(façade)

8’           Spitzviol

8’           Spitzviol
Celeste (tenor c)

8’           Holzgedackt*

4’           Geigend
Octave

4’           Koppelflöte

2’           Hohlflöte

11/3’   Klein
Nasat (prep)

                  Scharf-Mixtur
IV (prep)

16’        Groß
Dulzian (prep)

8’           Schalmei
(prep)

                  Tremulant

PEDAL

16’        Kontrabass*

16’        Subbass*

8’           Principal

8’           Gemshorn
(prep)

4’           Choralbass
(prep)

                  Mixtur
III (prep)

16’        Holzposaune
(prep)

4’           Kornett
(prep)

                  Zimbelstern

Mechanical key action with electric stop action; 32-level
memory system combination action

*Revoiced from the 1924 Schaeffer organ

Cover

Bedient Organ Company, Lincoln, Nebraska

Sharon United Methodist Church, Charlotte, North Carolina

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

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

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

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

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

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

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

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

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

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

www.4w.com/bedientorgan/

--Gene R. Bedient

 

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

 

GREAT

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

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

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

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

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

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

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

                                    Mixture
III-V

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

SWELL

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

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

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

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

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

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

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

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

                                    Cymbale
III

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

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

PEDAL

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

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

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

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

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

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

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

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

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

                                    Couplers

                                    Great/Pedal

                                    Swell/Pedal

                                    Swell/Great

                                    Tremulant

 

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

 

GREAT

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

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

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

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

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

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

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

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

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

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

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

                                    MIDI

SWELL

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    MIDI

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

                                    MIDI

 

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

 

GREAT

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

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

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

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

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

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

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

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

                                    Fourniture
IV

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

                                    Sw/Gt

                                    Ch/Gt

SWELL

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

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

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

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

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

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

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

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

                                    Mixture
III

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

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

                                    Tremulant

CHOIR

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

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

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

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

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

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

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

                                    Sw/Ch

PEDAL

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

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

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

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

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

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

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

                                    Sw/Ped

                                    Gt/Ped

                                    Ch/Ped

 

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

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

 

GREAT

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Trumpet

                                    Celeste

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

PEDAL

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

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

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

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

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

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

                  51⁄3'
style='mso-tab-count:1'>      Quint

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

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

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

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

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

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

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

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

Cover

J. F. Nordlie Company, Sioux Falls, South Dakota

Kernersville Moravian Church, Kernersville, North
Carolina

From the builder:

My first conversations with Wayne Leupold took place in 1991
during the Region VI AGO Convention in Sioux Falls. Wayne had just taught a
masterclass and played my instrument at First United Methodist Church. We
discussed his new position as director of music and organist at Kernersville
Moravian Church. Wayne told me of the slated construction of a new sanctuary,
the newly formed organ committee, and his desire to have an instrument with the
capabilities he had witnessed at First Methodist.

By the time I had a chance to visit with the architect, the
room had been designed and approved. My first visit to Kernersville early in
1992 found the new sanctuary well under construction. The design left only one
location for the organ and, as luck would have it, it was the best possible
position in the room. My input for construction of the room was limited to
reinforcement of the floor in the general location of the instrument and
insistence on hardened walls and absence of soft surfaces. The first organ
committee didn?t contract for the organ but succeeded in preparing a room
for inspired musical worship and placement of a pipe organ.

For almost 10 years, occasional discussions, ideas, and
stoplists were sent between KMC and my shop. In 2001, what I believe was the
third organ committee brought our proposal to the congregation and approval was
given to enter into agreement.

My first designs were for a smaller instrument on the
sanctuary floor, and initial talks called for placing some of the larger
components (i.e., pedal pipes and chests) in chambers outside the main room. As
work progressed it was obvious that some of our original ideas were not going
to work. The location planned for the blower and static reservoir, directly
below the organ in the lower level of the church, had become the nursery. The
space where chambers were to be located was not structurally suitable and cost
prohibitive. The entire organ had to be placed within the sanctuary. The case
of the organ sits in the front right corner of the sanctuary. It is
approximately 17 feet wide by 9 feet deep. The peak of the case is 23 feet
above the floor. The console is located on the central axis, detached from the
case by 9 feet. This detached console gives the organist the opportunity to
direct the choir from the bench.

