Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

Trinity Christian College is a four-year liberal arts college founded in
1959 and located in Palos Heights, Illinois, a suburb 25 miles southwest of
Chicago. It is dedicated to providing students with a quality higher education
in the Reformed Christian tradition. The college has grown extensively in
recent years with many new buildings erected. In 2001, the college dedicated a
new 1,200-seat auditorium: The Martin and Janet Ozinga Chapel. The chapel is
also the home of the college's music department with faculty offices, rehearsal
rooms, a recital hall, a music computer lab, and practice rooms. An organ for
the auditorium was envisioned from the building's conception.

Under the chairmanship of music department chair Helen Van Wyck, a committee
was formed to choose a builder for the organ. Paula Pugh Romanaux was selected
as the consultant to work with the committee. After visiting several of our organs,
Lauck Pipe Organ Company was chosen to build the organ. Working with the
builder, the committee decided that the instrument would be located at the back
of the stage and would occupy the central position. The committee felt that an
organ with a detached console would prove more flexible, especially when used
with orchestra and to accompany small ensembles.

Several designs for the organ case were prepared ranging from traditional to
contemporary, the latter being chosen. The proportions of the case are generous
in order to fill the expansive rear wall of the stage area. The façade
consists of the 16' Principal, 8' Pedal Octave and the 8' Great Diapason,
with  pipes of polished tin. The
casework is arranged so that the Pedal division occupies the center and two
outer towers. Between the left and center tower is the Great Principal chorus
with the Choir division above. Between the right and center towers are the
Great flutes and reed with the Swell division above. A shallow case with
expression shades capable of a full range of motion allow for excellent egress
of sound. The emblem at the top of the center tower is the college's logo done
in relief and gilded.

Over the past 30 years, we have built many French-terraced consoles with
curved terraces, but Marilyn Mulder, the school's organ instructor, suggested a
console based on a design she saw at Chicago's Orchestra Hall. From her
photograph, we designed and built a console with straight, oblique terraces.
The woodwork is of cherry to match other furnishings in the chapel. The
terraces, keycheeks, manual and pedal sharps, and drawknobs are all of
rosewood. The manual naturals are of bone. Peterson supplied the MIDI system
and combination action. Lauck manufactured the coupler and relay systems, as
well as the electric expression servos.

The room, alas, suffers from insufficient reflection of sound. As we worked
with the acoustician and architect, the organ committee and I realized we would
not be able to have all of our requests granted; the acoustician was more
interested in absorbing rather than reflecting sound. The architect and
building committee did agree that the expansive drywall ceiling would be well
supported and made up of a double layer glued together so as to not absorb the
lower frequencies. Preliminary acoustical tests of the room proved that we
needed a lot of sound to fill it. The organ had to be scaled very boldly, with
variable scales and higher cut-ups being freely employed. In addition, generous
wind pressures, especially in the reeds, would be used. Our tonal concept was
to establish well-developed Principal choruses in each division, colorful and
contrasting flute choruses, and chorus reeds that bind together well. This goal
was achieved and supplemented by colorful solo reeds and strings with character
and variety.

The Great is based on a 16' Principal. The 8' extension of the Principal can
be used as a second Diapason and creates a rich fond d'orgue with the open and
stopped flutes. Mutations provide for a Great Principal Cornet. To ensure a
bold, full pedal, the 16' Diapason is really a 16' open wood located in the
central tower of the case. The Great 16' Principal is also available in the
Pedal for use in lighter textures, while the 8' Octave and 4' Choralbass are
independent. The Trumpet-en-Chamade is made of tin and is voiced on 10 inches
of wind pressure using domed parallel shallots. The Pedal Trombone unit is also
voiced with domed parallel shallots on 8 inches of wind pressure. The Swell
reeds are on 6 inches of wind with the Bassoon/Oboe having tapered shallots and
the Trumpet/Clarion parallel shallots. The Swell Gamba and Gamba Celeste are
slotted with rollers throughout. It is a well-developed string tone with good
strength and carrying power; however, the expression boxes and shades are
heavily built and can make the strings evaporate when desired. The Swell also
has a Flute Celeste, which is built as a Ludwigtone; basically, two wood pipes
built with a common middle wall on one foot. The Choir Viola and Viola Celeste
are of about equal power to the Swell strings but are not slotted and are of a
broader tone quality. They are voiced to work together perfectly yet retain
their individual colors.

The Lauck employees that built Opus 55 include: Craig Manor, console design
and construction, wood pipes; Ken Reed, pipemaker, office manager; Ben Aldrich,
design, windchests, foreman; Bob Dykstra, windchests, wood pipes, casework;
Dick Slider, windchests, lower casework; Dan Staley, circuit board
manufacturing, wiring; Jim Lauck, design, voicing, tonal finishing; Jonathan
Tuuk; tonal finishing.

