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

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

First Baptist Church, Ocala, Florida

 

The Wicks Organ Co., Highland, Illinois, Opus 6382

 

In 1992, First Baptist Church of Ocala, Florida began a process of rebirth after a fire claimed all they had: furnishings, libraries, a concert grand piano, a Skinner pipe organ, choir robes, hymnals and Bibles. The congregation built a new 2,800-seat facility, which is one of the largest churches in Ocala. The final step of their rebuilding process was bringing a pipe organ into the new building.

David Kocsis, Wicks Area Sales Director writes:

Among the unique features of this project, the organ was to be a gift from a non-member--but one whose daughter and son-in-law were members. Secondly, the church provided a single sheet outlining their requirements for this instrument. The organ was to be a "supplemental" instrument, used mostly to enhance the 25-piece orchestra and 180-voice choir. It would also, upon occasion, be used as a recital instrument. They wanted an instrument of the "American Classic" school with the following characteristics incorporated: four-manual drawknob console; multiple Principal choruses; plentiful and opulent strings; a variety of flute choruses and solo stops; reeds to complement the overall instrument and offer solo opportunities; a Pedal division that offers strong, solid underpinning with at least two 32’ stops; a Trompette-en-Chamade of polished copper with flared bells; exposed pipework across entire chamber area (52 ft.) to eliminate existing latticework and grillwork; preparation on console for Chimes and Zimbelstern; MIDI capability.

Our proposal was for an instrument of 74 pipe ranks over five divisions with an additional four 32-foot computer-generated stops in the Pedal division, using the Walker Paradox system. The plan also called for (at the direction of the church) preparations for an 11-rank Solo division, and a 9-rank Antiphonal division.

We decided early on that Daniel Angerstein would tonally finish the instrument. Although First Baptist, Ocala was not a bad room, the irregular shape and carpeting did not make it acoustically live, either. Our factory-trained technician in Florida, Mr. Robert Campbell, would handle the  installation.

The specification for the instrument was a joint venture design involving Area Director David Kocsis, his associate Herb Ridgely, and voicer Dan Angerstein. After the contract was signed in late November, 1998, the three members of the design team met at the church to study the acoustics, room layout, chamber space, etc., so that detailed design work could begin. On the drive back to Atlanta, the pipe scales for the organ were discussed and finalized. The entire organ would be on 5" wind pressure with the notable exception of the Trompette-en-Chamade, which was to be on 10" wind pressure, and the Choir division English Tuba on 12". In order to "ring" the room, the Great 8' Principal would be built to a 40 scale, and the Great 8' Montre a 42 scale. One of the features of the design is the placement of the lowest pipes of the Pedal 16' Open Wood in the organ facade, stained to match the rest of the woodwork in the sanctuary. This placement allows the most profound of 16-foot foundation tone immediate access to the room. Of particular interest in the Walker system designed for this organ is that the computer-generated harp in the Choir can also be used with the Tremulant, providing a vibraharp sound.

There are several ancillary console controls that enhance ease of playing such a massive console, and also add facility to the instrument. These include: Pedal, Solo and Swell Melody couplers to the Great, all Swells to Swell, all Mixtures Off, all 32's Off, All Reeds Off, and All Celestes Off. To allow maximum visibility and eye contact between the organist and the minister of music, all inter-manual couplers were placed in the stop jambs, rather than on a coupler rail. This resulted in a console somewhat wider than normal (slightly over 8 feet). There are eight divisional pistons and 15 General pistons with 32 levels of memory. A 13-position transposer is included. The main body of the casework is painted semi-gloss off white, again matching the main color in the sanctuary. The whole idea was to give the impression that the building and the organ had been conceived as an integral whole.

The first of two truckloads of pipe organ arrived in Ocala on March 22, 2000, and the second truck arrived on April 12. Installation was completed on June 3 and voicing of the instrument in the room began on June 5. The logistical problems associated with installing a large pipe organ are many. The crew faced a 52-foot facade that begins 12' above the top choir riser and extends upward to accommodate full length 16-foot metal Principals and full length 16-foot Open Wood pipes. Bob Campbell's crew had scaffolding from floor to ceiling that would cover one of the four sections, and it took a considerable amount of careful planning to insure that all work was completed on one bay before tearing down the scaffolding and moving it to the next location.

From the beginning of the installation, the entire organ facade was covered every Sunday during church services so that the completed installation could be unveiled at one time. This occasion occurred on Sunday, June 4, 2000. The Sanctuary was dimly lit, and at the appropriate time, the entire organ facade was lit by a battery of specially placed lighting. This was only the prelude--the organ was heard for the first time by the congregation on July 2.

We at Wicks thank the committee and staff of first Baptist Church of Ocala for placing their trust in us to build an instrument according to their wishes. In particular, we would like to thank Dr. Ed Johnson, Sr. Pastor; Mr. Terry Williams, Minister of Music; and Mr. Larry Kerner, Chair of the Organ Committee. The entire congregation placed its confidence in us from the outset, and was extremely helpful from the beginning of the detailed design process through the installation. Several members of the church also volunteered their time and talents to help with the installation, especially with fitting and trimming of the facade to accommodate slight building irregularities. This really was a "team" effort, and everyone should be very proud of the results.

