Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California

Opus 46

 

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

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

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

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

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

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

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

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

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

--Quimby Pipe Organs, Inc.

GREAT (unenclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Chimes
(Solo)

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

                                    Tower
Chimes (prepared for)

                                    MIDI
on Great

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Chimes
(Solo)

                                    MIDI
on Swell

CHOIR (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Chimes
(Solo)

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

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

                                    MIDI
on Choir

SOLO (enclosed)

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

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

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

                                    Tower
Chimes (prepared for)

                                    Chimes
(20 tubes)

                                    MIDI
on Solo

PEDAL (unenclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Chimes
(Solo)

                                    MIDI
on Pedal

Lively-Fulcher Organbuilders, Alexandria, Virginia

St. Olaf Catholic Church,
Minneapolis, Minnesota

 

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

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

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

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

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

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

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

--Lynn Trapp

 

GRAND ORGUE

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur G.O.

                                    Positif
sur G.O.

                                    Bombarde
sur G.O.

POSITIF EXPRESSIF

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur Positif

                                    Bombarde
sur Positif

                                    Positif
unison off

RÉCIT EXPRESSIF

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Octaves
graves

BOMBARDE (floating)

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

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

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

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

PÉDALE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tirasse
Bombarde

                                    Tirasse
G.O.

                                    Tirasse
Positif

                                    Tirasse
Récit

 

G.O./Positif manual transfer

Chimes sur G.O.

Tower Bells sur Récit

Cymbelstern

Pedal & Manual pistons coupled

Sequencer

 

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

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

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

--Weston Harris

 

GREAT (enclosed)

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

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

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

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

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

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

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

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

                                    Mixture
IV

                                    Cymbale
III

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

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

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

                                    Tremulant

                                    Gt/Gt
16-4

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Sw/Sw
16-UO-4

POSITIV (unenclosed)

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

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

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

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

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

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

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

                                    Pos/Pos

                                    Pos/Gt

                                    Tower
Bells (8 Whitehall bells)

STATE TRUMPET (unenclosed)

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

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

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

                                    Trumpet
to Gt

                                    Trumpet
to Sw

                                    Trumpet
to Pos

PEDAL (enclosed in Great)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Full interdivisional couplers

*indicates unification

Cover

Berghaus Organ Company, Inc., Bellwood, Illinois

First United Methodist Church, DeKalb, Illinois

 

The Berghaus Organ Company of Bellwood, Illinois, recently
completed the installation of a three-manual organ of twenty-eight registers
and thirty-five ranks for the First United Methodist Church of DeKalb,
Illinois. The church is a late nineteenth-century structure in the so-called
Akron design that was popular among Methodist churches at the time. In plan,
the room is square with the balcony, center aisle and visual axis on the
diagonal, and in this case the organ is along one side behind an arch. The
ceiling of this alcove is likewise arched like a band shell that helps project
the sound of the organ.

Except for the Solo Trumpet, the stop-list involves no
unification, and most of the instrument is placed on three slider windchests
that correspond to the three sections of the façade design. The Great,
Swell, and Pedal divisions stand respectively behind the left, center, and
right hand sections of the façade, with the Solo Trumpet placed in front
of the Swell. The façade pipes, masking the Great and Pedal, are from
the 8' Principals of those divisions, and screening the Swell enclosure
are the first twenty-three of the 16' Quintadena (six of them are around
the corners) with internal canisters as stoppers. This central section is
cantilevered further forward than the other two by a steel frame supporting all
the windchests and the façade, the weight of which is counterbalanced by
the windchests behind it.

The wind pressure of each of the three slider windchests is
70 mm and the Solo Trumpet is on 130 mm. A few ranks were retained from the
previous organ: the 8' Rohrflöte and 4' Holzflöte on the
Great, the Swell Viole, Celeste and 11/3' Spitz Nasat, and the 4'
Choralbass and III rank Mixtur of the Pedal. Schwimmers are built into each of
the three slider windchests to ensure absolute wind stability, and reservoirs
are used to wind the various offset and unit windchests.