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal  (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

                        Great
to Great 4

                        Swell
to Great 16-8-4

                        Choir
to Great 16-8-4

                        Zimbelstern

SWELL

16'  Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola  (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4       

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave  (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass  (32 pipes)

II Rauschquint (64 pipes)

II Mixture  (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

 

Paul Fritts and Co., Tacoma,
Washington, has built a new organ for Vassar College, Poughkeepsie, New York.
The mechanical-action pipe organ is installed in the 500-seat Mary Anna Fox
Martel Recital Hall of the Belle Skinner Music Building. It contains 34 stops
distributed over two manuals (Hauptwerk and Positiv) and Pedal.

The tonal design reflects both the North and Middle German schools of
organbuilding from the first half of the eighteenth century. North German
features include fully independent manual and pedal divisions with
well-developed upper work; a full spectrum of mutation stops (two on double
draws); and seven reed stops, 20% of the registers. Middle German building is
represented by a variety of six manual 8' flue stops; the “gravity”
of 16' stops in each manual division and four 16' pedal stops; a Tierce rank
which can be added to the Hauptwerk Mixture; and the inclusion of the Positiv
division in the main case, rather than positioned to the rear of the player.

The northern features pay homage to the seventeenth-century style of Arp
Schnitger and the middle German school points more to the pre-Romantic
eighteenth-century styles of Wender, Trost, Hildebrandt and others. The new
Vassar organ is well-suited for music of J. S. Bach with its cosmopolitan
mixture of northern, middle, and southern European traits. Other literature
from the sixteenth-century through the works of Mendelssohn will also sound to
advantage.

The new organ is placed centrally in a gallery nine feet above the stage
floor in the front of the hall. The case has a bright burgundy enamel finish.
Gold leaf highlights the gray painted pipe shades. The case and many internal
parts are crafted from popular. 
Many other woods were chosen for their various properties, including
mahogany, oak, maple, ebony, redwood and sugar pine.

Along with the new organ came alterations to the organ gallery and stage
area significantly improving acoustics, and a climate control system for the
recital hall. The Marian and Speros Martel Foundation Inc. donated funds
covering both the organ and hall improvements. Glenn D. White recommended
acoustical improvements, and Richard Turlington designed architectural plans
for the room. Frances D. Fergusson, President of Vassar College, initiated the
project. George B. Stauffer was consultant.

To inaugurate the new instrument, Merellyn Gallagher, James David Christie,
and Joan Lippincott played solo recitals in February and March 2003.

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

                        Positiv
to Hauptwerk

                        Hauptwerk
to Pedal          

                        Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

Fabry Pipe Organs, Inc., of Fox
Lake, Illinois, has completed the 5-rank antiphonal division added to the
original Möller organ in Faith Evangelical Lutheran Church, Homewood,
Illinois.

Fabry Inc. installed the original M.P. Möller instrument (2 manuals, 19
ranks) in 1980 in the rear balcony of the sanctuary and has been maintaining
the organ since that time. The console was prepared for an antiphonal division.
On many occasions while tuning the instrument, the organist, Mrs. Phyllis
Silhan, would always say, “I hope I get to see this instrument completed
before I retire.” Twenty-two years later, the church elected to add the
antiphonal division.

The new antiphonal division was installed in October of 2002. The original
specification for this division--8' Gedeckt, 4' Gemshorn, 2' Flautino, II
Mixture--was changed to 8' Gedeckt, 4' Octave, 4' Harmonic Flute, 2' Fifteenth,
and 8' Oboe. A new solid-state relay was provided that is totally prepared for
the addition of a small antiphonal console.

Fabry Inc. would like to thank the organist, Mrs. Phyllis Silhan, and
Reverend Dr. Timothy Knaff, who coordinated the entire project. David G. Fabry
built all the chestwork and new casework. Crew leader Joseph Poland handled the
installation.

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

                        Gt
& Sw to Ped 8

                        Sw
to Gt 16-8-4

                        Gt
4

                        Sw
16-UO-4

                        Antiph
to Ped 8

                        Antiph
to Gt 8

                        Antiph
to Sw 8

Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California

Opus 46

 

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

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

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

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

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

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

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

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

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

--Quimby Pipe Organs, Inc.

GREAT (unenclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Chimes
(Solo)

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

                                    Tower
Chimes (prepared for)

                                    MIDI
on Great

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Chimes
(Solo)

                                    MIDI
on Swell

CHOIR (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Chimes
(Solo)

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

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

                                    MIDI
on Choir

SOLO (enclosed)

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

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

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

                                    Tower
Chimes (prepared for)

                                    Chimes
(20 tubes)

                                    MIDI
on Solo

PEDAL (unenclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Chimes
(Solo)

                                    MIDI
on Pedal

Lively-Fulcher Organbuilders, Alexandria, Virginia

St. Olaf Catholic Church,
Minneapolis, Minnesota

 

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

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

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

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

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

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

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

--Lynn Trapp

 

GRAND ORGUE

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur G.O.

                                    Positif
sur G.O.

                                    Bombarde
sur G.O.

POSITIF EXPRESSIF

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Octaves
graves

                                    Récit
sur Positif

                                    Bombarde
sur Positif

                                    Positif
unison off

RÉCIT EXPRESSIF

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Octaves
graves

BOMBARDE (floating)

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

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

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

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

PÉDALE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tirasse
Bombarde

                                    Tirasse
G.O.