The dedication of the new IV/74 instrument at the First Baptist Church of Ocala, FL will be held on Sunday, September 24, 2000, featuring John Weaver, organ chair at The Curtis Institute of Music in Philadelphia and The Julliard School of Music in New York City.

{C}

 {C}

GREAT

1. 16' Montre

2. 16'    Bourdon

3. 8' Principal

4. 8' Montre (from #1)

5. 8' Flute Couverte

6. 8' Flute Harmonique

7. 4' Octave

8. 8' Gemshorn

9. 4' Nachthorn

10. 22/3' Twelfth

11. 2' Fifteenth

12. 2' Hohlflute (from #6)

13. 13/5' Seventeenth

14. IV-V Fourniture

15. IV Cymbale

16. 16' Kontra Trompete (from #17)

17. 8' Trompete

18. 8' Trompete en Chamade (10≤ w.p.)

19. Tremulant (Flutes)

20. Chimes [D]

21. Zimbelstern

22. Pedal Bass Coupler to Great

23. Swell Melody Coupler to Great

24. Solo Melody Coupler to Great

25. MIDI on Great

{C}

 {C}

SWELL (Enclosed)

26. 16' Bourdon Doux

27. 8' Geigen Principal

28. 8' Rohrflute (from #26)

29. 8' Viola Pomposa

30. 8' Viola Celeste

31. 8' Flauto Dolce

32. 8' Dolce Celeste TC

33. 4' Prestant

34. 4' Flauto Traverso

35. 22/3' Nazard

36. 2' Quarte de Nazard

37. 13/5' Tierce

38. IV-V Plein Jeu

39. III-IV Cymbale

40. 16' Contre Trompette

41. 8' Trompette

42. 8' Oboe

43. 8' Vox Humana

44. 4' Clairon (from #40)

45. 8' English Tuba (Ch)

46. 8' Trompette en Chamade (Gt)

47. Tremulant

48. MIDI On Swell

{C}

 {C}

CHOIR (Enclosed)

49. 16' Gemshorn [D]

50. 8' English Diapason

51. 8' Flute Ouverte

52. 8' Gemshorn

53. 8' Gemshorn Celeste TC

54. 4' Principal

55. 4' Koppelflute

56. 2' Principal

57. 11/3' Larigot

58. 1' Principal (from #56)

59. II Sesquialtera

60. IV-V Scharf

61. 16' Dulzian (from #62)

62. 8' Cromorne

63. 4' Rohr Schalmei

64. 16' English Tuba TC (from #65)

65. 8' English Tuba (12≤ w.p.)

66. 8' Trompette en Chamade (Gt)

67. 8' Harp [D]

68. 4' Harp Celesta [D]

69. Tremulant

70. MIDI On Choir

{C}

 {C}

SOLO (Enclosed)

15 Prepared Stops

71. 16' Trompette en Chamade TC (Gt)

72. 8' Trompette en Chamade (Gt)

73. 4' Trompette en Chamade (Gt)

74. 16' English Tuba TC (Ch)

75. 8' English Tuba (Ch)

76. 4' English Tuba (Ch)

77. MIDI On Solo

{C}

 {C}

ANTIPHONAL (Floating)

12 Prepared Stops

{C}

 {C}

ANTIPHONAL PEDAL

1 Prepared Stop

{C}

 {C}

PEDAL

78. 32' Contra Principal [D]

79. 32' Contra Bourdon [D]

80. 16' Open Wood

81. 16' Bourdon

82. 16' Principal

83. 16' Montre (Gt)

84. 16' Bourdon Doux (Sw)

85. 16' Gemshorn (Ch)

86. 8' Octave

87. 8' Major Bass (from #80)

88. 8' Bourdon (from #81)

89. 8' Viola (Sw)

90. 8' Open Flute (Ch)

91. 62/5' Gross Terz (Gt)

92. 51/3' Gross Quinte (Gt)

93. 4' Choral Bass

94. 4' Cantus Flute

95. 2' Flute (from #94)

96. IV Grave Mixture

97. IV Acuta

98. 32' Contra Bombarde [D]

99. 32' Contra Fagotto [D]

100. 32' Cornet des Bombardes IV

101. 16' Bombarde

102. 16' Contre Trompette (Sw)

103. 16' Kontra Trompete (Gt)

104. 16' Dulzian (Ch)

105. 8' Trompette

106. 8' Trompete (Gt)

107. 8' Oboe (Sw)

108. 4' Bombarde Clarion (from #101)

109. 4' Oboe (Sw)

110. 4' Schalmei (Ch)

111. 8' Trompette en Chamade (Gt)

112. 8' English Tuba (Ch)