The console is mobile and the Great division is played from
its lowest keyboard, the Swell from the middle, and the Solo from the highest
one. This manual, which is provided primarily for the Solo Trumpet and MIDI,
also serves as a coupling manual from the other two. Stops and couplers are
controlled by drawknobs in a traditionally arranged console, and there is
digital readout for the ninety-nine levels of combination memory, piston
sequencer, transposer, and crescendo.

The façade pipes are 75% polished tin, and the tin
content of the new metal pipes, made by Giesecke in Germany, ranges between 52%
and 75%. The wooden Subbass and Swell Holzgedackt were made by John Nolte in
Milwaukee. The reeds include a 16' Posaune with pine resonators, an
8' Oboe with capped resonators and adjustable tone holes, an 8'
Trompete as a blending ensemble reed with German shallots, an 8' Solo
Trumpet with copper hooded resonators and parallel shallots, and a 4'
Holzregal with mahogany resonators and German closed shallots.

Specification and tonal design were by Leonard Berghaus,
voicing by Kelly Monette and John Streufert, visual design and engineering by
Allyn Hoverland, and construction and installation by Brian and Todd Berghaus,
Fred Beal, Mark Ber, Gordon Bruns, Jeff Hubbard, Mat Kessler, Kurt Linstead,
Mike Pelton, Jordan Smoots, Paul Sturm, and Randy Watkins.

David McCleary was chairman of the organ committee and was
closely involved in  the entire
project from beginning to end. The Berghaus Company wishes to thank him and everyone
at First United Methodist, DeKalb, for their cooperation, help and confidence
in us.

—Allyn Hoverland

 Designer,
Berghaus Organ Company

 

GREAT

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

                  8'
style='mso-tab-count:1'>            Prinzipal
(façade)

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

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

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

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

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

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

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

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

                                    Tremulant

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

SWELL

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

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

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

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

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

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

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

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

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

                                    Tremulant

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

SOLO

                  16'
style='mso-tab-count:1'>         Solo
Trumpet TC (ext)

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

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

                                    Chimes

PEDAL

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

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

                  8'
style='mso-tab-count:1'>            Prinzipal
(façade)

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

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

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

                  16'
style='mso-tab-count:1'>         Posaune
(L/2)

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

                                    Tremulant

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

 

                                    Couplers

                                    Sw/Sw
16-UO-4

                                    Gt/Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    Gt/Solo
16-8-4

                                    Sw/Solo
16-8-4

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

 

Fabry Inc., Fox Lake, Illinois, recently completed phase two
of the up-dating and tonal additions for the 1966 Möller organ (opus
10216) at First Presbyterian Church, Rockford, Illinois; three manuals, 63
ranks. Phase one, completed in September of 1999, consisted of solid state
conversion of the console and relay system, the addition of three Pedal
electric 32's, electric tremolos, and electric expression systems. The
original 45-degree shutter system was changed to 90 degrees for better tonal
egress. The console is prepared for MIDI and several remaining tonal additions.
Phase two, completed in November of 2000, consisted of tonal additions and
changes. The new specification was designed by the church organist, Ryan A.
Kasten, and Fabry Inc. A new Positive division was installed directly above the
existing Swell division, with the bottom of the chest inside the Swell chamber
for easy maintenance. A new passage board and ladder system was built to aid in
tuning. The back wall of the Choir division was cut and pushed out to make room
for all the additions. New chests in the Great division were mounted on legs
above the existing pipes. The original Swell Mixture III toe boards were
removed and drilled to hold a new IV Mixture. All 13 new electro-pneumatic chests
were made by David G. Fabry. The dedication was held on November 10, 2000,
played by Ann Labounsky assisted by Lewis Steele, cantor. Crew leaders on the
project include Joseph W. Poland and David G. Fabry. Photo by Photographic
Design of Racine, Wisconsin.