                                    Tirasse
Positif

                                    Tirasse
Récit

 

G.O./Positif manual transfer

Chimes sur G.O.

Tower Bells sur Récit

Cymbelstern

Pedal & Manual pistons coupled

Sequencer

 

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

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

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

--Weston Harris

 

GREAT (enclosed)

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

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

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

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

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

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

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

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

                                    Mixture
IV

                                    Cymbale
III

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

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

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

                                    Tremulant

                                    Gt/Gt
16-4

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Sw/Sw
16-UO-4

POSITIV (unenclosed)

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

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

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

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

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

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

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

                                    Pos/Pos

                                    Pos/Gt

                                    Tower
Bells (8 Whitehall bells)

STATE TRUMPET (unenclosed)

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

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

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

                                    Trumpet
to Gt

                                    Trumpet
to Sw

                                    Trumpet
to Pos

PEDAL (enclosed in Great)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Full interdivisional couplers

*indicates unification

J. F. Nordlie Co. Pipe Organ Builders
style='font-weight:normal'>, Sioux Falls, SD, has built a new organ, opus 27,
for Faith Lutheran Church, Prairie Village, KS. The contemporary architecture
of the church prompted a dramatic case design. Asymmetrical shapes in the room
suggested a balanced, angular silhouette. Disjunct ceiling planes necessitated
a single tower for the Pedal and a front/back arrangement for the Great/Swell.
The large painted case is softened by richly-hued light from the ceiling clerestory. Natural pipe lengths further enliven the facade, as do the contrasting metals of the front pipes. Placement high in the rear gallery is ideal for leading congregational song and supporting voices and instruments. The organ project spanned eight years of planning and fund-raising for the congregation. Mechanical key and coupler actions, solenoid motors control sliders and drawknobs; flexible winding via a Meidinger blower and multiple reservoirs; wind presssure 74mm manuals, 85mm pedal; casework of painted poplar and maple; keydesk, pipe shades, and other decorative elements made of oiled walnut; manual keys plated with ebony on cherry naturals, and polished bone on cocobolo sharps; pedal keys of oak, maple and walnut; drawknobs turned from cocobolo with engraved bone nameplates; metal pipes by A. Grunemann (Germany) and J. Stinkens (Netherlands); reeds by R. Killinger (Germany); wood pipes by Nordlie workshop; tuning (scroll & cone) after Vallotti's 18th-century well-tempered plan. Organist: Dr. O. Wayne Smith; consultant: Dr. Ted Stewart; dedication: September 24, 1995; 30 stops, 27 voices, 33 ranks, 1718 pipes. Couplers: Gt/P, Sw/P, Cont/P, Sw/Gt; tremulant to manual divisions; balanced Swell pedal and Register Crescendo; multi-level combination action; compass 56/30.

GREAT

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

                        8'
style='mso-tab-count:1'>                  Prestant
(polished tin facade)

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

CONTINUO

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

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

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

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

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

                                                Zimbelstern
(prep)

PEDAL

                        16'
style='mso-tab-count:1'>              Prestant
(flamed copper facade)

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

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

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

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

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

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

The Bedient Pipe Organ Co., Lincoln, NE, has built a new organ, opus 44, for St. Luke's Chapel at
the Medical University, Charleston, SC. The case is of white oak, pipe shades
of red gum; 12 stops, 15 ranks, 791 pipes; compass 58/30; mechanical key and
stop action. St. Luke's Chapel is a historic structure that was severely
damaged during hurricane Hugo. The several-times-rebuilt Hutchings and Votey
organ was destroyed during the storm. Consultant and dedication organist was
Dr. William Gudger.

GREAT

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

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

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

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

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

                                                Mixture
II-III

CHOIR

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

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

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

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

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

PEDAL

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

                                                Gt/Ped

                                                Ch/Ped

                                                Ch/Gt

                                                Tremulant

Visser Rowland Associates, Inc., Houston, TX, has built a new organ, opus 109, of 30
stops, for the Church of the Holy Spirit, San Antonio, TX. Pieter Visser
designed the organ and supervised its construction. Pascal Boissonet voiced the
organ. The case is built into a shallow chamber near the choir to the left of
the sanctuary. Facade pipes to the left are of the Pedal Prinzipal, and to the
right are of the Hauptwerk; the Schwellwerk is in the middle of the case, with
pipes shades designed and executed by Ron Williams. The anticipated Positiv
division will be above the Hauptwerk. Manual chests follow the company's
standard tierce layout; Pedal chest is in octave groups chromatically. The wind
system has one single rise weighted bellows with wooden wind trunks throughout.
The console is detached and reversed. The consultant was Fr. Vaughan Fayle,
O.M.I.

