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.

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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

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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

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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

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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

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ANTIPHONAL (Floating)

12 Prepared Stops

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ANTIPHONAL PEDAL

1 Prepared Stop

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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)

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[D] = Digital Ranks

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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

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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.

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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

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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.

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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

Buzard Pipe
Organ Builders, Champaign, Illinois

Opus 29,
completed November, 2003

All Saints
Episcopal Church, Atlanta, Georgia

Some years ago I was contacted about a new organ for All Saints Episcopal
Church by the assistant organist, Jefferson McConnaughey. We seemed to be
speaking the same language concerning how we thought organs should sound, and I
was eager to meet him, music directors Ray and Elizabeth Chenault, and to visit
the church. Our conversations were put on hold while the parish called a new
rector and undertook other projects. At the time we were blessed with
commissions to build the organ at St. Paul's Episcopal Cathedral, Oklahoma
City, and large instruments for Glenview Community Church (III/71) and Holy
Family Catholic Church of Rockford, Illinois (III/56).

A few years went by, and I was invited to visit the church. Judging from the
size of the instrument under discussion, I expected to enter a huge space.
Instead, the church was more modest than vast, the acoustic more understated
than generous. At first blush, it seemed that 40 stops could have adequately
met their needs. But, no real lady ever gives up all her secrets at once, and
so I patiently looked and listened.

I listened to their former instrument while walking around the room, and
observed the acoustical phenomena under which the musicians had been laboring
for so long. The organ, although installed in the chancel in relatively close
proximity to the congregation, diminished drastically in volume in the nave. I
concluded that a part of the organ had to be installed in the body of the
church, to support singing and "pull" the sound out of the main part
of the organ installed in the chancel. Additionally, sound generated in the
nave lost its energy quickly; sound simply didn't travel well without becoming
garbled.

The musicians wanted to be able to properly register an organ to
"text-paint" Anglican Chant, choral anthems and ceremonial music in
the Anglican musical tradition. They needed a wide variety of accompanimental
tone colors at every dynamic level so that the organ could always support the
singers, even at pianissimo volume levels. It was equally important that the
organ musically render the great body of organ literature, even that of the
French Baroque school, of which Mr. McConnaughey seemed quite fond. And, the
Chenaults are duo organists; the literature which has been (and has yet to be)
commissioned for them had to be accommodated. This requires a large organ, as
coloristic stops outside the component voices for the essential choruses had to
be included and integrated into the design. Fortunately, these stops were never
in competition for space or funding, nor were our classic concepts of the
hierarchical scaling of divisions within the instrument ever compromised. Some
specific organs were studied: The Temple Church, London; King's College,
Cambridge; and St. Paul's Cathedral, London.

There is a beautiful chapel behind the Epistle side choir stalls, at 90
degrees to the axis of the church, which also serves as an overflow room on
Sundays. Worshippers there were relegated to viewing services on a small
closed-circuit TV, and could not participate in the hymn-singing because, being
outside the body of the church, they couldn't hear the organ. If the new organ
were to address and meet all the musical and acoustical requirements of the
church, then the chapel also needed to have some pipes in it, so that those
seated there could feel a part of the worshiping community.

All of these requirements were brought to bear upon a single instrument. Yes,
I agreed, this instrument has to be large--very large. Even if the room seats
only 550 souls, the musical and physical requirements dictated an organ of a
size which one might initially think out of proportion.

The position and installation of the new Main Organ was relatively
straightforward. The Great, Swell, Choir, Tuba, and Pedal would have to be
installed in the chancel, in an enlarged version of their existing chamber,
plus spaces created by cantilevering steel platforms into the chancel space on
both Epistle and Gospel sides.

The antiphonal division, a romantic Solo Organ including a Diapason Chorus
which mirrors the Great, had to be installed in the nave. But there was no
floor space for cases, no desire to see columns, and windows everywhere, many
of them signed by Louis Comfort Tiffany. By clever engineering of the diatonic
windchest layouts (which we had first used at St. Paul's Cathedral in Oklahoma
City) we were able to tuck the Solo Organ cases up in the rafters of the church
above the narthex, on either side of a central great window. By creative use of
perspective, we were able to engineer the location of the supporting steel
platforms so that they wouldn't block the view of the Tiffany windows in the
side aisles, yet give us sufficient height for the pipes inside the cases.