113. Chimes (Gt)

{C}

 {C}

[D] = Digital Ranks

{C}

 {C}

Couplers

Sw/Gt 16 8 4

Ch/Gt 16 8 4

So/Gt 16 8 4

Ant on Gt

So/Sw 16 8 4

Ant on Sw

Sw/Ch 16 8 4

So/Ch 16 8 4

Ant on Ch

Ant on So

Gt 16 UO

Sw 16 UO 4

Ch 16 UO 4

So 16 UO 4

Ant UO 4

Gt/Ped 8 4

Sw/Ped 8 4

Ch/Ped 8 4

So/Ped 8 4

Ant/Ped 8

{C}

 {C}

Charles M. Ruggles, Conifer, Colorado, has built a new organ for The Randolph Church, Randolph, New Hampshire. The organ is designed on classic models typical of instruments found in New England and European churches; two manuals and pedal, mechanical action. Its structural and tonal characteristics make it suitable for the needs of The Randolph Church--for service playing, accompanying congregational singing, and playing a wide segment of standard organ literature. The case features cherry wood frame, redwood panels, and walnut trim. The Rohrflöte 8 and Octave 2 are common between the two manuals; the Bourdon 16 is an extension of the Bourdon 8. Manual compass 56 notes, pedal compass 30 notes; standard AGO pedalboard. Couplers, operated by foot levers, include Great to Pedal, Swell to Pedal, and Swell to Great.

{C}

 {C}

GREAT

                  8'             Principal

                  8'             Rohrflöte

                  4'             Octave

                  2'             Octave

                                    Mixture

                                    Sesquialtera II (from middle c)

SWELL

                  8'             Rohrflöte

                  8'             Gamba (tenor C)

                  4'             Flute

                  2'             Octave

                  8'             Dulcian

PEDAL

                  16'          Bourdon

                  8'             Bourdon

{C}

 {C}

B. Rule & Company, New Market, Tennessee, has rebuilt and installed a Hook & Hastings organ for Covenant Baptist Church, Houston, Texas. Built by Hook & Hastings in 1893 for First Baptist Church of Georgetown, Kentucky, the organ was removed from this church in 1963. It was owned for many years by David Bottom, of Lexington, Kentucky, who set it up in several different locations before carefully putting it in storage several years ago. B. Rule recommended the organ to Covenant Baptist Church, who bought it from David Bottom. Compass: 58/27.

B. Rule & Co. rebuilt the organ, including a complete rebuild of the chests and bellows and re-covering the manual keys with bone. The hand-pumping mechanism was also restored. Two changes were made: the Dulciana was replaced with a 2' Fifteenth, and the Oboe was extended to full compass from its previous tenor C status.

The small new sanctuary has a concrete floor and live acoustics, creating an environment which encourages congregational singing. The acoustical consultant was Charles Boner. The organist of the church is Carl McAliley, who played a joint dedication recital with Bruce Power on March 4.

{C}

 {C}

GREAT

                  8'             Open Diapason

                  8'             Melodia

                  4'             Octave

                  2'             Fifteenth

SWELL

                  8'             Stopped Diapason

                  8'             Viola (1-12 from St. Diap)

                  4'             Harmonic Flute

                  8'             Oboe

PEDAL

                  16'          Bourdon

Accessories

                                    Sw/Gt

                                    Gt/Ped

                                    Sw/Ped

                                    Sw/Gt Octaves

                                    Tremolo

                                    Blower Signal

 

Cover

Paul Fritts & Company, Tacoma, Washington

Princeton Theological Seminary, Princeton, New Jersey

 

On February 2, 2001, the new Joe R. Engle pipe organ, Opus
20 of Paul Fritts & Co., Organ Builders, Tacoma, Washington, for Miller
Chapel at Princeton Theological Seminary was dedicated with festivities which
included a dedication service and dedicatory recital, followed by a three-day
colloquium (sponsored by the seminary) featuring a variety of worship services,
recitals, lectures and panels on topics related to the organ in both historic
and contemporary worship.

David Dahl talks with Paul Fritts about the new organ.

 

David Dahl: After
you were selected to build the new organ for Miller Chapel, how did you arrive
at the concept we see and hear now at the seminary?

Paul Fritts: I
listened carefully to the musical needs for the chapel as expressed by Martin
Tel (organist and C. F. Seabrook Director of Music at the seminary) and the
members of the organ committee (chaired by James F. Kay, Associate Professor of
Homiletics and Liturgics at the seminary). They desired an organ with a strong
identity which would serve the daily worship of seminarians, as well as musical
concerts involving choir, soloists, and various instruments. Martin Tel stated:
"This is a very important instrument; seminarians need to be exposed to
and ‘moved' by an instrument of exceptional merit, such that in their
later work as clergy they would be encouraged to seek similar quality."

 

Dahl: In order to
reach consensus on the scope of the instrument, were there limitations which
you needed to consider?