The visual design of the organ is quite eclectic with
elements ranging from the designs of Moravian organ builder David Tannenburg to
the Italian classic. Overall it is designed to fit comfortably within the
Neo-classical meeting house design of the sanctuary with its painted colonial
panel and molding detail and natural wood accents. The carved pipe shades were
designed and created by master wood carver Arnold Bortnem of South Dakota,
taking into consideration the desire of the church members to include symbols
of the Moravian Church. The three-manual console has a French tiered stopknob
arrangement. Particular care was made to situate stops in a logical, convenient
position and provide every modern registration aid for the organist. Case
builder Paul Nordlie mirrored and book-matched fancy black walnut veneers in
the console to make a strikingly beautiful presentation. The keyboards and
console chassis were made by P&S Supply of England. The keyboards are made
with natural keys of cow bone and sharps of ebony. Harris Precision Products
(California) built the electric knob solenoids, and Jan Rowland (Texas) turned
the custom designed stopknobs.

The organ is winded from five weighted wedge reservoirs (one
for each manual and two for the pedal pipes) located in the base of the
instrument. Although I know of no perfect wind system, my preference has always
been for the character of life and solidity given by the wedge reservoir. The
wind is created by a one-horsepower Laukhuff Ventus blower located in a newly
created room made from an abandoned hallway. The system is remarkably quiet
owing to traditional sound-deadening techniques and use of modern technology in
the form of an electronic inverter. An inverter controls the rotational speed
of the blower. Only when the organ calls for full wind is the blower operating
at a full capacity, its loudest state.

The three manual divisions of the organ are situated on
mechanical action slider chests with some bass pipes offset on electric action
chests. This allows the use of these pipes in the pedal division. The pedal
division, other than mechanical couplers, is electric action. All of the
electric action switching and console accessories are controlled through a
solid-state pipe organ system manufactured by Justin and Mark Matters (South
Dakota). The use of "state of the art" computer technology and fiber
optics makes this system compact, simple in design, easy to control, and
remarkably reliable.

The tonal resources of this instrument are all traditional
pipework, however provision has been made for MIDI stops as future use may
desire. All new wood pipes, including the 16' Posaune, were made in my shop of
quarter-sawn white oak. The 16' Open Bass was recycled pipework built of clear
sugarpine by the Hall Organ Company in the 1920s. The reeds were made by
Stinkens in Holland. The flue pipes were made to our exacting specifications by
Andreas Grunemann in Germany and Andrea Pinchi in Italy. All of the
façade pipes are made of 80% polished tin with interior pipes
exclusively of lead/tin alloys. Voicing and tonal finishing of the pipework was
accomplished onsite by my longtime designer and voicer, Eric Grane.

The photos accompanying this article show the organ in its
final phase of construction. The largest 10 pipes of the 16' Prestant were
shipped by ocean freight directly to the church. We expect delivery any day and
held up photography as long as we could. The plan was good, but unfortunately
strikes and the conflict in Iraq have created a bit of a problem for us.

Throughout my involvement with this project, members of the church
have constantly reminded me that the Moravians proclaim their faith through
their music. I feel fortunate to have had this opportunity to build this
instrument for a people that not only look back at the exciting history that
they have had with the pipe organ but also toward an exciting future with the
pipe organ as their instrument of choice.

Craftspeople employed by my shop that have had a hand in the
construction of this instrument include: Joseph Brown, Eric Grane, Liz Soladay,
Hank Hight, Grant Lacey, Mike Lacey, Jeremy Larsen, Marty Larsen, Beth
MacDonald, Larry Niebuhr, Paul Nordlie, Trintje Nordlie, Quinn Rozeboom, Andy
Schmahl.

--John Nordlie

From the director of music:

This is an organ for a vibrant congregation of the Moravian
Church in America. Moravians have a strong practice of preserving the best of
their rich traditions and musical heritage, but also being open to quality
innovations from the present. The primary impetus in the design of this
instrument is to accompany the many hymns that Moravians sing in a multiplicity
of uses, as well as rendering the full range of organ literature. The
mechanical-action design features simplicity, subtle musical expressiveness,
and unrivaled durability.