POSITIV (prep)

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

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

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

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

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

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

                                                MIDI

                                                Zimbelstern

HAUPTWERK

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

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

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

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

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

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

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

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

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

SCHWELLWERK

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

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

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

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

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

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

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

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

                                                Tremulant

PEDAL

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

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

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

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

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

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

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

                                                MIDI
(prep)

Cover

Grant Edwards, Portland,
Oregon

Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia

 

From the builder

The road from this organ's conception to its completion was
long, complicated, and a bit adventurous. It began as every organist's dream of
having a lovely pipe organ at home. Having worked at Bond Organbuilders since
June 1993, where I am now in my tenth year as a craftsman, I felt confident
enough by the fall of 1995 to begin design and construction on my own
instrument. This would have been impossible if not for the generosity and
patience of Richard and Roberta Bond and the rest of the crew, as the organ's
components would gradually take up a large portion of shop space--more space,
in fact, than I had initially expected. After constructing the coupler chassis,
I felt it had come at far too much cost to my free time for the 10 stops
originally planned. Soon, a solo flute, 16' reed, and other goodies had found
their way onto the drawing-board.

Temporary lodging

After three long years of work on evenings and weekends, the
organ was eventually complete, albeit homeless. And my colleagues desperately
needed their set-up room for another project. The First Congregational Church
(UCC) in downtown Portland, where I have been organist since 1995, was more
than happy to provide room and board for the new organ in their downstairs
chapel. Because of the small size of the chapel, the organ had to be voiced as
"dolce" as possible. A large panel of wood at the bottom of the swell
opening also served intentionally to block any direct sound egress from the
mouths of the interior pipes. These measures successfully bottled up the
organ's potency, and it was well received by the congregation and community.

From the Northwest to the Southeast

Having enlisted the Organ Clearing House to help find a buyer,
I received inquiries from around the country. In February of 2001, I received a
call from Bruce Fowkes, who said that the Episcopal Church of the Nativity was
interested in my Opus One, which they had become aware of via the OCH's web
site. The church subsequently invited me to visit their sanctuary, to determine
if it would indeed work well in their space. After measuring the available
area, we found that the organ would fit exactly as if it were meant for the
space. In addition, the church planned to remove the chancel carpeting and
install ceramic flooring throughout. The organ committee soon paid a visit to
Portland to see and hear the organ for themselves, and in June, 2001 a contract
was signed for installation in October. A few final details, including voicing
of the new Mixture pipes, were completed by the beginning of February, and
parish organist John Wigal played the inaugural recital on April 21, 2002.

Nips and tucks

John Wigal and the church's organ committee readily agreed
to a short list of modifications which we mutually felt to be desirable in the
given situation. The primary visual issue involved placement of the largest
open 8' and stopped 16' pipes, which were originally racked informally along
both sides of the case. The future corner location of the organ would obscure
the left side of the case while exposing the right side. The solution was to
create a side display of new flamed copper façade pipes, notes 1-9 of
the 8' Principal which had been too large for the swell box. The bottom octave
of the 16' could easily be stashed against the wall behind the organ. The new
display basses allowed the opportunity to rescale the 8' Principal three notes
larger (and the 4' Octave one note larger), for a fuller tone given the room's
capacity. The primary tonal change was addition of a new Mixture stop. So that
all the enclosed pipes might also be allowed to speak directly into the room,
the large "muting" board was removed from the shade frame and the
swell shades extended downward, creating an opening well below the level of the
pipe mouths.

Small is beautiful

Since this organ had been designed as a small yet tonally
complete chamber instrument, and since its eventual location remained a mystery,
it was kept as compact as possible. It measures only 91/2 feet tall at its
crown and 8 feet wide in the front, the compromise being that it is somewhat
deeper than might be expected. Many labor-intensive methods were employed to
save space in the interior, such as the hanging of bass pipes lengthwise along
the ceiling of the swell box. Tubular-pneumatic action is used for the largest
pipes of the 8' reed (which behave badly when tubed off) and 16' Sub Bass, thus
also reducing key pluck and wind consumption. An almost ridiculous number of
pipes (137) are tubed off the main windchest for the sake of spatial economy,
and the 16' pedal reed is planted behind the organ on its own valve box. A
single slider windchest of 112 note channels contains alternating pallets for
both manuals side by side, the pedal channels being divided out of the front
halves of the Upper Manual channels. The suspended manual key action is simply
splayed chromatically by means of squares towards the back of the organ. A
third arm on each of the pedal coupler rollers directly pulls open the pedal
pallets in the front of the windchest, requiring many vertical trackers to pass
through both manual keyboards.

A tonal world where none exclude

I am a great admirer of historic instruments of diverse
times and places, and find many modern instruments modeled after these examples
to be a wonder to the eye as well as the ear. I have attempted to create a kind
of "melting pot" in which echoes of many past tonal ideas may be
perceived: the orchestral richness of the French Romanic, the colorful
brightness of the German Baroque, the refined simplicity of 19th-century
America, and even a bit of the pomp and bombast of Britain. I hope to create an
ensemble of voices which blend into one full, cohesive chorus while at the same
time retaining as much color and personality in each individual voice. I want
to build organs capable of performing the widest variety of music effectively
and convincingly, if not with that ever-elusive spirit of "historical purity."

When my Opus One was newly complete, I billed it as an
"American Classic Chamber Organ," by virtue of its attempt to be the
most musically flexible instrument possible within a limited number of tonal
resources. It has a refreshing, modern sound that is nevertheless strongly
reminiscent of 19th-century American instruments. I attempted to overcome some
shortcomings in this style that I otherwise admire by including upperwork and
colorful mutations that are rather brighter than in a typical 1883 Hook &
Hastings.