Fritts: Limitations
can be both an asset and a drawback; they are a fact of life. If we try to
eliminate limitations everything gets watered down. For Miller Chapel it was
decided that the "identity" would be an organ known to be historically
successful with congregational singing and a large body of liturgical organ
repertoire. This identity was to be a blend of related North and Central German
and Dutch concepts common to the late 17th and early 18th century, in which a
large secondary division would serve as both an Oberwerk and Swell as companion
to the Great and Pedal.

 

Dahl: Would you say
that the concept is more "historically inspired" than a copy of some
form of an old organ?

Fritts: Definitely! I
worked to build this organ with an integrity based on historic models, but in
the end it represents what I think will work and sound best at this point in
time. It is a modern instrument.

 

Dahl: Would you
comment on how you arrived at the type of casework and architectural style we
see here at Princeton?

Fritts: Miller
Chapel is quite similar to Kilworth Chapel at the University of Puget Sound,
Tacoma, Washington, where ten years ago we built an organ with a case design
similar to organs in 18th-century central Germany"such as those built by
builders like Gottfried Silbermann and Hildebrandt. This concept works well
there, and I thought that, with the same height restrictions coupled with a
fair amount of depth, a similar casework and internal arrangement of the
divisions would be successful at Princeton. We also talked about the organs of
the early American organ builder, David Tannenberg, who built instruments in
Lutheran, Moravian and Reformed churches in the Mid-Atlantic region. Many of
his organs found their place in the meeting-house style of building, where he
most often used an 18th-century style case design. This building style is not
unlike Miller Chapel.

Placing the organ front and center was a decision reached
after exploring the possibility of the rear balcony. A good deal of remodeling
was done to provide more width to the front of the chapel, so that the organ
could stand on the floor at the front, with its presence clearly "in the
room." The remodeling, taking into account prior and current values for
worship and music, also provided a flexible open space in front of the organ
case, which during the colloquium following the dedication was the place for a
very effective modern dance program with organ music of Bach and Eben.

I wanted a rather spacious case inside for the pipes, like
Central German organs of Bach's time, which represents a change for me from
some of the previous organs I've built in the more traditionally confined cases
of North German style organs. This spaciousness would particularly ensure the
effectiveness of the Swell division.

 

Dahl: Could you
speak a bit more about your approach to building the Swell division, which,
with 14 independent registers, is rather substantial?

Fritts: Yes, it is a
rather large division. Some people have asked why there are not three manuals
with an organ of 39 stops and some 60 ranks. Quite simply there was not enough
height to do that, and I believe that a Swell should be on the large size in
order to be effective. We decided that both the Great and the Swell should have
principal choruses based on the 8' level. To make the Swell effective, there
are shutters on three sides of the Swell, which is positioned above the Great
with rather free egress to the room. These shutters close tightly to make even
a fairly large ensemble rather quiet; yet when open fully, the effect is
similar to that of an Oberwerk. The Swell contains three reeds, of which the
Hautbois 8' is closely modeled after Cavaillé-Coll"an exception to
the Germanic roots of the organ, but nevertheless one which blends well within
the total ensemble.

 

Dahl: I see that
your mixture registers are IV-VI ranks, or V-VII ranks. Are there up to six or
seven different pitches in these mixtures?

Fritts: The mixtures
normally have but four pitches; in the treble some of the pitches are doubled
with a second set of pipes. This helps achieve better tuning and focusing in
the ensemble. Multiple unisons do not increase loudness much at all. The Swell
Mixtur V-VII has an optional Tierce rank which may be added or left out.

 

Dahl: Getting back
to some of the limitations we spoke of earlier, I notice that you did not limit
the stop action to mechanical action, but you "piggybacked" an
electric stop-action with solid-state combination and memory system. Would you
comment on that decision?

Fritts: With a
straight mechanical stop action there is little or no chance of failure to use
the organ. However, we all agreed that with the size of the instrument and the
variety of purposes for which it would be used, it would be good to have a
state-of-the-art combination system. We installed a 99-level solid state memory
system, in which each memory level has 20 general pistons. A
"sequencer" is also provided, permitting the organist to advance from
one general to the next by the use of one lever located to the right of the
Swell pedal.

 

Dahl: The organ is
tuned in the well-tempered system known as "Kellner." Would you speak
about this choice for Miller Chapel?

Fritts: This is
quite an amazing solution to the challenge of temperament and tuning. All keys
are playable, and each has a slightly different personality. The major thirds
of the most commonly used keys (especially for hymn singing, and a majority of
repertoire) are more in tune than with equal temperament. However, even in the
more remote keys the Kellner temperament works well. We advocate this
temperament for nearly all of our instruments.

 

Dahl: The colloquium
in February (2001) offered a "test" for the flexibility and
capacities of the organ?

Fritts: It certainly
did. The opening dedication service as well as the variety of worship services
throughout the symposium included robust singing from the assembly, for which
the organ rose to the occasion with color and variety. One especially
interesting moment was the singing of a hymn in an African-American gospel
style. Here the organ took on a character not heard before and which worked
remarkably well. Recital pieces during the symposium not only included expected
works from the Baroque era, but also from the 19th and 20th centuries. While
the organ is Germanic in roots and personality, there is also sufficient
eclectic broadening to permit credible performance of music from all periods.