As conversations concerning the tonal design took shape, Ray, Elizabeth, and
Jeff fell in love with our tonal style which, while embracing eclecticism, has
its own unique personality. They visited both our large organs, and Jeff
actually played Sunday services on our Opus 7 organ at The Chapel of St. John
the Divine in my wife Linda's stead. The All Saints organ is a very logical
outgrowth of our style as practiced in our smaller organs, and as our two
larger organs have led us. The humble beginnings of Opus 7 at the Chapel, in
which we made 29 stops into a cathedral organ, can be seen all over this much
larger organ. Well-informed national and historical inspirations are
distributed throughout, so that the whole is at unity with itself. No German
Hauptwerk, French Récit or English Chair Organs for us. For example the
Great includes the mature English practice of 8' First & Second Open
Diapasons, married nicely to the French Fonds d'Orgue. A voluptuous Full English
Swell has continental fire by virtue of the authentic (but modified) French
reed battery, but the lyrical soft solo reed is a plaintive English Oboe. No
quirky nomenclature either. Although rooted in 19th-century English practice of
"Diapason, Principal, Twelfth, Fifteenth," etc., the stops in our
organs are what they say they are. If the Swell reed is spelled
"Trompette," you can be assured that you will hear a Trumpet with
French shallots and pipe construction.

The Great is based upon a 16' Double Open Diapason of tin which stands
proudly in the Gospel side case along with the rest of the division. A complete
Diapason chorus through Mixture, flutes at 8' & 4', and a Viola da Gamba
make up the flue work, and the reeds are Trombas, brought up to the manuals from
the Pedal Trombone. The Mixture breaks at octaves, rather than at fifth
intervals. In this way, one doesn't hear alternating unison and fifths playing
as the top rank, and the breaks are virtually unheard.

The Great also incorporates an harmonic corroborating stop which was more at
home in English and American concert organs of the early part of the last
century. Our four-rank Harmonic Mixture has in it a unison, a quint, a tierce,
and a flat-seventh. These are all the harmonics present in Tromba class reeds,
which are on the Great at 8' and 4' pitches. We originally included the
Harmonic Mixture as a way to prevent the dark Trombas from covering the
brightness of the mixture work in full organ, but have found that when used
sans Trombas, the ancient flavor of 18th-century Dutch organs is perceived in
an uncanny way. One could even imagine the wind to be unsteady--but of course
it's not!

The Solo has a Diapason Chorus nearly mirroring the Great, and despite its
distance from the Main Organ, it can exactly balance the Great Plenum in
certain contexts. The Solo contains a pair of E. M. Skinner-inspired Gambas,
the celesting rank in the case across the church from its unison pair. Now
that's a Celeste! The Flügel Horn, while a lyrical romantic solo reed, has
just enough harmonic interest to function beautifully as a chorus reed. The
Bassett Horn is certainly at home playing obbligato parts in Elgar, but has
just enough Cromorne in it to play Daquin with a French nose in the air.

One can use the Choir in a classic context, as a Positiv when a lighter foil
to the Great is desired. But this division is the real choral accompanying
workhorse. It's one of the most elegant, light, but profound Choir divisions we
have created. The Choir features a flute chorus from 16' up, and a proper
Diapason chorus complete with a four-rank quint mixture, a fifth interval
higher than the Great. But the luxurious feature in this day and age is our
Dulciana Chorus, which includes a three-rank mixture in which the 4' enters
early on at tenor C. Our Dulcianas are truly small Diapasons, and there is
nothing like the effect of accompanying voices with Diapason color, but at such
a soft volume. The Dulciana Mixture has many uses in coloring and painting
texts, 90% of which I would never have envisioned. Our Cornopeans are
small-scaled, but fundamental Trumpets as the original prototypes were, not the
horn-like Cornopeans one would otherwise love to hate. The Clarinet is truly of
English style, and the English Horn is orchestral in color with enough body to
be the foundation of the Choir reed battery, yet enough jazz in the color to
differentiate itself from the more fundamental Swell English Oboe.