 

GREAT

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

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

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

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

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

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

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

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

                  II
style='mso-tab-count:1'>              Sesquialtera
(1–12 new)

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

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

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

                                    Tremolo
(new, electric)

                                    Zimbelstern
(new)

                                    Chimes
(moved)

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo
(new, electric)

POSITIVE (new)

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

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

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

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

                  2'
style='mso-tab-count:1'>            Doublette
(moved from Gt)

                  III
style='mso-tab-count:1'>            Scharf
(moved from Sw)

                  16'
style='mso-tab-count:1'>         Dulzian
(prep)

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

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

                                    Tremolo
(new, electric)

CHOIR

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

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

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

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

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

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

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

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

                  11⁄7'
style='mso-tab-count:1'>     Septieme (new)

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

                  4'
style='mso-tab-count:1'>            Trichter
Regal

                                    Tremolo
(new, electric)

PEDAL

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

                  32'
style='mso-tab-count:1'>         Subbass
(new, electric)

                  32'
style='mso-tab-count:1'>         Resultant
(new, wired)

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

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

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

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

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

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

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

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

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

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

                  IV
style='mso-tab-count:1'>            Mixture
(new, wired)

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

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

                  16'
style='mso-tab-count:1'>         Dulzian
(prep)

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

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

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

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

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

*Re-voiced

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

Martin Pasi, Roy, Washington

Bedford Presbyterian Church, Bedford, New York

The Millennium Organ

 

The organ committee of Bedford Presbyterian Church, Bedford,
New York, was charged to commission an organ that would fulfill the roles of
leading congregational singing, accompanying the church's choirs, and
playing a broad range of solo organ literature. It must also blend well with
the elegant Carpenter Gothic architecture of the 1872 church, and give a long
life of reliable service.

After studying and listening to many organs over a period of
several years, the committee determined that the church's needs would
best be met by a new mechanical-action pipe organ designed and built by Martin
Pasi. He developed a 2-manual organ of 29 stops to be placed in a rebuilt and
extended rear gallery. The organ is entirely encased in painted solid poplar
casework. Its shape and decorative elements pick up architectural elements from
the sanctuary. The organ is laid out horizontally in order to preserve a view
of the large rear window. Therefore the pipes of the Great and Pedal divisions
are placed on windchests divided on either side of the Swell, which is slightly
lower in the center of the case. The pedal Subbass and Posaune stand on a
separate chest at the lower rear of the organ. The organ has a suspended key
action with the console detached from the organ case, allowing the choir to see
the organist clearly. The stop action is electric with an eight-level
combination action. The console and bench are made of cherry, with walnut
highlights. 

The organ draws its principal tonal inspiration from the
great North German organs of the 17th 
and 18th centuries, leavening its resources with several stops inspired
by 19th and 20th century models. The presence of three façade Principals
at 8-foot pitch is unusual for an organ of this size. Of the organ's reed
stops all but the Oboe are inspired by stops in the baroque organs of North
Germany, especially those built by Arp Schnitger. The Oboe is modeled after
stops by Cavaillé-Coll. An unusual addition to the organ's tonal
palette is the Chamade, which begins at middle C on the Great. All of the
pipes, metal and wood, flue and reed, were made in the Pasi shop, from the
casting of the metal through to the completed pipes. The metal pipes are made
of hammered lead. The Subbass and the lowest 12 pipes of the Great Bourdon are
made of poplar, the only wood pipes in the organ.

The organ is tuned in the Kellner/Bach unequal temperament,
which favors the keys nearer C Major, and yet remains harmonious through all
keys.

Following time-honored principles gleaned from the work of
the great historic organ builders, Martin Pasi has built a thoroughly modern
organ to serve the musical needs of an active church at the beginning of the
new millennium. The congregation of Bedford Presbyterian Church is inspired by
their new organ's warm and lively sounds. The Rev. Kathryn L. Nichols is
minister of music and outreach. Dr. Mark A. Brombaugh was consultant.