 

Dahl: How did the
organ work with the choirs which sang during the colloquium, and during the
morning seminary worship services?

Fritts: The
dedicatory recital included the Seminary Choir singing the Benjamin Britten
Rejoice in the Lamb, for chorus, soloists and organ. This was a good test for a
wide dynamic range, quick color changes and blend with voices. The Westminster
Choir of Westminister Choir College also presented an evening concert which
included the C. V. Stanford Magnificat & Nunc Dimittis in C, which required
the organ to work like an English cathedral organ. Here the Swell division
responded well to the demands of a wide dynamic range.

 

Dahl: Is there
anything you would do differently if you built this same organ again?

Fritts: Even if I
tried to make this identical organ again, with the same drawings, materials,
scaling and voicing, it would turn out somewhat differently. In any handcrafted
instrument, every crafted piece depends on so many variables at the time it is
crafted, adding up to a particular result at a particular time. Yes, there are
a few things I might "tweak" about pipe scaling and the action design
were I to go around again with this organ, but fundamentally, I am quite
pleased with the results we got at Princeton. We did not know how the room
would be after its remodeling nor how the room would "receive" the
organ. Happily the acoustical results exceeded my expectations for a room of
its size and shape insofar as it works with the tonal properties of the organ.
It fills the room easily with a "full yet relaxed presence." With
each instrument we build we try to improve in some way, although on occasion we
might regret a small decision here or there. If the ideal result for a given
organ might be compared to the "search for the Holy Grail," we will
probably never reach the ultimate goal, but hopefully with each instrument we
do get a little closer to it.

 

Postscript: The Paul
Fritts & Co. Organ Builders shop is located in a semi-rural part of Tacoma,
Washington. A total of seven craftsmen make up the work force. Paul's sister
Judy Fritts designs and carves pipe shades for the organs. Nearly every
component of each organ is made locally in the shop, including the casting of
metal for pipes, key actions, casework and wooden parts of the organ. Future
contracted organs will be installed at Vassar College, Poughkeepsie, New York;
Thompson Chapel of St. Mark's Cathedral, Seattle, Washington; and in a new
organ/ choral hall at the University of Notre Dame, South Bend,
Indiana."DPD

 

David P. Dahl is professor of organ emeritus at Pacific
Lutheran University.

 

From the Seminary organist:

The installation of the new organ in Miller Chapel was
conceived as part of a larger project"the renovation and re-dedication of
Miller Chapel. The plans for a new organ were thus able to evolve over a
prolonged period of theological and liturgical reflection. The committee's
primary objective was to come to an understanding of the functions of an organ
in this seminary community.

Princeton Theological Seminary is an institution of the
Presbyterian Church (USA). The primary liturgical function of an organ in a
seminary rooted in the Reformed tradition can be stated simply: the organ must
first and foremost undergird and encourage congregational singing. The
functions of the organ as accompaniment to choral singing and as an instrument
for organ literature are clearly ancillary. Our operating conviction was that
if all due attention were  given to
the primary function of the instrument, with design aspects supporting the role
of the choir, the function of the organ as a performing instrument for
literature would also fall into place.

And thus the form of the Miller Chapel organ is heavily bent
toward the sound of the congregation's voice. The organ stands in the same room
as the singers. The disposition allows for a wide range of accompanying
possibilities. The concern for supporting congregational song is borne out in
the two full principal choruses and in the presence of two distinct mixtures on
the Great division. It was recognized that mixtures designed for contrapuntal
literature have a different make-up than those designed primarily for the full
plenums needed for homophonic playing (e.g., the accompaniment of a vigorous
hymn). It is notable that in the Reformed Churches of the Netherlands many organs
were built (or rebuilt as the case may be) primarily for the accompaniment of
robust singing. These organs tend to have mixtures which markedly favor
homophonic textures"mixtures which may also obscure contrapuntal lines. On
the Miller Chapel organ the Great Scharff represents the mixture particularly
suited for homophonic accompaniment. The possibility of adding the Tierce rank
to the Swell Mixture accomplishes some of the same effect.

In the end, it was our desire to present to the seminary
community an instrument of consummate beauty and integrity which would inspire
a striving for excellence in the broader church which the seminary serves. We
saw in Paul Fritts a craftsman who builds upon the native strengths of the
organ. We sought to give him freedom to flesh out in an instrument the
functions we would call forth from the organ.

Paul, in his interview with David Dahl, recognizes that
there are inherent benefits in the limitations one encounters as one goes about
one's art. I fully concur. The organ as it was proposed and eventually built by
Paul Fritts has broad capabilities, and also recognizable limitations. It is
incapable of fulfilling all the instrumental musical requirements of daily
worship at Miller Chapel. Such a statement is not only prudent but, once
acknowledged, also liberating. The organ does not need to "do it
all." The seminary community represents many indigenous traditions beyond
the Western tradition in which the organ originally blossomed. The presence of
this instrument instructs all of us to pursue other musical traditions with the
same authenticity and integrity, whether this means the employment of piano,
conga drums, bamboo flute or Hammond organ. Conversely, we are free to build
and use the pipe organ according its native strengths.