The Chapel Organ includes a small-scaled Diapason Chorus at 8' and 4' to
lead the hymn-singing, and an 8' Aeoline and Vox Angelica. These very, very
soft string-toned stops allow the worshippers there to feel connected, and also
provide a powerfully effective pianissimo "wrap-around" effect as the
softest sounds concluding a smooth decrescendo. These little strings can just
be barely heard in the nave as the expression box closes on the Solo Flute
Cœlestis. When they play alone, they are literally in another room, off in
the distance.

In the All Saints organ, the Great, Swell, Choir, Solo, and a portion of the
Pedal divisions play upon 4 inches of wind pressure. The Trombones and Trombas
play upon 7 inches of wind, the Solo Festival Trumpets on 6 inches, and the
Major Tuba plays upon 20 inches of wind. The Tuba is housed in its own
expression box, and the organist can easily select which expression shoe may be
used to operate the Tuba's expression (or whether it is to remain open) by a
simple rotary switch. We aim to expand the color and dynamic range of the pipe
organ, while keeping the console controls simple and straightforward.

Before I was selected as their builder, Ray, Elizabeth, and Jeff charged me
to design the perfect instrument for all their requirements, and they would
undertake the responsibility of presenting this plan to the organ committee to
get their reaction, and see if the instrument would have to suffer at the hands
of "value engineers." Although my past experience made me somewhat
timid about presenting such a large (expensive) instrument as part of a
selection competition, we arrived at the specification of 63 straight speaking
stops, 87 ranks of pipes (5229 pipes overall), in five free-standing cases
throughout their church.

I will never forget the evening of a crucial organ committee meeting when I
received an excited telephone call from Ray. The musicians presented the
proposal and the room fell silent. People on the committee asked questions to
the effect: "Now, do all three of you musicians agree on this builder? Do
all three of you agree with each other in every respect to this instrument?"
When the answer was an emphatic yes, a committee member said: "How many
times do musicians agree with each other about anything, let alone every of the
many thousands of details in this organ's design!? This is what we need for All
Saints, and we need John-Paul to build it for us." A member of the
committee, Sarah Kennedy, later wrote a check for the entire project, in loving
memory and in honor of her family, The Kenans.

The organs' visual designs were developed during August and September of
2001. The first draft of the Chapel Organ's design was revised to be more in
keeping with the modern nature of the chapel (and less like King's College,
Cambridge). The Main Organ and the Solo Organs were built according to my first
pen-and-ink renderings.

All of my design drawings are executed by hand. The discipline of cleaning
the drafting table and truing the parallel bars and 90-degree instruments
contributes to clearing my mind of everything except what I need to think about
for the organ on the blank piece of paper.

It is always my goal to design organ cases which appear as though they had
always been in the church. The All Saints cases use shapes and colors found
throughout the room, and mirror the restrained nature of the Victorian Gothic
design. But the cases become vivid, exciting, and dramatic by incorporation of
the fabulous red enamel and gold leaf adorning the church's clerestory. The
inclusion of the red gave me license to add contracting pieces of red-stained
Honduras mahogany in the stained white oak cases. The soaring nature of the
Solo Organs, as their lines ascend while moving toward the great window, seemed
to cry out for heraldic angels, announcing the Great Day of Judgment on
gold-leafed trumpets. Thanks to parishioner David Foerster for making these
possible.

All of us will remember exactly where we were on 9/11. I was at the drafting
table finishing the designs for the Main Organ cases. I had penciled the
drawing the day before and was preparing to ink the drawing when I heard the
news reports. My entire staff came up to the drafting room and we all went to
the conference area where a small television showed us the horrors unfold as
the second airliner smashed into the second building. As we heard a large
airplane overhead, being sent to land at our local airport, I was asked if we
were going to close for the day. I said, no. We had to go about our task of
making beautiful things, especially in light of the ugliness that visited
itself on our country that day. If we wanted to take time off individually to
mourn our country's losses, go with my blessing, but the doors would remain
open and I would continue to draw a beautiful pair of pipe organ cases.

I set to cleaning out my India ink pens, and put on a CD of The English
Anthem II from St. Paul's Cathedral,
London.

Oh Lord, look down from heaven, and behold the habitation
of Thy holiness and of Thy glory: Where is Thy zeal and Thy strength? Thy
mercies towards me, are they restrained?

My deepest thanks to the musicians at All Saints Church, everyone on the
organ committee, Greg Kellison, chairman; Paul Elliott, the rector; David
Foerster, and Sarah Kennedy for selecting me and my firm for this tremendous
commission.