The tonal design has its foundation in the 18th-century
central German organ (the same period in which the Moravian Church was revived
in Germany) with classic principal choruses on the Great (16' through Mixture),
the Swell (8' through Mixture), and the Pedal (16' through Mixture). To this
basic framework, judicious additions have been made from a variety of different
national schools and historical periods, such as the Great Trumpet,
Sesquialtera and Zimbelstern from the German Baroque period; the Trompette en
Chamade from the Spanish Baroque; the Glockenspiel from the central German
late-Baroque and early Classic; the Cromorne and the Mounted Cornet from the
French Classic; the Flûte Harmonique, Swell reeds, and String
Céleste from the French Romantic; the rollschweller from the German
Romantic; the chimes from the American 20th century; and MIDI and the 256
memory-level combination action and computer from the 21st century. A German
Positive ensemble can be found on the Swell by playing an octave higher than
normal, and a French Positif ensemble can be found on the Solo. Because of the
artistic skill of the builder and his voicers, a beautiful, integrated artistic
ensemble has been created. Thus variety, individuality, and flexibility are
artistically combined to achieve great expressiveness and a wonderful unity of
ensemble.

When completed, the organ will have 43 ranks of pipes,
controlled by 37 speaking stops. The façade includes four hand-carved
symbols of the Moravian Church. The console is made of dark burl walnut and is
detached from the organ case by nine feet to allow the organist to both direct
and accompany the choir simultaneously.

--Wayne Leupold

Director of Music/Organist

Kernersville Moravian Church

GREAT

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

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

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

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

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

                  4?
style='mso-tab-count:1'>            Koppelflöte
(prep)

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

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

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

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

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

                                    Tremulant
to Great

                                    Sw/Gt

                                    So/Gt

SWELL

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

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

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

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

                  8?
style='mso-tab-count:1'>            Céleste
(FF)

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

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

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

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

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

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

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

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

                                    Tremulant
to Swell

SOLO

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

                  8?
style='mso-tab-count:1'>            Bourdon
(from Cornet)

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

                                    Grand
Cornet V (Tenor E-d???)

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

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

                                    Tremulant
to Solo

PEDAL

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

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

                  16?
style='mso-tab-count:1'>         Sub
Bass (prep)

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

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

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

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

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

                  22⁄3?
style='mso-tab-count:1'>     Mixture IV (prep)

                  32?
style='mso-tab-count:1'>         Contra
Basson (ext, prep)

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

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

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

                  4?
style='mso-tab-count:1'>            Shawm
(prep)

                                    Gt/Ped

                                    Sw/Ped

                                    So/Ped

BELLS

                                    Chimes
on Great (prep)

                                    Glockenspiel
on Great (prep)

                                    Glockenspiel
on Solo (Gt)

                                    Chimes
on Pedal (Gt)

                                    Zimbelstern

Fabry, Inc., Fox
Lake, Illinois, has completed the rebuilding and enlargement of the organ at
The Evangelical Lutheran Church of the Good Shepherd, Palos Heights, Illinois:
two manuals and pedal, 33 ranks. When the congregation decided to build a new
sanctuary, Fabry, Inc. was engaged to remove, rebuild, revoice, and enlarge the
church?s Holtkamp organ, of which 16 ranks were retained in the project.
David G. Fabry constructed the visual design on AutoCad; the project includes
all new chestwork, casework, swell enclosure, and a new two-manual drawknob
console. Joseph Poland of Fabry, Inc. completed the installation. The console
has the ICS-4000 integrated control system by Peterson and full MIDI with
sequencer. The project was completed in March 2002. The dedication was played
by the church?s organist Mrs. Cindy Gansel and led by Pastor Wayne Basch.

GREAT

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

                  8?
style='mso-tab-count:1'>            Copula

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

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

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

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

                  22⁄3?
style='mso-tab-count:1'>     Nazard*

                  13⁄5?
style='mso-tab-count:1'>     Tierce*

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

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

                                    Zimbelstern*

                                    Chimes
(prep)

                                    Tremolo

                                    Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    MIDI
to Gt

SWELL

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

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

                  8?
style='mso-tab-count:1'>            Rohrflote
(new borrow)

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

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

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

                  4?
style='mso-tab-count:1'>            Rohrflote

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

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

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

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

                                    Tremolo

                                    Sw
16-UO-4

                                    MIDI
to Sw

PEDAL

                  32?
style='mso-tab-count:1'>         Untersatz
(new, digital)

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

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

                  16?
style='mso-tab-count:1'>         Quintadena

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

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

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

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

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

                  16?
style='mso-tab-count:1'>         Trompette

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

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

                                    Chimes

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    MIDI
to Ped

                                    *
new pipework

Cover

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

GRAND ORGUE

16' Bourdon

8' Montre

8' Flûte a cheminée

8' Flûte harmonique

4' Prestant

2' Doublette

 Plein Jeu III-V

 Cornet IV (MC)

8' Trompette

 Tremblant

Pos/G.O.

