New Organs

Marceau & Associates, Portland, Oregon

Chapel Hill Presbyterian Church,

Gig Harbor, Washington

History

While its new sanctuary was still in the planning stages,
Chapel Hill Presbyterian Church and its music director, Jeff Orr, contacted
Marceau & Associates with a request to find a historic "romantic-style" pipe organ that would support the congregation's eclectic
worship style. The ensuing search for a suitable instrument ended just eight
miles from the Marceau workshop when the company was contacted by a community
theater group in northwest Portland to evaluate an unplayable organ in the old
church building it occupied. There, behind a grille-screen at the front of the
1,100-seat auditorium of the former First Church of Christ Scientist, stood a
three-manual instrument built in 1910 by Hook & Hastings.

The Portland instrument, though suitable for Chapel Hill,
was not without problems. It had been unplayable for nearly 20 years. Both its
console and blower motor had been removed when the spaces they occupied were
converted to other uses. All the leather membranes of its original
electro-pneumatic mechanisms had dried out and cracked, and the entire
instrument had a thick coating of urban dust and grime. In 1956 the San
Francisco firm of Schoenstein & Co. (who had originally installed it) had
made several alterations to it. Its winding system was changed. Some of its
most characteristic "romantic" ranks were replaced with others of a
different character, and several new ranks were added to increase the organ's
resources.

However, it also had great potential. The instrument was
structurally sound. The 1910 Hook & Hastings windchests and pipework were
of excellent quality and, though filthy, virtually intact. With a thorough
cleaning and restoration, these historic materials could be made as good as
new.

Fortuitously, Marceau & Associates had in storage many
ranks of pipes from another historic instrument of identical style and vintage
(built in 1910 by the Estey Organ Company of Brattleboro, Vermont) which were
removed from First Presbyterian Church in Spokane, Washington. These would
provide re-placements for some missing Hook & Hastings ranks removed in
1956 and also supply sympathetic additions to the instrument. Having found a
suitable in-strument, Marceau & Associates proposed a plan to both restore
and augment the organ's tonal resources, creating an instrument to enhance and
inspire the dynamic musical needs of Chapel Hill's new generation of
worshipers.

Project

In November of 1997, the organ was disassembled and moved to
the Marceau workshop for restoration. All wooden pipes and parts were stripped
of their original shellac finish, cleaned and re-paired, and then coated with
new shellac. The Hook windchests were carefully disassembled, cleaned,
repaired, and fitted with new, custom-designed electropneumatic pull-down
actions to im-prove their performance and longevity. Then they were reassembled
and adjusted. In instances where original Hook components required modification
or replacement, new pieces were made from the same type of wood (poplar) and
finished with shellac.

All of the metal pipework, both original and replacement,
was washed and repaired, then regulated to restore original intonation and
tone. To allow the or-gan to be used with other instruments, all the pipework
was repitched to A-440.

To replace the Hook & Hastings pipework removed during
the alterations of 1956, quality historic pipework of similar style and vintage
was obtained from various sources. The missing Great 8' Trumpet and Swell 8'
Cornopean were replaced with similar ranks built in 1913 by C.S. Haskell of
Philadelphia, Pennsylvania for St. Patrick's Roman Catholic Church in
Philadelphia. Similarly, pipework from the 1910 Estey organ from the First
Presbyterian Church in Spokane, Washington, provided replacements for the
missing Great 8' Hohlflute and 8' Diapason F ranks, as well as some of the
added stops in the Great (16' Diapason), Swell (16' Bourdon), Choir (2'
Piccolo), and Pedal (16' Trombone).

To increase the organ's musical versatility without
sacrificing its original historic character a new fourth manual division--the
Grand Choir (playable from the bottom keyboard)--was added to the instrument.
It contains stops that augment the tonal palette of the Hook & Hastings
organ for the interpretation of a wider range of organ literature, and adds
contrasting pitches, brighter sounds, piquant colors, commanding power and
special effects to the instrument's resources.

The most important step in the relocation process was to
create a suitable space for the organ in its new home. The instrument's
placement along the rear wall of the chancel area gives it a commanding
position from which it can support choirs and instrumentalists and sing to the
farthest corners of the sanctuary. The large shallow chamber (45' wide, 11'
deep, 25' high) was specially designed by the organbuilders to blend and
project the organ's sounds into the sanctuary. To further enhance sound
reflection the chamber walls were lined with six layers of plasterboard and
finished with a skim coat of hard plaster and enamel paint.