My overwhelming gratitude goes to the members of my staff whose hard work
and dedication made such an excellent instrument so sublime: Charles Eames,
executive vice president, general manager and chief engineer; Brian K. Davis,
associate tonal director; Keith Williams, service department director; Shayne
Tippett, shop manager; Jay Salmon, office manager; Evan Rench, pipe maker,
voicer; Steve Downes, tonal assistant; C. Robert Leach, cabinetmaker; Stuart
Martin, cabinetmaker; Kenneth McCabe, winding systems; Ray Wiggs, consoles,
windchests; Robert Ference, service technician; Stuart Weber, service
technician; Jonathan Borchardt, service technician; JoAnne Hutchcraft Rench,
receptionist.

--John-Paul Buzard

GREAT (4-inch wind pressure)

Manual II - unenclosed pipework

16' Double Open Diapason

8' First Open Diapason

8' Second Open Diapason (ext 16')

8' Viola da Gamba

8' Harmonic Flute

8' Bourdon

4' Principal

4' Spire Flute

22/3' Twelfth

2' Fifteenth

2' Fourniture V

13/5' Harmonic Mixture IV

16' Double Trumpet

8' Trombas (ext Ped)

4' Clarion (ext Ped)

Tremulant

Chimes

8' Major Tuba (20" wind)

8' Tuba Solo (melody coupler)

8' Fanfare Trumpets (Solo)

SWELL (4-inch wind pressure)

Manual III - enclosed and expressive

8' Open Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste

4' Principal

4' Harmonic Flute

22/3' Nazard

2' Flageolet

13/5' Tierce

22/3' Full Mixture V

16' Bassoon

8' Trompette

8' Oboe

8' Vox Humana

4' Clarion (ext 16')

Tremulant

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHOIR (4-inch wind pressure)

Manual I - enclosed and expressive

16' Lieblich Gedeckt (wood)

8' English Open Diapason

8' Flûte à Bibéron

8' Gedeckt Flute (ext 16')

8' Dulciana

8' Unda Maris

4' Principal

4' Koppel Flute

2' Recorder

2' Mixture III–IV (Dulcianas)

11/3' Fourniture IV

Sesquialtera II (22/3' & 13/5')

16' English Horn

8' Cornopean

8' Clarinet

Tremulant

Cymbalstern (14 bells)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

Harp (digital)

Celesta (digital)

ANTIPHONAL SOLO (4- & 51/2-inch wind)

Manual IV - in twin cases over the narthex (expressive)

8' Open Diapason

8' Viola da Gamba

8' Gamba Celeste (CC)

8' Melodia

8' Flute Cœlestis II (Ludwigtone)

4' Principal

4' Flûte d'Amour

2' Doublette

11/3' Mixture IV

8' Flügel Horn

8' Corno di Bassetto

Tremulant

Cymbalstern (8 bells)

Chimes (Gt)

8' Fanfare Trumpets

8' Major Tuba (Gt)

Harp (digital)

Celesta (digital)

PEDAL (various wind pressures)

32' Double Open Diapason (digital)

32' Subbass (digital)

32' Lieblich Gedeckt (Ch, digital)

16' First Open Diapason

16' Second Open Diapason (Gt)

16' Bourdon

16' Lieblich Gedeckt (Ch)

8' Principal

8' Bass Flute (ext 16' Bourdon)

8' Gedeckt Flute (ext 16' Lieblich)

4' Choral Bass

4' Open Flute (ext 16' Bourdon)

22/3' Mixture IV

32' Contra Trombone (wood)

16' Trombone (wood, ext 32')

16' Double Trumpet (Gt)

16' Bassoon (Sw)

8' Trumpet (ext 16')

4' Clarion (Sw)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHAPEL (4-inch wind, floating)

8' Open Diapason

8' Aeoline

8' Vox Angelica (tc)