Réc/G.O.

RÉCIT

8' Flûte traversière

8' Viole de Gambe

8' Voix céleste

4' Flûte Octaviante

2' Octavin

8' Basson-Hautbois

8' Voix Humaine

Tremulant

POSITIF

8' Bourdon

8' Salicional

8' Unda Maris

4' Flûte à fuseau

22/3' Nasard

2' Flageolet

13/5' Tierce

1' Piccolo

8' Clarinette

8' Trumpet Royal (horizontal)

   Tremulant

  Chimes

  Zimbelstern

  Réc/Pos

PÉDAL

32' Bourdon (electronic)

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

8' Flûte

8' Violoncelle

16' Basson

4' Chalumeau

  G.O./Péd

  Pos/Péd

  Réc/Péd

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

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

GREAT

16' Double Open Diapason

8' Open Diapason

8' Open Diapason (2nd)

8' Viola da Gamba

8' Viola d'Amour

8' Doppel Flute

4' Octave

22/3 Octave Quinte

2' Super Octave

Mixture III-IV*

8' Trumpet

SWELL

16' Bourdon

8' Violin Diapason

8' Viol d'Orchestre

8' Aeoline

8' Voix Celeste

8' Stopped Diapason

4' Fugara

4' Harmonic Flute

2' Flautina

                        Cornet
IV*

8' Oboe

8' Vox Humana

                        Tremolo

CHOIR

8' Geigen Principal

8' Dulciana

8' Melodia

4' Violina

4' Flute d'Amour

2' Harmonic Piccolo

8' Clarinet

PEDAL

32' Resultant*

16' Open Diapason (wood)

16' Bourdon

16' Lieblich Gedeckt (Sw)

8' Violoncello

8' Flute Stop'd

16' Trombone*

*additions by Bond

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

GREAT

8' Principal

8' Rohrfloete

4' Octave

4' Spillfloete

22/3' Nasat

2' Hohlfloete

13/5' Terz

IV Mixtur

8' Trompete

                        Tremulant

                        Chimes

                        Zimbelstern
(prep)

SWELL

8' Gedackt

8' Viola

8' Celeste

4' Spitzfloete

2' Principal

11/3' Quinte

III Scharf-Zimbel (prep)

8' Schalmei

Tremulant

8' Trompete

PEDAL

16' Subbass

8' Offenbass

4' Choralbass

II Rauschquinte (prep)

16' Still Posaune

8' Trompete

4' Trompete

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

Analysis

16' Subbass (44 pipes)

16' Gedeckt (97)

8' Principal (61)

8' Geigen (73)

8' Gemshorn (61)

8' Gemshorn Celeste (77)

8' Bourdon (73)

4' Octave (73)

22/3' Twelfth (61)

16' Trompette (85)

8' Oboe (61)

                        Chimes
(25 tubes)

GREAT

8' Principal

8' Bourdon

8' Gemshorn

4' Octave

22/3' Twelfth

2' Fifteenth

Mixture III

8' Trompette

Chimes

Couplers

SWELL

16' Gedeckt

8' Geigen Principal

8' Rohrgedeckt

8' Gemshorn

8' Gemshorn Celeste

4' Prestant

4' Bourdon

22/3' Quinte

2' Blockflöte

13/5' Tierce

Scharf III

16' Trompette

8' Trompette

8' Oboe

4' Clarion

Tremulant

Couplers

CHOIR

Digital preparation

10 knobs

Couplers

PEDAL

16' Subbass

16' Lieblich Gedeckt

8' Principal

8' Pedalflöte

4' Choralbass

4' Rohrflöte

2' Super Octave

Mixture III

16' Trompette

8' Trompette

8' Fagotto

4' Clarion