The Miller Chapel organ project is thus not a regression to
some rigorously pure Reformed dogma of worship music. (Indeed, such a proposal
would eliminate the construction of an organ at all!) Rather, this project is
an attempt to build upon the strengths of a developing and living Reformed
tradition. It is an attempt to build on the native strengths of the pipe organ
as a liturgical instrument in a thoroughly modern and enlivening way. Now that
the instrument is in its place, it will be the calling of generations of
organists to have the wisdom and grace to discern when this instrument is and
when it is not the most appropriate means for leading the people's prayer and
praise. In such a context this installation can be understood to be a
progression. May it be so.

"Martin Tel

C. F. Seabrook Director of Music

 

Paul Fritts & Company Organ Builders: Greg Bahnsen,
Robyn Ellis, Ricky Frith, Jon Hamelton, Jacob Nelson, Michael Phelau, Andreas
Schonger, Peter Tomter, Judy Fritts (carver)

James Kay, Chair of Miller Chapel Renovation Committee and
Organ Committee

The organ was made possible by a generation by Mr. Joe R.
Engle, for whom the instrument is named.

For more in depth articles about the chapel renovation and
the Joe R. Engle organ, see The Princeton Seminary Bulletin, Vol. XXII No. 1
(New Series), 2001.

The Joe R. Engle Organ

GREAT

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

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

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

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

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

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

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

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

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

                                    Mixtur
IV-VI

                                    Scharff
III-V

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

                                    Mixtur
IV-VI

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

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

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

PEDAL

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

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

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

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

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

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

                                    Mixtur
VI-VIII

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

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

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

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

*Transmissions from other pedal stops

Couplers

                                    Swell
to Great

                                    Great
to Pedal

                                    Swell
to Pedal

 

Compass: 56/30

Features: Burnished tin front pipes, suspended key action,
mechanical stop action with pre-set system by Solid State Logic Ltd., variable
tremulant, wind stabilizer, Tierce (1 rank for Swell Mixture), Cimbelstern,
Vogelgesang, manual wind supply option, Kellner temperament

 

Robert G. Dial, Organbuilders, Springfield, Illinois, has rebuilt the organ at Grace United
Methodist Church, St. Louis, Missouri. The organ was built by M. P. Möller
in 1952, Opus 8353. The project included releathering and rewiring the entire
instrument, as well as the addition of five new ranks. The original console has
been rebuilt with new keyboards, drawknobs, couplers, tilting tablets, and
terraces, as well as a Solid State Logic combination action and multiplex
switching system. Although some ranks were repositioned within the instrument,
all the original pipework was retained. On February 11, 2001, the organ was
rededicated during the morning worship service. The rededication recital was
played later that day by John Walker. Kathleen Bolduan is the church's director
of music.

 

GREAT

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

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

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

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

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

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

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

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

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

                                    Fourniture
III

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

                                    Chimes

                                    Gt
16-UO-4

                                    Zimbelstern*

SWELL

                  16'
style='mso-tab-count:1'>          Flute
Conique

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

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

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

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

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

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

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

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

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

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

                                    Plein
Jeu III

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

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

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

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

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

                                    Tremolo

                                    Sw
16-UO-4

CHOIR

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

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

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

                  8'
style='mso-tab-count:1'>             Hohlflöte++

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

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

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

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

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

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

                  4'
style='mso-tab-count:1'>             Erzahler
Celeste

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Ch
16-UO-4

BOMBARDE

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

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

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

                                    Harmonics
IV

                                    Bombarde
4'

PEDAL

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

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

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

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

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

                  16'
style='mso-tab-count:1'>          Flute
Conique

                  102⁄3'
style='mso-tab-count:1'>   Quinte

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

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

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

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

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

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

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

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

                  32'
style='mso-tab-count:1'>          Contre
Bombarde (1-12 digital)

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

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

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

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

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

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

 

                                    Transposer

                                    All
Swells to Swell

                                    Great/Choir
Transfer

                                    Tower
Chimes

 

* New stops

** New Gt Violone ext

+ Former Ch Keraulophon

++ Moved from Gt

+++ Moved from Sw

 

Andover Organ Company,
Methuen, Massachusetts, has rebuilt the Hook & Hastings Opus 2117 organ at
the Community Church of Jackson, New Hampshire. The organ was built in 1906
with two manuals and seven stops. In 1965 Andover revoiced the Great, replaced
the Swell 8' Viola with a 2' Principal, and replaced the 4' Harmonic Flute with
a 4' Rohrflute.