4' Principal

Chapel on Great

Chapel on Swell

Chapel on Choir

Chapel on Solo

Chapel on Pedal

Intraddivisional couplers

Gt/Gt 16-UO-4

Sw/Sw 16-UO-4

Ch/Ch 16-UO-4

Solo/Solo 16-UO-4

Interdivisional couplers

Gt/Ped 8, 4

Sw/Ped 8, 4

Ch/Ped 8, 4

Solo/Ped 8, 4

Sw/Gt 16, 8, 4

Ch/Gt 16, 8, 4

Solo/Gt 16, 8, 4

Sw/Ch 16, 8, 4

Solo/Ch 16, 8, 4

Pedal Stops to Divisional Pistons

The Wicks Organ Company, Highland,
Illinois has built a new organ for the Barrington United Methodist Church,
Barrington, Illinois. In 1999 the church building was destroyed by fire. Their
losses included a 41-rank Möller pipe organ, which had been rebuilt as
recently as 1988. As planning for their new building began, the search for a
new pipe organ started. The church’s demands for their new organ were
that it had to be a great congregational organ, but also able to perform for
recitals as well. The sanctuary was to be a top-notch performance facility as
well as a place of worship. The church desired an organ of 3 manuals and 5
divisions, including an antiphonal. Each division was to have a principal
chorus, and the foundations of the Great organ were to be exposed.

The church committee heard many styles of instruments built by Wicks over
the last seven decades. This included, a North German neo-Baroque style
instrument, a symphonic organ scaled and designed by Henry V. Willis, an
American Classic, and an Aeolian instrument from the 1920s that had been
rebuilt by the Wicks Organ Company in conjunction with Mr. Madison Lindsey. The
service playing abilities of each instrument were demonstrated to the
committee, and they identified and found themselves drawn to the
English/symphonic style of the rebuilt Aeolian instrument. The organ committee
chose Wicks over several other builders after hearing several new Wicks
installations and the company ‘s recent success in exactly this style of
instrument.

The completed organ is described as an English service organ with orchestral
capabilities. The instrument is able to not only provide a seamless crescendo
from ppp to fff, but can do it with flair. In addition to service music, the
organ is able to perform every possible type of organ literature from the
Renaissance to the present. It is also able to realize orchestral
transcriptions with great skill, thanks to the presence of many orchestral solo
stops in each division, blending choruses, and 2-inch thick beveled and overlapping
felted shades. The completed organ consists of 24 ranks of pipes and 25 digital
voices. The Wicks design team pre-engineered space to accommodate real pipe
ranks to replace these voices. The Swell is on 7 inches of wind, the Pedal 10
inches; the Choir and Great are on 6 inches, with the exception of the
Clarinet, English Horn, and Tuba in the choir, which are all on 10 inches.

The solo reeds of this organ are of a unique style, derived from the
Willis/Wicks style reeds used in many Wicks organs over the decades, married to
the traditional ideas of Skinner solo reeds. The end results were clear,
smooth, stops of unique color and great versatility throughout the compass. The
greatest asset to the organ is the lively acoustical environment of the sanctuary.
The collaboration of the building committee, acousticians Kirkegaard &
Associates of Chicago, and the Wicks Organ Company have resulted in a
beautiful, successful combination of organ and room.

The console is drawknob style with 45-degree side jambs, a glass music rack,
and P&S keys with ivory resin naturals and ebony sharps. The drawknobs are
made of polished hardwood. Made of red oak, the interior is very light and the
exterior is stained to match the woodwork of the chancel furnishings. The console
features a tilt tab that allows the digital Tuba and Festival Trumpet to
emanate from the antiphonal division located in the rear of the church instead
of their native divisions. The console also has a Manual I/II transfer for
French literature.

Installation of Opus 6412 began in August of 2003, and an initial tonal
finishing and adjustment of digital voices took place in early September. After
the church’s dedication, Wicks tonal director Dr. William Hamner and reed
voicer Greg Caldwell completed an entire tonal finishing.

--Brent Johnson

Great (exposed)

16’ Violone*

8’ First Open Diapason

8’ Second Open Diapason

8’ Violoncello

8’ Harmonic Flute (Ch)

4’ Principal

4’ Flute Octaviante

2’ Fifteenth

IV Full Mixture

8’ Chorus Tuba (Ch)

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Chimes* (Ant)

Swell (expressive)

16’ Minor Bourdon*

8’ Open Diapason

8’ Stopped Diapason*

8’ Viola*

8’ Viola Celeste*

8’ Flauto Dolce*

8’ Flute Celeste*

4’ Octave Diapason

4’ Triangular Flute*

22/3’ Nazard*

2’ Recorder*

13/5’ Tierce*

IV Plein Jeu

16’ Waldhorn*

8’ Cornopean

8’ Oboe*

4’ Clarion

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Tremolo

Choir (expressive)