A firm foundation

The organ includes many features which I have found to be
advantageous in a small instrument, such as placing the 8' Principal inside the
single expression box rather than in the façade. Indeed, having almost
all the organ's pipes behind swell shutters allows a degree of control
especially useful for accompaniment purposes. The "full" complement
of unison stops may be somewhat unusual for modern instruments of this size,
and this is even more true of a manual Sub Bass. Despite appearances, it is the
mid-range of this 16' stopped rank that is displayed in the front of the case
instead of the Principal. When playing on full organ, the 16' does not
prominently stand out if the swell box is closed, since the shutters mute far more
treble frequencies than bass. Not only does the 16' lend a satisfying weight to
the full ensemble, but it is specifically called for in a great variety of
literature.

Features create flexibility

Another way in which I expanded the utility of the organ's
limited resources is through the duplexing of several stops, a practice that is
becoming almost commonplace in mechanical-action organs. Four stops of the
Lower Manual are available in the Pedal via a second position in the
corresponding drawknobs, if the organist intentionally pulls up and out.
Notches locate the usual first positions, into which the stop shanks fall
naturally with the aid of a spring. As originally built, the two manuals also
shared a 22/3' Quinte and a 2' Doublet, which together served as a sort of
ersatz Mixture. When the Mixture was added to the Lower Manual, its 2' pitch
was made available as a half-draw stop, rendering a shared 2' redundant. The
Quinte's duplexing was left intact, however, but its pipes were revoiced as a
fluty Nazard to better mate with the Tierce. The Upper Manual was given a new
2' Recorder where the principal-scaled Doublet had been, thus completing a full
consort of six flutes. These are varied in character, and include an open wood
Descant Flute (Melodia) singing out from behind the center façade pipes.
Since I was compelled to co-opt its drawknob for the Mixture addition, the 16'
Pedal Bassoon is now controlled solely by a hitch-down foot lever, convenient
for hands-free activation. The Hautboy functions well as a chorus reed and can
produce a Trumpet-like solo voice when assisted by "helper stops."
The mutation stops blend seamlessly, forming reed-like effects, and the gentle
Viola has been found to be especially popular with listeners.

Heavenly casework

The organ's casework is made of quarter-sawn white oak
finished with hand-rubbed tung oil and varnish. Metal façade pipes are
of flamed copper. Wood façade pipes, in a design uniquely created for
this organ, feature fronts of lacewood with ebony trim and oak mouthpieces
carved in Roman arch form. The lacewood and ebony detailing is repeated in the
key-cheeks and music desk. Pipe shades depict stars, moons, and comets. Stars
surrounding the Chi Rho-emblazoned sun represent the nine planets, in their
relative sizes and exaggerated colors. Above the keydesk, a violet inscription
reads "Earth & All Stars Sing."

Summary

I am deeply satisfied with the
outcome of this, my first organbuilding endeavor. My subsequent trips to
Chattanooga and Fort Oglethorpe since the installation never cease to uplift my
spirits, with credit due as much to the wonderful friends I have met there as
to the success of the new organ. I am especially grateful to the members of the
Church of the Nativity, who took a leap of faith in commissioning a major work
of art from an unknown builder, and also to John Wigal for bringing the
instrument so skillfully to life through music.

--Grant Edwards

 

Acknowledgments: Matthew
Bellochio, installation and tonal finishing assistant; Michael Wheeler,
installation assistant; Robert Hubatch, execution of central sun carving
(replacement of vanished original); Ralph Richards, Bruce Fowkes & Co.,
supportive local organ builders.

Very special thanks to Richard
and Roberta Bond and the entire Bond staff for tireless encouragement, advice,
and a pretty darn enviable organ building shop.

From the organist

In October of 2000 I began as
interim organist/choirmaster for the Episcopal Church of the Nativity in Fort
Oglethorpe, Georgia. The congregation is a relatively young one, having built
its nave in the early 1960s. The church was using a four-rank unit organ, over
sixty years old and in very bad need of repair. The organ was first housed in
the Chattanooga Funeral Home, then made an interim stop before settling at Nativity.
A 4' Octave replaced a soft string rank when the organ was installed in the
church to assist in hymn playing. The instrument, all in one unit, except for
the blower and reservoir, was placed at a 45-degree angle on the floor level of
the nave behind and to the outside of the pulpit. This had been accomplished by
removing a section of the elevated choir floor. Consequently, the organ was 18
inches lower than all of the surrounding floor and was partially hidden from
the congregation by a solid wall about 5 feet in height. The blower and
reservoir, intended for installation in another room, had been installed in the
corner behind the organ, making them very noisy all the time.