The organ's pipe façade serves both an artistic and a
functional purpose. Besides giving the instrument a visual identity and serving
as an attractive backdrop for the cross, it affords the largest metal pipes of
the organ an acoustically favorable placement. The 43 speaking pipes are the
lowest notes of three Great stops: 16' Open Diapason, 8' Diapason FF and 8'
Diapason F.

Hook & Hastings Opus 2257 was installed in Portland
behind a grille-screen and did not have a pipe façade. Fortunately,
Marceau & Associates also had in storage the pipe façade of the 1910
Estey organ from Spokane. Using a CAD system to manipulate the lengths and
positions of pipes, Marceau's design engineer, Mark Dahlberg, reconfigured the
Estey façade. This new design reinterprets the traditional
"pipe-fence" of romantic instruments in a contemporary idiom which is
expressive of the organ's new mission. Rising above the polished marble tiles,
the five pipe fields and the maple slats above them give a vertical emphasis to
the wide chancel area. The sloping lines created by the pipe tops and mouths
draw the eye to the large central cross.

Internally, the organ is laid out in three main sections.
The windchests and pipes of the three Hook & Hastings manual divisions are
on two levels behind the center section of the pipe façade. The main
Great windchest is at the level of the façade pipe feet. The Choir
division is behind it. On the upper level is a new windchest with the Great
reeds (8' Festival Trumpet and 8' Trumpet) just behind the grille screen, and
the Swell division at the rear.

The Grand Choir is housed in a new, two-level 16-foot-high
expression box, directly behind the two left-hand sections of the
façade. The Tuba, Fagott, Harp and Chimes are in the upper level. To the
left of the Grand Choir box, against the side wall of the chamber, are the low
12 pipes of the 32' Contra Bourdon, which speak beneath the windchests.

The windchests and full-length wooden 16' pipes of the Pedal
division occupy the space behind the two right-hand sections of the
façade. The 12 half-length pipes of the wooden 32' Contra Trombone are
along the right side wall of the chamber.

An entirely new wind system was designed for the instrument.
Wooden and PVC trunks convey the wind from the double turbine blower in the
room beneath the organ chamber to the eight reservoirs that regulate and supply
the wind pressure to the chests. A step-up blower increases the static pressure
from the blower to the 18" wind pressure required for the Grand Choir
Tuba.

The organ's resources are controlled from a three-manual and
pedal drawknob console, which combines traditional appearance with
state-of-the-art technology. The vintage white oak console shell, pedalboard
and bench were stripped, bleached, and refinished with multiple layers of hand
rubbed polyurethane to harmonize with the chancel woodwork. The all-new
interior woodwork of the keyboards and stop jambs is of African Bubinga--like
the chancel cross--stained in a red-mahogany finish. The manual keyboards have
bone-covered natural keys and eb-ony sharps. The pedal keys have maple-covered
naturals and ebony-capped sharps. Concealed internal casters allow the console
to be easily moved anywhere within the chancel area.

The manual keyboards are equipped with tracker-touch. The
console's electronic control system includes a combination action with 25
levels of memory, MIDI, and a sophisticated internal microprocessor, which
converts each key and stop movement into a digital data stream and transmits it
to the organ via a small six-wire data cable. A second microprocessor within
the organ chamber decodes these signals and sends them to the appropriate
windchest valves beneath the pipes.

--Rene A. Marceau

President and tonal director

Marceau & Associates

Chapel Hill Presbyterian Church, Gig Harbor, Washington

Hook-Hastings Opus 2257, c. 1910

Marceau & Associates Opus XV, 1998

GREAT

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

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

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

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

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

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

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

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

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

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

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

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

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

Chimes
(Ch)

SWELL

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

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

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

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

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

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

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

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

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

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

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

CHOIR

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

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

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

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

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

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

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

Chimes

PEDAL

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

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

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

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

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

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

102⁄3'
style='mso-tab-count:1'> Quint (ext Subbass)

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

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

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

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

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

32'
style='mso-tab-count:1'> Contra
Trombone (ext)

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

16'
style='mso-tab-count:1'> Contra
Fagott (Gr Ch)

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

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

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

Chimes
(Ch)

GRAND CHOIR

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

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

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

8'
style='mso-tab-count:1'> Erzähler

8'
style='mso-tab-count:1'> Erzähler
Celeste (tc)