8’ Geigen (1-12*)

8’ Concert Flute

8’ Dolcan*

8’ Dolcan Celeste*

4’ Octave Geigen

4’ Transverse Flute

2’ Harmonic Piccolo

16’ Bass Clarinet

8’ Clarinet

8’ English Horn

8’ French Horn*

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

8’ Chorus Tuba

Tremolo

Harp*

Antiphonal (unenclosed - floating) (prepared)

8’ Festival Trumpet*

8’ Tuba Mirabilis*

Chimes*

Antiphonal Pedal (prepared)

Pedal

32’ Contre Bourdon*

16’ Open Wood

16’ Major Bourdon

16’ Violone* (Gt)

16’ Minor Bourdon* (Sw)

8’ Principal

8’ Flute

8’ Stopped Flute

4’ Octave

4’ Harmonic Flute (Gt)

32’ Ophicleide*

16’ Trombone (1–12*)

16’ Waldhorn (Sw)

8’ Tromba

8’ Trumpet (Sw)

4’ Oboe (Sw)

7-bell zimbelstern

*= Digital Voices

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

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 Feature

Kegg Pipe
Organ Builders, Hartville, Ohio

First United
Methodist Church, Winnsboro, North Carolina

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

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

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

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

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

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

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

--Charles Kegg

GREAT

9
ranks, 6 stops, 549 pipes

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

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

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

8' Viole
(ext 16' Violone)

8' Viole
Celeste TC (Sw)

4' Octave
61
pipes

4' Gedeckt
(Sw)

2' Flute
(ext Hohlflute)

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

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

8' Trumpet
(Sw)

Chimes
(existing)

Great
4

Swell
to Great 16

Swell
to Great 8

Swell
to Great 4

*Unenclosed

SWELL

6
ranks, 6 stops, 390 pipes

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

8' Viole
(Gt Violone)

8' Viole
Celeste TC 49
pipes

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

4' Hohlflute
(Gt)

22/3' Nazard
TC (ext Quinte)

2' Octave
(ext 4')

11/3' Quinte
49
pipes

16' Contra
Trumpet 85
pipes

8' Trumpet
(ext)

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

4' Clarion
(ext)

Tremulant

Swell
to Swell 16

Swell
Unison Off

Swell
to Swell 4

PEDAL

1
rank, 1 stop, 44 pipes

32' Resultant
(from Bourdon)

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

16' Violone
(Gt)

8' Prestant
(Gt)

8' Bourdon
(ext)

8' Viole
(Gt)

8' Gedeckt
(Sw)

4' Octave
(Gt 8')

16' Trumpet
(Sw)

8' Trumpet
(Sw)

4' Oboe
(Sw)

Great
to Pedal 8

Great
to Pedal 4

Swell
to Pedal 8

Swell
to Pedal 4

Tonal Resources

13
stops

16
ranks

983
pipes

Accessories

Expression
Pedal with indicator

Dual
level Crescendo Pedal with numeric ndicator

Concave
and radiating pedal clavier

Adjustable
Bench

Full
Organ indicator light

Combination
lock with indicator

Transposer

Performance
Sequencer

Photo credit: Charles Kegg

Kegg Pipe Organ Builders

1184 Woodland St. SW

Hartville, OH 44632

330/966-2499

www.keggorgan.com

Muller Pipe Organ Company, Croton, Ohio

First English
Lutheran Church, Mansfield, Ohio

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

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

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

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

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

--John Muller

Photo by Steven Elbert

GREAT

16' Violone

8' Principal

8' Bourdon

8' Viola

8' Erzähler

8' Erzähler
Celeste TC

4' Octave

4' Rohrflöte

2' Super
Octave

IV Mixture

8' Trompette

Chimes

Tremolo

SWELL (expressive)

16' Waldflöte

8' Geigen
Principal

8' Waldflöte

8' Salicional

8' Voix
Celeste TC

4' Geigen
Principal

4' Spillflöte

22/3' Nazard

2' Flageolet

III Plein
Jeu

16' Bassoon

8' Trumpet

8' Oboe

8' Vox
Humana

4' Clairon

Tremolo

CHOIR (expressive)