The rector and vestry were aware
of the poor state of the instrument prior to my arrival, but had not been able
create a plan or the funding to deal with the situation. The possibility of
replacing the organ was significantly due to the generosity of Arthur Yates,
who left an endowment to the congregation upon his death. The organ and its
accompanying remodeling in the nave were financed entirely through the Nativity
Endowment Fund. In early 2001 after some educational discussions with the
vestry, a committee was formed to investigate the replacement of the
instrument. Because the Church of the Nativity is a small congregation seating
only 140 in the nave, we began a search for a small unit-style instrument.
During this investigation period, a local organ builder noted the Grant Edwards
organ on the Organ Clearinghouse website and contacted me having felt the
instrument was appropriate for our space. Subsequent phone calls with John
Bishop and Grant Edwards led to a visit to our church by Mr. Edwards and a
return visit by three members of our committee to Portland in May of 2001. The committee
was immediately struck with the beauty and craftsmanship of the casework. The
sound of the instrument, particularly of the varied flutes and the 8'
Principal, led the committee to quickly recommend the purchase of the organ
with some modifications agreed on by both committee and builder.

The vestry then charged the
organ committee to institute changes which would enhance the worship space and
the organ installation. This allowed for the removal of carpeting in the aisle
and the choir space. The pews were removed and the entire floor area was
covered with 18" ceramic tile. In order to allow for better egress of
sound, the raised floor was returned under the organ and the organ was
installed on the long axis of the nave. The previous solid railings were
replaced with a wrought iron and oak railing. New lighting around the choir and
organ was installed as well as increased general lighting in the entire nave.

It is very easy to see that the
organ has exceeded everyone's expectations. The church's worship has been
enhanced, hymn singing has been markedly improved, and many in the community
have been welcomed into the church for the first time. The Church of the
Nativity has kept its endowment funds for use on special projects only. This
has not only allowed for the completion of the organ, but also for many mission
projects, both local and international. The leadership of this small church and
the craftsmanship and work of Grant Edwards deserve recognition and praise.

John E. Wigal

Organist/Choirmaster

Grant Edwards, Portland, Oregon, Opus 1

Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia

16 ranks, 810 pipes

Mechanical key and stop action,
two manuals and pedal (56/30), balanced expression pedal, hitch-down couplers

Lower Manual

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

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

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

                  8'
style='mso-tab-count:1'>             Descant
Flute (middle C)

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

                  22/3'
style='mso-tab-count:1'>      Nazard (from
Upper Manual)

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

                                    Mixture
III (double-draw)

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

Upper Manual

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

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

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

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

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

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

                                    Tremulant
(affects entire organ)

Pedal

                  16'
style='mso-tab-count:1'>          Sub
Bass (from Lower Manual)

                  8'
style='mso-tab-count:1'>             Principal
(from Lower Manual)

                  4'
style='mso-tab-count:1'>             Octave
(from Lower Manual)

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

                  8'
style='mso-tab-count:1'>             Hautboy
(from Lower Manual)

 

                                    Lower
Manual to Pedal

                                    Upper
Manual to Pedal

                                    Manual
Coupler

 

Fenris Pipe Organ
style='font-weight:normal'>, Kilkenny, Minnesota, has built a new organ for
Ascension Lutheran Church in Albert Lea, Minnesota, where music director Eileen
Nelson Ness oversees a music program with adult, community, and youth choirs.
The new organ replaces an electronic simulator, and was part of a larger
construction project that consisted of bumping out the chancel to provide choir
space on one side and an organ chamber on the other. The two-manual and pedal
organ comprises 12 ranks, with provision for five more.

Our challenge, as organbuilders,
was to build a new instrument for an unconventionally shaped room with carpet
and padded pews. It also had to match the room and reuse pipework and some
components from an instrument the church had previously purchased as "seed."

The principal chorus is new,
façade pipes are from the earlier instrument. Casework and console are
new, made of red oak, with an oversized bench for teaching. The organ is
located in a pit; slab on frost footing with double 5/8 sheetrock taped and painted,
sloped ceiling. Chest action is electro-mechanical, with electro-pneumatic for
the 16' Subbass; switching system is Peterson. Wind pressure is 31⁄2
inches. Stoplist, scaling and voicing are by Bob Rayburn; design and
cabinetwork by Wes Remmey.

—Wes Remmey

Fenris Pipe Organ, Inc.

 

GREAT

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

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

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

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

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

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

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

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

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

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

                                    Gt/Gt
4

                                    Sw/Gt
16-8-4

SWELL

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

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

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

                  8'
style='mso-tab-count:1'>             Voix
Celeste (T.C.)

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

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

                  22⁄3'
style='mso-tab-count:1'>      Nazard (T.C.)

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

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

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

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

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

                  16'
style='mso-tab-count:1'>          Bassoon
(T.C., ext)

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

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

                                    Sw/Sw
16-4

                                    Tremolo

PEDAL

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

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

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

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

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

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

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

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

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

                                    Gt/Ped

                                    Sw/Ped

 

Lauck Pipe Organ Company
style='font-weight:normal'>, Otsego, Michigan, has built a new organ for St.
Peter's Cathedral, Marquette, Michigan. Our opus 54 is a three-manual organ
which replaces a small two-manual instrument. Several ranks of pipes from the
previous organ were incorporated into the new instrument. The painted casework
recapitulates the Romanesque architecture of the building. The tin
façade pipes are from the Great 8' Montre, Great 8' Flûte
Harmonique and, Pedal 8' Montre.