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

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

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

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

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

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

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

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

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

Cymbelstern

51 stops

58 ranks

3558 pipes

Fabry, Inc., Fox
Lake, Illinois, has completed the renovation and installation of a Möller
organ for St. Mary's Catholic Church, Spring Lake, Michigan. The organ was
originally built in 1975 as M.P. Möller opus 11012 for Holy Family
Catholic Church in Rockford, Illinois. Fabry, Inc. removed the organ in
January, 2001. The console and related equipment were converted to solid state,
including multi-memory combination system, coupler relay with additional
couplers, new oak interior, additional rocker tablets for preparations,
automatic transposer, MIDI, and other items. The leather was found to be in
excellent condition, and with the exception of updating the DC wiring system,
the organ needed no further repairs. The chamber relay was converted to solid
state and prepared for future additions. The original pneumatic expression
motors and tremolos have been changed to solid state controlled electric units.
A new quiet blower was installed directly in the bottom of the organ chamber. A
set of 21 Mayland chimes was added.

The original free-standing instrument was re-engineered to
fit into an existing alcove of the church. The front was reduced in width,
sides were cut to fit the front of the alcove, and a new top was produced. The
new location gained more room in the Swell division. The dedication was played
on May 11 by John Gregory of Christ Community Church, John Howe of Fort
Lauderdale, and Diane Murray, organist of St. Mary's Catholic Church. Crew
leaders on the project were David Gustav Fabry and Joseph W. Poland.
Photography by Barbara Berens of Photography of Grand Haven, Michigan.

GREAT

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

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

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

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

Fourniture
III-IV

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

Chimes

Tremolo

Gt
16-UO-4

Sw/Gt
16-8-4

MIDI/Gt

SWELL

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

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

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

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

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

Scharf
III

16'
style='mso-tab-count:1'> Trompette
(new wiring)

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

Tremolo

Sw
16-UO-4

MIDI/Sw

PEDAL

32'
style='mso-tab-count:1'> Untersatz
(resultant, prep for electric)

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

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

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

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

4'
style='mso-tab-count:1'> Octave
(ext 16')

Mixture
III (new)

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

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

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

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

Gt/Ped
8-4

Sw/Ped
8-4

MIDI/Ped

New Organs

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

New Organs

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

New Organs

Cover

Rieger-Kloss
Company, Krnov, Czech Republic

Government
Street Presbyterian Church, Mobile, Alabama

Members of the Government Street Presbyterian Church worked for several
years developing a plan for the renovation of their beautiful and historical
church in downtown Mobile. Among the many items that needed serious attention
was the pipe organ--the former organ was an Estey installed in 1905. It had
been renovated a number of times and had so many alterations that it could
hardly be credited back to its original builder. The one thing that had
remained constant was the organ pipe facade. After an in-depth study by a very
thorough organ committee, it was decided that the old organ had so many
problems that it would be better stewardship for the church to purchase a new
instrument. It was initially assumed that the new organ would occupy the same
space as the old organ. William Gray of the Rieger-Kloss Company entered onto
the scene rather late in the process and challenged the committee to look at
the total music ministry to develop a plan of how the organ, choir and
congregation could all relate musically together more effectively. The Estey
had occupied the entire center gallery, and the choir had to sit off to the far
side of the organ; there was no proper choir loft. Mr. Gray impressed on the
committee that if they were ever going to correct this problem, this was the
time to do so. In order to make room for a rear choir gallery, the organ was
located in three organ cases. The organ cases were located left and right of
the center gallery plus a very shallow division in the center, across the back
wall. This was not only a time to purchase a new organ but to develop workable
space for the music ministry of the church.

A tracker action organ was very seriously considered for Government Street
Presbyterian Church. However, if a good space were created for the choir there
would be very long tracker runs to the organ cases which would greatly decrease
the effectiveness of the tracker action. It was also decided that it would be a
great advantage to have a movable console. After all the facts were weighed, it
was decided that slider chests with electric pull downs, along with a few unit
chests, would be most appropriate for this instrument.

The Rieger-Kloss Pipe Organ Company of Krnov, Czech Republic was selected to
build the new organ for Government Street Presbyterian Church in January of
2000. Rieger-Kloss is one of Europe's oldest builders of pipe organs,
incorporated in 1873; however, the Rieger brothers were building organs as
early as the 1840s. They are unique in the industry in that they have a College
of Organ Building, a four-year accredited degreed course. The school enrolls 12
students each year and if they all stay for the full four years, they have a maximum
of 48 students enrolled. The company works to keep the best and brightest of
these students and then they furnish many of the other major builders in Europe
with their young craftsmen.