8' Rohrflöte

8' Dulciana

8' Unda
Maris TC

4' Principal

4' Koppelflöte

4' Dulciana

22/3' Nazard

2' Blockflöte

13/5' Tierce

11/3' Quint

8' Clarinet

Tremolo

ANTIPHONAL (expressive)

8' Principal

8' Spitzflöte

4' Octave

4' Spitzflöte

2' Fifteenth

III Mixture

PEDAL

16' Diapason

16' Bourdon

16' Waldflöte

16' Violone

102/3' Quint

8' Diapason

8' Bourdon

8' Waldflöte

8' Viola

4' Choral
Bass

4' Bourdon

II Mixture

16' Posaune

16' Bassoon

8' Posaune

8' Trumpet

4' Rohrschalmei

Chimes

Couplers

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

Ant/Gt
8-4

MIDI/Gt

[if !supportEmptyParas] [endif]

Sw/Sw
16-UO-4

Ant/Sw
8

MIDI/Sw

Ch/Ch
16-UO-4

Sw/Ch
16-8-4

Ant/Ch
8

MIDI/Ch

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

Ant/Ped
8

MIDI/Ped

Carillon
I

Carillon
II

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

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

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

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

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

--John-Paul Buzard

[if !supportEmptyParas] [endif]

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

GREAT

8' Open
Diapason (polished tin in façade)

8' Flûte
à Bibéron (metal chimney flute)

4' Principal

2' Recorder

11/3' Mixture
IV

Tremulant

Gt
16-UO-4

Sw/Gt
16-8-4

SWELL (expressive)

8' Stopped
Diapason

8' Salicional

8' Voix
Celeste

4' Spire
Flute

2' Principal

8' Minor
Trumpet

Tremulant

Sw
16-UO-4

PEDAL

16' Bourdon
(stoppered, wood)

8' Principal
(polished tin in façade)

8' Bass
Flute (ext)

4' Choral
Bass (ext)

16' Bassoon

Gt/Ped
8-4

Sw/Ped
8-4

Cover

Steven Cook, Edmonds, WA

Our Saviour's Lutheran
Church, Bremerton, WA

From the consultant:

A new, encased mechanical action organ, by builder Steven
Cook, was installed in March of 2000, at Our Saviour's Lutheran Church,
Bremerton, Washington. The organ, located in the rear gallery of the nave, has
21 stops derived from 21 ranks, playable on two manuals and pedal.

The design of the organ posed some unique problems. The
former organ (a small two manual electro-pneumatic Estey) had been enclosed in
an attic chamber over a small choir loft at the front of the church. A more
optimal position for both choir and organ was chosen at the rear of the nave,
where a small balcony for overflow seating existed. The balcony, however, could
not provide sufficient height and space for both organ and choir. The creative
solution was to build the base of the organ on the floor of the nave,
straddling the center aisle and with a tunnel through the middle. The impost of
the organ aligns itself with the floor of the balcony, with tuning access
through doors at the back, accessed from the balcony. The keydesk is located on
one side of the case, raised 18" off the floor, giving clear sight of the
activity in the church. The choir is located on risers in the rear corner on
the same side as the keydesk. 
Visually and aurally the position of organ and choir has resulted in a
major improvement in the projection of sound into the nave.

Steven Cook, a native of Washington State, is a relatively
new organ builder for the Pacific Northwest, opening his shop in 1992. The new
organ for Our Saviour's Lutheran Church is his largest instrument to date, following
seven prior instruments. Mr. Cook, who has spent time working in the organ
shops of John Brombaugh and Paul Fritts, manufactures virtually all component
parts of his organs in his shop in Edmonds, Washington, including all metal
casting and pipe making, casework, keyboards and actions, windchests, and case
carvings. Several members of his family have been among the shop staff.

Metal pipework for principal and flute ranks are made from 28%
tin/lead alloy. Reed pipes are also made by the builder. Casework is made from
fumed white oak.

David Dahl

Organ consultant for the project

  

From the builder:

The organ for Our Saviour's Lutheran Church posed some
interesting challenges. The original plan was for a reversed, detached console.
However, after concerns were raised about the amount of floor space lost to the
organ, I suggested a keydesk on the end of the case. The organist expressed
concerns about being able to see the front of the church over people's heads,
so we elevated the keydesk 18" off the floor. This has proved satisfactory
in all ways. The key action is quite simple: it rises to action squares above
the keys, then fans out to C- and Cs chests.