Another builder made some unworkable changes in the late
1970s. The Swell 4' Rohrflute was moved to the Great and converted into an 8'
Flute. It took the place of the Great 8' Dolce, resulting in no string stop on
the organ. The Dolce was cut in half and moved to the Swell as a 4' Flute.

In January 2001, Andover returned the 4' Rohrflute to the
Swell. A used Dolce installed on the Great now provides a soft stop for accompaniment.
Pipes were voiced, regulated, and tuned. In addition, Andover releathered the
pallets, and installed new pull-down wires and neoprene links on the manual key
action to cure a problem with ciphers. Table and slider holes were enlarged to
provide adequate wind for stable tuning. Chests were shimmed to provide proper
clearance for sliders and eliminate wind noise and leakage.

GREAT

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

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

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

                                    Sw/Gt

SWELL

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

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

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

PEDAL

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

                                    Gt/Ped

                                    Sw/Ped

Cover

Our Savior's Lutheran Church,
Rockford, Illinois

Buzard Pipe Organ Builders,
Champaign, Illinois

Opus 23

 

Builder's statement

It has been a high honor to build the new organ for Our Savior's
Lutheran Church. The congregation is actively engaged in musical expression at
every service and their participation is extraordinarily high. The new organ is
a part of the congregation's ongoing growth and recent construction of a new
church building.

The Evangelical Lutheran Church of America is an inclusive,
living tradition which embraces diversity and newness, while fostering
liturgical expression through the Lutheran Book of Worship and its incredibly
rich musical tradition. It is truly a catholic, inclusive tradition, as are its
musics and requirements for an organ. Therefore, a balanced eclecticism must be
embraced when designing the organ. However, it is only through a single
artistic vision that such eclecticism can have integrity as the organbuilder's
individual style.

Our instruments are first and foremost accompanying organs.
Their primary roles are accompanying choirs, leading hymn-singing and lending
grandeur to ceremonial occasions. They are liturgy-spirited, but
literature-minded as well. A wide variety of solo literature played for
voluntaries and recitals is an essential requirement of an organ and is given
careful consideration when designing all our instruments. The true test of such
an instrument is its ability to sensitively accompany choral repertoire,
colorfully illuminate textual subtleties in the hymns and canticles, and
musically render the Bach "Magnificat" fugue at the close of service.

The abundance of 8-foot stops creates a blended full sound,
made more intense by each successively added stop as a crescendo is built. The
rich, warm "Buzard Trademark" strings are sufficient for leading a
congregation of 300 people, and the full Swell behind the box majestically
supports a choir without overpowering. The Festival Trumpet (a Tuba) can
regally herald the arrival of the Bishop or a bride, and it is orchestrally
appropriate to the full organ's accompaniment. The organ can text-paint the
hymns and accompaniments through registrations and subtle changes as the
meaning of the texts shifts. Within its modest stoplist are the resources to
effectively capture the sprightliness of Purcell, the spirituality of Howells,
and the intricacies of Bach's counterpoint.

The case of this organ is made of solid white oak with
walnut accents, and was designed in conjunction with the building's architects.
The facade pipes utilize flamed copper and polished tin, with the low 9 pipes
of the Pedal 16' Open Diapason made of poplar and cherry, lacquered in a color
which harmonizes with the other colors in the room. The Tuba is horizontally
mounted over the Great Organ and is made of flamed copper. The interior pipes
are made of 50% tin and lead, with 15% tin for some of the metal flutes. The
Great, Swell, and a portion of the Pedal divisions play upon 4 inches of wind
pressure. The low 10 pipes of the Pedal 16' Open Diapason and the 16' Bourdon
play on 41/4  inches, the Festival
Trumpet plays on 10 inches of pressure. The organ comprises 24 stops, 30 ranks,
across two manuals and pedal.

Thanks to the Buzard staff who have made this organ a
reality, and who turn hunks of wood and metal into living, breathing, and
singing creations worthy to praise and extol our Creator. John-Paul Buzard,
design, artistic direction, tonal finishing; Brian Davis, head voicer, manager,
tonal department, installation; Stephen P. Downes, tonal assistant,
installation; Charles Eames, general manager, engineering, installation; R.
Charles Leach, cabinetmaker, installation; Stuart Martin, cabinetmaker,
installation; Kenneth McCabe, cabinetmaker, wind system, installation; Jay K.
Salmon, office manager; Ray Wiggs, console & chest builder, installation;
Keith Williams, service department manager.