Space was at a premium as the
gallery is not large and we were not permitted to obstruct the windows. The
left case contains the Great with Choir above while the right case contains the
Pedal with Swell above.

St. Peter's Cathedral is an old
and historic building constructed of local brown sandstone. The huge interior,
hard surfaces, and ceramic tile floor provide excellent acoustics. With over 5
seconds of reverberation, a high gallery and long nave, this room is an
organbuilder's dream. The organ is generously scaled and voiced on moderate
wind pressures ranging from 3 to 4 inches, with the Swell reeds (parallel domed
shallots) on 5 inches, and the Great Trompette (tapered shallots) on 8 inches.
The voicing is transparent and not forced.

--James Lauck

Lauck Pipe Organ Company

 

GREAT

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

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

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

                  8'
style='mso-tab-count:1'>             Flûte
Harmonique (49 pipes)

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

                  4'
style='mso-tab-count:1'>             Flûte
Octaviante (ext Fl Harm)

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

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

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

                                    Gt/Gt
4

                                    Sw/Gt
16-8-4

                                    Ch/Gt
16-8-4

SWELL

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Sw/Sw
16-UO-4

CHOIR

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Ch/Ch
16-UO-4

                                    Sw/Ch
16-8-4

PEDAL

                  32'
style='mso-tab-count:1'>          Contrebourdon
(resultant)

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

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

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

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

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

                  8'
style='mso-tab-count:1'>             Flûte
à Cheminée (Gt)

                  51/3'
style='mso-tab-count:1'>      Quinte (from 16'
Bourdon)

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

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

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

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

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

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

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    Ch/Ped
8-4

 

J. Zamberlan & Co
style='font-weight:normal'>., Wintersville, Ohio, has built a new organ for St.
Andrew's Episcopal Church, Greencastle, Indiana. The firm's Opus 1 comprises 18
stops, 23 ranks, over two manuals and pedal. Three normal couplers, Gt/Ped,
Sw/Ped and Sw/Gt, are controlled by hitchdown pedals. There is one general
tremulant affecting the entire organ. A cymbelstern is installed on top of the
center tower. Pedal lights are wired into the blower switch. Great at impost
level, Swell in the bottom rear, Pedal above that (behind Great). The key action
is entirely mechanical, as is the stop action, except for the two pedal stops
which are activated by slider solenoids. Casework of red oak, with hinged
panels allowing easy access into most parts of the instrument. Keydesk area in
butternut; keyboard naturals of bone with sharps of ebony; pedal keys rock
maple, sharps ebony-capped; stopknobs, hitchdown pedals, etc. of bocote;
stopknob disks of certified legal ivory. Total number of pipes is 1,182. Old
pipes extensively repaired, including new languids for several stops; slide
tuners, temperament is Kellner. Manual/pedal compass 58/30.

 

GREAT

                  8'
style='mso-tab-count:1'>             Open
Diapason (new, façade, 28%)

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

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

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

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

                  4'
style='mso-tab-count:1'>             Cornet
IV (new, from c13-c49, 28%)

                  11/3'
style='mso-tab-count:1'>      Mixture III-IV (new,
28%)

                  8'
style='mso-tab-count:1'>             Trumpet
(new, zinc & 52% resonators)

SWELL (enclosed)

                  8'
style='mso-tab-count:1'>             Geigen
Diapason+ (1-12, stp fl)

                  8'
style='mso-tab-count:1'>             Stopped
Flute+ (1-6 new, cypress)

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

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

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

                  2'
style='mso-tab-count:1'>             Flautino+

                  16'
style='mso-tab-count:1'>          Bassoon
(new, 52% resonators)

                  8'
style='mso-tab-count:1'>             Hautboy
(new, 52% resonators)

PEDAL (flat pedalboard)

                  16'
style='mso-tab-count:1'>          Bourdon
(new, soft maple)

                  16'
style='mso-tab-count:1'>          Trombone
(new, zinc & 28% resonators)

* E. & G.G. Hook, 1870

+ Stevens & Jewett, 1856

M. L. Bigelow & Co., Inc., Organ Builders, American Fork, Utah

Opus 31,
Lutheran School of Theology at Chicago

Named the Ruth & Paul Manz Organ in recognition of their music ministry
at LSTC between 1983-1992, M. L. Bigelow & Co.'s Opus 31, II/28 stops,
makes a strong statement, both musically and architecturally, in the newly
remodeled chapel of this important religious institution.

The free-standing case of solid quarter-sawn red oak matches the chapel's
contemporary architecture. Polished tin pipes of the Pedal Præstant 16'
and the Great Præstant 8' form the façade, which articulates
placement of the Swell division above the Great. Mechanically operated louvers
on three sides of the enclosure maximize the swell effect.