The church has extremely poor acoustics, owing to the
presence of acoustical paneling on the ceiling and carpet on the floor! After
installing the organ, we were faced with a situation of too much brightness at
the back of the church, and too little presence in the front. Among several solutions
employed was the removal of the case tower tops, to allow sound to reflect off
the ceiling over the organ (the only bay in the ceiling replaced with
sheetrock)  and the lowering of the
wind pressure from 91 to 86 mm.

The organ has seven stops of 8' pitch on the manuals, which
allows for a good range of tonal variation and volume. The pedal stops come
from three ranks, each playing at two pitches. This is accomplished with
mechanical duplexing chests, of a design I have used in three organs. The concept
is the use of a grid bar, rather than a channel, with holes drilled through it
for each stop. The pallet then seals against the individual holes, preventing
feedback to the octave note.

The wind is supplied via a small wedge bellows in the Cs
pedestal. Loading is divided equally between weight and spring tension. It was
deemed difficult to provide mechanical stop action in the space available due
to the transverse C and Cs chests, so I chose to use very simple double acting
pneumatic motors to operate the sliders. These utilize a pouch-type primary.
Default is off, a slight positive pressure inflates the primary and operates
the stop motor the 25 mm needed to shift the slider.

The dedication event was played by David Dahl and Jeanette
Pilgrim on June 11, 2000, and included a program of traditional German and
French music as well as contemporary pieces and hymn singing. For information:
750 Edmonds St., Edmonds, WA 98020; 425/774-0631.

Steven R. Cook

 

GREAT

                  16'
style='mso-tab-count:1'>          Stopped
Flute (1-12 from Ped.                                                                      Subbass)

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

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

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

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

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

                                    Mixture
III

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

POSITIVE

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

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

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

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

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

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

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

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

PEDAL

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

                  8'
style='mso-tab-count:1'>             Principal
(1-12 from Great)

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

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

                  16'
style='mso-tab-count:1'>          Bassoon
(tapered wood resonators)

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

 

usual couplers and tremulant to whole organ

organ tuned to Kellner temperament

 

Fabry Pipe Organs, Inc., Fox Lake, Illinois, has completed
the final phase of the total rebuild project for the 1951 Möller organ at
the Evangelical United Methodist Church, Racine, Wisconsin: 3 manuals, 37
ranks. The Wadewitz Memorial Organ was re-dedicated on May 7 in a ceremony
featuring music for organ, piano, and the church’s Chancel Choir.
Organist and choir director of the church is Dr. James McKeever. The entire
project took four years to complete. The first phase included solid state
conversion of the console and relay system; second phase was re-leathering the
entire organ; and final phase included tonal additions and changes. Among the
changes was a new trumpet stop named the “Evangelical Trumpet,”
MIDI resource system with sequencer, 99 memory combination action, new manual
keyboards of maple and walnut, maple drawknobs and rocker tablets, maple and
walnut pedal key tops, and wood engraved indicator plates. (Photo by
Photographic Design, Carol Hansen, Racine, WI.)

GREAT

                  16'
style='mso-tab-count:1'>         Principal
(new treble end)

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

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

                  8'
style='mso-tab-count:1'>            Hohl
Floete

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

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

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

                  4'
style='mso-tab-count:1'>            Hohl
Floete

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

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

                  13/5'
style='mso-tab-count:1'>    Tierce (used pipes)

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

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

                                    Chimes

                                    Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    Ch/Gt
16-8-4

                                    MIDI

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Sw
16-UO-4

                                    Ch/Sw
8-4

                                    MIDI

CHOIR

                  16'
style='mso-tab-count:1'>         Bourdon
(new treble end)

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

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

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

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

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

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

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

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

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

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

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

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

                  11/3'
style='mso-tab-count:1'>    Larigot (new pipes &
chest)

                  IV
style='mso-tab-count:1'>            Cymbal
(13-73 from Gt)

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

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

                                    Sw/Ch
16-8-4

                                    Ch
16-UO-4

                                    MIDI

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    Ch/Ped
8-4

                                    MIDI