 

GREAT

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

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

                  8'
style='mso-tab-count:1'>             Flûte
à Bibéron  (metal)

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

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

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

                  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'>      Fourniture IV

                  8'
style='mso-tab-count:1'>             Minor
Trumpet (Sw 16')

                                    Tremulant

                                    Cymbalstern

                                    Chimes

                  8'
style='mso-tab-count:1'>             Festival
Trumpet (10≤ wind)

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

                                    Gt/Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    MIDI
on Great

SWELL

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

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

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

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

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

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

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

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

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

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

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

                  4'
style='mso-tab-count:1'>             Clarion
(from 16')

                                    Tremulant

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

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

                                    Sw/Sw
16-UO-4

                                    MIDI
on Swell

PEDAL

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

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

                  16'
style='mso-tab-count:1'>          Open
Diapason (wood, flamed cop-                                        per,
polished tin)

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

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

                  8'
style='mso-tab-count:1'>             Principal
(from 16') (tin-facade)

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

                  4'
style='mso-tab-count:1'>             Choral
Bass (from 8') (tin-facade)

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

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

                  8'
style='mso-tab-count:1'>             Trumpet
from 16')

                  4'
style='mso-tab-count:1'>             Clarion
(from Sw 16')

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

                                    Gt/Ped
8 4

                                    Sw/Ped
8 4

                                    MIDI
on Pedal

 

Festival Trumpet

Swell reed battery

 

Lauck Pipe Organ Company, Otsego, Michigan, has completed an
organ renovation project for Pillar Christian Reformed Church, Holland,
Michigan. The church's organ was originally built in 1900 by Barkhoff. In 1928,
Hinners installed an electro-pneumatic organ. Stolz Piano and Organ of Holland,
MI, was contracted in 1965 to provide a new console, recondition pipes and
replace the blower. In 1996 Lauck Pipe Organ Company installed a new 2-manual
console and completed an electric action rebuild as their Opus 42, which added
11 new ranks, repositioned the windchests, and returned the facade to the 1900
configuration. The present project added nine new ranks, including a third
manual division, revoicing and rescaling of old ranks, and a new three-manual
console. The firm's Opus 52 comprises 31 ranks, electric action. A service of
rededication took place on September 10 with guest organist Linda Hakken
performing. Jonathan Tuuk played the rededication concert on September 11.

 

GREAT

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

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

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

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

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

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

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

                                    Mixture
III

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

                                    Chimes

                                    Harp

                                    Gt/Gt
4

                                    Sw/Gt
16-8-4

                                    Ch/Gt
16-8-4

CHOIR

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Ch/Ch
16-4

                                    Sw/Ch
16-8-4

SWELL

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

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

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

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

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

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

                                    Plein
Jeu III

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

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

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

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

                                    Tremulant

                                    Sw/Sw
16-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    Ch/Ped
8-4

Orgues Létourneau Limitée, Saint-Hyacinthe,
Québec, has completed a new organ for the historic Chapel Royal of St.
Peter ad Vincula at H.M. Tower of London. The firm's opus 70, the instrument
features mechanical key action and both mechanical and electronic stop action.
The organ was designed to accompany the chapel's professional choir, as well as
provide leadership for worship services. It is built within the 1699 case by
Father Smith, which was restored in the Létourneau workshops to its
original dimensions. The facade pipes, composed of the 8' Open Diapason, are
made of 70% tin (as is the entire principal chorus) and are gilded with 24
carat gold by artisan Isabelle Hordequin. Manual naturals are covered with
bone, accidentals are ebony; pedal naturals of maple, accidentals of ebony;
manual/ pedal compass 56/32. The photo is reproduced by permission of Historic
Royal Palaces under license from the Controller of Her Majesty's Stationery
Office.

 

Crown copyright: Historic Royal Palaces

GREAT

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

SWELL

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

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

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

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

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

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

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

                  11/3'
style='mso-tab-count:1'>      Nineteenth

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

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

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

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

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

                                    Tremulant

PEDAL

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

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

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

                  8'
style='mso-tab-count:1'>             Bourdon
(1-12 stopped wood)

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

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

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

 

R.T. Swanson, Inc., of Grand Ledge, Michigan, has built a
new organ for the chapel of Michigan Lutheran Seminary, Saginaw, Michigan. The
school is affiliated with the Wisconsin Evangelical Lutheran Synod. Its main
purpose is to train students in grades 9 through 12 who are anticipating
careers in the teaching and pastoral ministries. The organ will be used for
daily chapel services and as a teaching and practice instrument.

The two-manual organ comprises 20 ranks, 1186 pipes located
in a shallow chamber created from what was previously second level storage
space. Action is electro-mechanical. All pipes are new with the exception of
the Subbass, Holtzgedeckt/Gedecktbass, and Hohl-flöte, which are recycled
pipes which were revoiced to blend with the new. Facade pipes are polished zinc
and are from the bass 17 of the Great 8' Principal and the bass 18 of the Pedal
8' Octave. The console is located on a rolling platform on the chapel's main
floor and features a 32 memory combination action and out only MIDI. Compass is
61/32. The organ dedication was on August 26 and featured a performance by
Leonard Proeber.

GREAT

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

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

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

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

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

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

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

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

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

                                    Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    MIDI
on Gt

SWELL

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

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

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

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

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

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

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

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

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

                                    Sw
16-UO-4

                                    MIDI
on Sw

PEDAL

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

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

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

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

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

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

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

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

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

                                    Gt/Ped
8, 4

                                    Sw/Ped
8, 4

                                    MIDI
on Ped