Although Rieger-Kloss is one of the largest builders of pipe organs in the
world, it operates as a small company. Each organ is built by a team of Master
Organ Builders; in the case of Mobile, an 8-member team built this instrument.
They see the organ from its conception to its completion. They assemble the
organ in the Rieger-Kloss shop erecting room to check out all systems. Although
pipes are placed on the wind chest and played, they are only tuned; they are
not finally regulated and tonal finished until they arrive in their permanent
home.

Government Street Presbyterian Church, being a historical building, required
a lot of attention to architectural details of the room. Marcel Kolarz, the
Rieger-Kloss case designer, was brought over from Europe to study the room and
to design the organ cases developed around the master plan that
style="mso-spacerun: yes"> Mr. Gray had set forth for this room.
The cases reflect numerous architectural details from the building. For
instance, the columns in the organ case and the dental design that forms the
top moldings are all details of the existing room. The capitals at the top of
the columns and the lacy pipe shades were all hand carved by Petr Brodak and
come from details of the building. The organ cases and pipe shades are white
with gilded gold trim as is found in the existing room. All of the pipes seen in
the fa?ßade of the organ cases are speaking pipes, made of 70% tin and 30% lead,
highly polished natural metal; the mouths of the pipes are gilded gold.

The console is four manuals with pedals. The outside cabinet of the console
is white and the interior is walnut. The natural keys are highly polished bone
and the sharp keys are walnut. The pedalboard natural keys are made of white
rock maple and the sharps of walnut. The console is a state-of-the-art design
with a very elaborate computer system, having 200+ levels of memory. A
sequencer allows the organist to program the pistons in the order that he/she
plans to use them and the organ will automatically progress through the pistons
in the order programmed. This organ also has a playback system, with which the
organist can record on a computer disc and have the organ play back exactly the
performance. Three of the manuals plus the pedal division are traditional
divisions--the Great Organ, the Positiv Organ, the Swell Organ and the Pedal
Organ. In addition to this, the fourth manual (top keyboard) represents the
Grand Choir Resonance, an idea that comes from the French school of organ
building. The Grand Choir Resonance division manual plays the entire Pedal
division on the fourth manual, with each of the Pedal stops extended to play
the full 61 notes of the manual. This opens up many unique registration colors
and is most valuable in service playing, especially for accompanying hymns. It
is also gives a fabulous richness to the organ in playing French toccatas and
other literature where the pitch line is high on the keyboard. The horizontal
Trompette-en-Chamade can solo above the entire organ and also play fanfares.

The tonal finishing of the organ required a little more than six weeks.
Daniel Angerstein came to Mobile and
set all of the
"C"s for the different ranks of pipes, and Frantisek Kutalek and
Tomas Fafilek matched the notes in between to the "C"s. The room is
especially treble heavy but has a very weak response to the bass harmonics. As
a result, it posed a special challenge for the tonal finishers.

Other members of the Rieger-Kloss team who built the Government Street
Presbyterian Church organ were Zdenik Mican, David Vystrcil, Rostislav
Kohoutek, Tomas Kusak and Miraslav Mitura.

In addition to providing inspiring music for worship, the church is planning
a concert series; so far, they have sponsored Merrill Davis, John Weaver and
Fred Swann in concert. The resident organist, Terry Maddox, has played a
recital, and they have sponsored noonday recitals with local organists
style="mso-spacerun: yes"> during Lent. An International Organist
Festival is being projected for the near future.

The Rieger-Kloss organ at Government Street Presbyterian Church is designed
especially for their building and for the musical needs of this congregation.
It was designed architecturally to
look as if it were always a part of this lovely, historical building and it is
equally suited to the musical demands of the church. It is a high quality
instrument which, if well maintained, will be there as long as the building
stands and will meet the demands of musical growth of the congregation. May it
always bring great and inspirational music to those who hear its majestic
sounds.

--William Gray

GREAT (partially expressive) Manual II

16' Violoneprestant

8' Principal

8' Flute
Harmonique

8' Bourdon

8' Violincelle
(ext)

8' Erzahler
Celeste (II)

4' Octave

4' Spillflote

22/3' Quint

2' Super
Octave

2' Flute

22/3' Grand
Chorus (VI)

8' Trumpet

Tremulant

POSITIV (unenclosed) Manual I

8' Principal

8' Holzgedeckt

4' Octave

4' Flute

2' Principal

11/3' Larigot

1' Cymbel
(IV)

8' Klein
Trompete

8' Cromorne

Tremulant

Zimbelstern

16' Trompette-en-Chamade
(TC, Grand Choir Resonance)

8' Trompette-en-Chamade
(Grand Choir Resonance)