—Mark A. Brombaugh

 

GREAT

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

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

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

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

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

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

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

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

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

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

                                    Mixture

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

                  8'
style='mso-tab-count:1'>            Chamade
(c')

SWELL

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

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

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

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

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

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

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

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

                                    Sesquialtera

                                    Scharf

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

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

PEDAL

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

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

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

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

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

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

                                    Sw/Gt,
Gt/Ped, Sw/Ped                                

                                    Tremulant
to entire organ

                                    Zimbelstern
with rotating gilded star

                                    Vogelgesang

                                    Suspended
key action

                                    Solid-state
combination action (8 memory levels)

                                    Kellner/Bach
1/5-comma temperament

 

Temple Organs, St.
Joseph, Missouri, has completed a new organ for St. John LaLande Catholic
Church, Blue Springs, Missouri. Most of the 40 ranks of pipes were taken from
the Austin organ, op. 2409, purchased from Trinity United Methodist Church,
Tallahassee, Florida. This is the largest organ built by the Temple Company
since the re-tirement of its founder N. Frederick Cool in 1999. Since 1953
Temple Organ has built and rebuilt over 150 pipe organs.

The low two octaves of aluminum Great and Pedal 16'
Principals, by Justin Matters, form matching facades in this newly renovated
modern building. The acoustics were improved in spite of the low central
ceiling. Clerestories on either side made possible the inclusion of independent
16' stops in all divisions. Cornets are playable on all divisions as well.
Summary: 33 speaking stops, 40 ranks.

Music director Ron Sondag and organist David Wischmeier
collaborated with David Cool and Jon Bertschinger of Temple Organs in achieving
the largest and most tonally independent stoplist possible in the limited space
available. Mr. Wischmeier played the dedication recital.

 

GREAT

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

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

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

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

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

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

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

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

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

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

                  2'
style='mso-tab-count:1'>            Spitzflote
(Hohl)

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

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

                                    Cornet
V (Ch)

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

                                    Chimes
(prep)

SWELL

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

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

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

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

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

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

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

                  2'
style='mso-tab-count:1'>            Piccolo
(ext 4')

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

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

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

                  1'
style='mso-tab-count:1'>            Scharf
III (ext Mix)

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

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

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

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

                                    Tremulant

CHOIR

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

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

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

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

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

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

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

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

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

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

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

                  11⁄3'
style='mso-tab-count:1'>     Quinte (ext)

                  1'
style='mso-tab-count:1'>            Flachflote
(ext 2')

                  2⁄3'
style='mso-tab-count:1'>        Cymbel
III

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

                                    Tremulant

PEDAL

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

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

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

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

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

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

                  102⁄3'
style='mso-tab-count:1'>  Grossequinte (Gems)

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

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

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

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

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

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

                  31⁄5'
style='mso-tab-count:1'>     Terz (Ch)

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

                  2'
style='mso-tab-count:1'>            Flote
(ext Sub)

                                    Mixture
IV (Gt)

                  32'
style='mso-tab-count:1'>         Grossekornet
VI (Ch)

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

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

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

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

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

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

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

 

Andover Organ Company,
Methuen, Massachusetts, has completed restoration and repair work on the 1884
Ryder organ, opus 124, at the United Methodist Church, Woburn, Massachusetts.
The organ reservoir blew a gusset right before a wedding in August 2000. As
Andover taped up the reservoir to get through the weekend, the church planned
for some major work on the organ. The congregation had transferred the
two-manual, 12-stop organ to their present building in 1890.

First in the current project, Andover releathered the
reservoir. In addition, there had been problems for years with the pedals. Upon
replacing the very worn pedal trackers, Michael Eaton of Andover discovered
that the tracker guide had been installed two inches too high, a simple mistake
in construction that caused trackers to splinter and break over time. This rail
was lowered, pedal and coupler action redone, all trackers, nuts, and punchings
replaced, rollerboard cleaned and repinned, and a new brass pin installed in
the pedal square rail. The pedal coupler backfall was repaired and repinned,
and received new nuts and punchings.

 

GREAT

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

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

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

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

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

                                    Sw/Gt

                                    Gt/Gt
4'

SWELL

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

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

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

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

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

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

                                    Tremolo

PEDAL

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

                                    Gt/Ped

                                    Sw/Ped

 

 

 

 

Cover

Aeolian-Skinner opus 1015 (1940), restored 2001 by
Thomas-Pierce, Inc., Palm Beach, Florida

Music room of Thomas R. Thomas and J. Steven McCall, West
Palm Beach, Florida

 

The first Harrison Skinner installed in Washington, D.C.,
forgotten and silent for many years, sings forth again in a new and vibrant
setting. Aeolian-Skinner opus 1015 was built for the Calvary Methodist Church
located in the Meridian Hill section of Washington. Once a very affluent
community, the many facilities of the church included a bowling alley and
gymnasium. G. Donald Harrison went to Washington August 6, 1940 to meet with
the organist Louis Potter, take measurements and sketch the physical
arrangement of the instrument. The existing organ at the time of Harrison's
visit was a 1917 Austin opus 697, two manuals and 20 stops.