The Harmonic Flute 8' and Bass Clarinet 16' suggest a broad-minded tonal
design. Indeed, the instrument seems equally at home in a wide variety of
musical styles. The mildly voiced Posaune 16' and 8' is surprisingly versatile.
A specially designed slider chest facilitates unification of three of the four
Pedal ranks. The Præstant 16' plays on electro-pneumatic action. The
Bourdon 16' is made playable on the Great by means of electric action pallets
on isolated channels of the Pedal slider chest. With these two exceptions, the
key action is purely mechanical. Stop action is electric. Sixty memory levels
with disk backup, definable pistons, and a piston sequencer give the organist
numerous options for control of tonal resources. Wind pressure is 81 mm. A
large blower feeds two wedge-shaped bellows, one for the manuals, the other for
the pedal. By pulling the "Flexible Wind" knob, winding is given a
gently flexible quality.

Metal pipes were made by Jacques Stinkens (Zeist, Holland), A. R. Schopp's
Sons (Alliance, Ohio), and F. J. Rogers (Leeds, England). The bone and ebony
keyboards and coupler chassis were built by P&S Organ Supply in England.
Bigelow personnel included Michael Bigelow, David Chamberlin, Shayne Ward,
Robert Munson, Dylan Young, Jarvis Rasmussen, Matthew Nagel, Marshall Haglund,
Sam Rojas, Kendall Green, Meg Griffith, and Beth Bigelow.

Following the formal service of dedication played by LSTC's staff organist,
Daniel Schwandt, the November 2004 inaugural events continued with a hymn
festival led by Dr. Lorraine Brugh, and a masterclass and recital by Dr. David
Schrader. Special thanks go to Scott Riedel, consultant; Dr. Mark Bangert,
organ committee; and Dr. Larry Long, LSTC's former organist.

--Michael Bigelow and

David Chamberlin

 

M. L. Bigelow & Co. Opus 31

Two manuals and pedal: 58/30

31 ranks, 25 voices and 3 extensions/transmissions = 28 stops

GREAT 58 notes

16'            Bourdon
(1-24 = Pedal)

8'               Præstant

8'               Chimney
Flute

8'               Harmonic
Flute

4'               Octave

4'               Dolce
Flute

2'               Octave

                   Sesquialtera
II

                   Mixture
IV

8'               Trumpet

                   Swell
to Great

SWELL 58 notes

8'               Oak
Gedackt

8'               Viola
da gamba

8'               Voix
céleste (tc)

4'               Viol-Principal

4'               Open
Flute

22/3'        Nasard

2'               Conical
Flute

13/5'        Tierce

                   Plein
Jeu III

16'            Bass
Clarinet

8'               Oboe

PEDAL 30 notes

16'            Præstant

16'            Bourdon

8'               Octave

8'               Bourdon
(ext)

4'               Octave
(ext)

16'            Posaune

8'               Posaune
(ext)

                   Great
to Pedal

                   Swell
to Pedal

Accessories

                   Tremulant

                   Flexible
Wind

                   Bell
Star

                   Pistons:
8 Generals, 6 Divisionals

Hermes Pipe Organs, LaValle, Wisconsin,
has completed the organ project at St. Anthony of Padua Roman Catholic Church
in Cazenovia, Wisconsin. The parish recently completed the restoration of their
church building, which was originally built in the 1880s. Over the course of
time, the roof deteriorated to the point that the building was no longer usable
for worship. Services were then held at the parish school located next to the
church. Restoration work included major rebuilding of the roof trusses and
decking, the bell tower, the wall and ceiling insulation, and a complete interior
restoration of all walls, hardwood floors, pews, and decorations.

At that time, it was also decided to replace the 1917 Kimball pipe organ
that was installed in the 1931 remodeling of the sanctuary. The Kimball had
served the parish well for many years. However, leaks in the roof above the
choir loft resulted in water damage, leading to significant deterioration of
the organ chests and wood pipes.

In 1986, Fred Hermes was contacted to appraise the condition of the Kimball.
He noted that the low CC Subbass pipe and the end of the Subbass chest crumbled
when touched. Because of the poor condition of the Kimball, it was suggested
that restoration costs would be prohibitive, and that restoring and installing
a different organ would be a better option. Due to financial constraints, the
parish decided to continue to use the Kimball, and Mr. Hermes did what he could
to keep the organ working.

In 1999, Hermes arranged for the donation of a 2-manual, 13-rank pipe organ
to the parish and installed it in the newly restored sanctuary in 2002-2003.
The sanctuary has all hard surfaces and is very live with a reverberation time
of three and a half seconds.

GREAT

8'               Bourdon

8'               Gemshorn*

4'               Principal*

4'               Gemshorn
(ext)*

22/3'        Quint*

2'               Octave*

Gt 16-UO-4

                   Sw/Gt
16-8-4

SWELL

8'               Quintaton*

8'               Viole

8'               Viole
Celeste

4'               Spitz
Flute*

2'               Principal*

                   Sesquialtera
II*

8'               Fagott

                   Sw
16-UO-4

PEDAL

16'            Bourdon
(ext)

8'               Bourdon

8'               Gemshorn

4'               Gemshorn

22/3'        Gemshorn

2'               Gemshorn

                   Gt/Ped
8-4

                   Sw/Ped
8-4

*Built in 1960 by J. B. Meyer and Sons Co.

31/2 inches wind pressure