Several sketches of a proposed façade for the chancel
of Calvary and the stop-list of the Austin in Harrison's handwriting appear in
the Skinner files. The Skinner Company allowed the church a credit of 900
dollars for the Austin organ and also removed the instrument for them. Chimes
from the old organ were used in the Skinner with new actions.

The Austin was installed in a deep chamber on the left side
of the chancel with only an opening facing across. Mr. Harrison's preliminary
sketches proposed that another opening be made to face the congregation,
possibly having duplicate sets of shades on the swell and choir boxes. However,
the new organ was installed in basically the same chamber with only an opening
facing the chancel and no façade.

The organ departed somewhat from Harrison's usual
specification of the period due to the influence of Louis Potter, and also
reflects the work of E.M. Skinner. Scales are very generous; the Great first
open is a Diapason, not a Principal. The major Swell reed contains English
shallots and there are three celestes. However, the Choir adheres to the
Harrison concept of the American Classic. All the manual divisions of the
instrument have 73-note chests and the Choir and Great pipework material is
Skinner's frosted tin.

We learned of the availability of the organ in the spring of
1996 and Hugh Pierce and I made a trip to Washington to inspect it. What we
found was horrifying and, I must admit, intimidating. Only the Great and part
of the Swell were winded, and for all practical purposes the organ was
unplayable due to considerable water damage. Most of the damage was confined to
the reservoirs and pneumatic switching. Thankfully, the pipework and most of
the chests were in excellent shape and that encouraged us to pursue
negotiations to purchase the organ. The layout was unique and creative, as
there were 33 ranks in a very tight space. The Swell was stacked above the
Choir with the Great in front of the Choir and smaller pipes of the Pedal under
the Great. The balance of the Pedal was to the left side of the chamber with
the 32' Bourdon extension hanging on the ceiling! The configuration today
places the Great on the same level as the Swell and to the left with Pedal
behind. This new arrangement of the organ affords superior tonal egress and
ease of maintenance. The room is 60 feet long by 22 feet wide and 27 feet high
with reflecting surfaces providing a reverberation of approximately 2 seconds.

The instrument was removed in the fall of 1997 with the aid
of the Organ Clearing House. The dismantling and packing involved the efforts
of eight people over a period of 5 days. With the organ safely stored in our
warehouse, we began the almost three-year process of restoration. All
components of the organ were cleaned and all leathers and pitmans replaced.
Edward M. Stout of California was responsible for rebuilding the pouchrails.
The console was entirely rebuilt by Roger Colby with new Harris components and
Peterson MSP 1000 Stop Processor and solid state switching.

We have received interesting letters regarding the organ,
one from Sally Potter, Louis Potter's second wife, expressing her pleasure that
the organ was rescued. Another letter from Thomas Potter, Louis's son and the
former vice president of Aeolian-Skinner, again thanked us "for rescuing a
very remarkable Aeolian-Skinner Organ and one that should give a good account
of itself in its new setting there in Palm Beach." He also recalled that
Virgil Fox was given carte blanche to the organ by means of his own church key
(he was stationed at Bowling Field). A former student of Mr. Potter's, Raymond
Brubacher, writes about his experiences at Calvary including meeting G. Donald
Harrison at the church.

The present façade is from Austin organ opus 583
(1915) previously installed in the Swedish Lutheran Church in Chicago. It was
rescued for us by Alan Laufman and stored for many years in his barn in
Harrisville, New Hampshire. The pipes were refurbished and painted by George
Bozeman, and the writer and J. Steven McCall packed and moved the entire
structure to Florida.

While one might think by looking at the specification that
the organ would be overwhelming, it is exceptionally pleasing to the ear and
fills the room without expanding beyond it. The placement of the Great and
Swell at an unusually high level contributes to the success of the installation
and the Choir, at console level, is remarkably gentle. The original contract
had several preparations indicated, including: Great Fourniture IV, Choir Tuba
8' with extension to 16' in the Pedal, Swell Geigen Principal 8', Flute
Harmonique 4' and Vox Humana 8'. Aeolian-Skinner added the Geigen Principal and
Flute Harmonique to the Swell in 1957. Since the organ was unusable shortly
after Potter's retirement in the early seventies, it escaped the tonal
tinkering of the baroque enthusiasts and is one of the very few untouched
Harrison Skinners in existence.

 —Thomas
R. Thomas

 

GREAT               

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

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

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

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

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

                                    Grave
Mixture II

                  8'
style='mso-tab-count:1'>             Trumpet
style="mso-spacerun: yes">  (Swell)

                  4'
style='mso-tab-count:1'>             Trumpet
style="mso-spacerun: yes">  (Swell)

SWELL

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

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

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

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

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

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

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

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

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

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

                                    Plein
Jeu  III

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

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

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

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

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

                                    Tremolo

CHOIR

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

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

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

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

                  4'
style='mso-tab-count:1'>             Cor-de-Nuit

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

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

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

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

                                    Tremolo

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Schoenstein & Co., San Francisco, California, has
installed a two-manual, 18-rank organ for St. Matthew's Lutheran Church of
Walnut Creek, California. The organ features a facade designed in conjunction
with the building's architect, Robert Davidson. Treble pipes of the Pedal
Principal, in flamed copper, are in display. The console is made of beechnut
and bird's eye maple to complement the decor of the large, modern church.
Acoustics are well balanced.

Both the Great and Swell are under separate expression. The
action is Schoenstein's electric-pneumatic system with individual valve
expansion cell windchests. The combination action provides multiple memories
and programmable piston range whereby a Swell piston, for instance, may be
programmed to a general piston, etc. Four of the fifteen voices are at 16'
pitch: an Open Wood unenclosed in the Pedal, a Gemshorn in the Great box, a
Metal Gedeckt and a full-length Bass Trumpet in the Swell box. There are three
reeds with preparations for a fourth. The Great Tromba is on 7≤ wind for
maximum smoothness and commanding tone. The Swell has a small-scale, colorful
Chimney Flute and an Open Flute reminiscent of G. Donald Harrison's wide-mouth
Nachthorns. The Swell strings are of broad (echo principal) scale and the
Salicional combines with the Gedeckt to provide foundation for the division.

—Larry Simpson

 

GREAT

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Gt
16-UO-4

SWELL

                  16'
style='mso-tab-count:1'>          Gedeckt
(metal, 12 pipes)

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

                  8'
style='mso-tab-count:1'>             Unda
Maris (TC)

                  8'
style='mso-tab-count:1'>             Gedeckt
(12 pipes, Ch. Fl. treble)

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

                  4'
style='mso-tab-count:1'>             Flute
(12 pipes, Piccolo treble)

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

                  22⁄3'
style='mso-tab-count:1'>      Nazard (Ch. Fl.)

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

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

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

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

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

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

                                    Tremulant

                                    Sw
16-UO-4

PEDAL

                  16'
style='mso-tab-count:1'>          Diapason
(wood, 12 pipes)

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

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

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

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

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

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

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

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

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

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

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

 

                                    Couplers

                                    Gt/Ped
8

                                    Sw/Ped
8-4

                                    Sw/Gt
16-8-4

 

Andover Organ Company, Methuen, Massachusetts, has completed
renovation of the 1879 E. & G.G. Hook & Hastings Opus 956 organ at
Lamington Presbyterian Church, Bedminster, New Jersey. The organ is an
interesting case study of trends in organ building during the last half
century.

The Greek Revival Presbyterian church was built in 1832. In
1885, the congregation decided to move the building across the street using
logs lubricated with soap. The move was in progress when Sunday came, so church
services were held in the middle of the road.