SWELL (expressive) Manual III

16' Bourdon
Bass (ext)

8' Viola
Pomposa

8' Viola
Celeste

8' Chimney
Flute

8' Flute
Celeste (II)

4' Prestant

4' Spire
Flute

22/3' Nazard

2' Principal

2' Blockflote

13/5' Tierce

11/3' Mixture
Minor (V)

16' Basson

8' Trompette

8' Hautbois

8' Vox
Humana

4' Clarion

Tremulant

16' Trompette-en-Chamade
(TC, Grand Choir)

8' Trompette-en-Chamade
(Grand Choir)

GRAND CHOIR (unenclosed) Manual IV

16' Violoneprestant
(Great)

16' Bourdon

8' Principal

8' Bourdon

8' Violincelle
(Great)

4' Octave

4' Flute

2' Super
Octave

Mixture
(IV-VIII)

16' Trompetenbass

8' Trompete

4' Klarine
(ext)

Chimes

16' Trompette-en-Chamade
(TC)

8' Trompette-en-Chamade

PEDAL

32' Double
Open Wood (digital)

32' Contra
Bourdon

16' Open
Wood (digital)

16' Violoneprestant
(Great)

16' Subbass

16' Bourdon
Bass (Swell)

102/3' Rohrquinte
(Swell)

8' Octavebass

8' Gedacktflote

8' Violincelle
(Great)

4' Choral
Bass (ext Octavebass)

Mixture
(IV)

32' Contra
Fagott (ext)

16' Trompetenbass

16' Basson
(Swell)

8' Trompete

4' Klarine

8' Trompette-en-Chamade

4' Clairon-en-Chamade

Chimes
(Grand Choir)

Couplers

Gt/Ped
8

Sw/Pedal
8, 4

Pos/Ped
8, 4

Great
Unison Off

Sw/Gt
16, 8, 4

Pos/Gt
8

Grand
Ch/Gt 8

Gt/Grand
Ch 8

Pos/Grand
Ch 8

Sw/Grand
Ch 8

Sw
16-UO-4

Grand
Ch/Sw

Positiv
Unison Off

Gt/Pos
8

Sw/Pos
16, 8, 4

Grand
Ch/Pos 8

Cover photo by Matt Bechteler

Assistance with cover graphics: Matthias Minnig

Fabry Inc., Fox Lake, Illinois, has
installed a 1957 Schantz organ (two manuals, 13 ranks) at Prince of Peace
Catholic Church, Lake Villa, Illinois. The instrument was originally built for
Grace Christian Church in Kendallville, Indiana. The church decided to sell the
instrument rather than take it to their new sanctuary currently being built.
Fabry Inc. brought the two churches together to make their own purchase
agreement, and then dismantled, transported, and reinstalled the organ with
several improvements for Prince of Peace Catholic Church. Improvements include
a new blower, new solid state relay, new electric tremolos, new swell box
enclosure using original shade frames, new electric shade actions, refinished
bench and top of console, and new oak finish casework. Installation was
completed in May of 2002 and the dedidation was played on September 15 by Mr.
Ernie Hiltebrand and Mrs. Gina Buckley. Fabry Inc. would like to thank Mr.
Hiltebrand, director of music ministry, who handled the purchase and
coordinated the installation for the Rev. Richard Yanos, the pastor of Prince
of Peace Church. David G. Fabry and Joseph Poland reengineered, built all the new
casework, and tonally finished the instrument.

GREAT

8' Open
Diapason -- Rank 1

8' Bourdon--
Rank 2

8' Dulciana
-- Rank 3

8' Unda
Maris (TC) -- Rank 4

4' Octave
-- Rank 5

4' Hohlfloete
-- Rank 6

2' Fifteenth
(ext)

Chimes
style='mso-tab-count:1'> -- 25 bars

Tremolo

SWELL

16' Rohrgedeckt
-- Rank 7

8' Geigen
Diapason -- Rank 8

8' Rohrfloete
(ext)

8' Salicional
-- Rank 9

8' Voix
Celeste (TC) -- Rank 10

4' Geigen
Octave (ext)

4' Flute
Harmonic -- Rank 11

2 2/3' Nazard
(borrow)

2' Piccolo
(ext)

8' Oboe
-- Rank 12

4' Oboe
Clarion (ext)

Tremolo

PEDAL

16' Subbass
-- Rank 13

16' Rohrgedeckt
(Sw)

8' Bass
Flute (ext)

8' Rohrflute
(Sw)

4' Bass
Flute (ext)

4' Rohrflute
(Sw)

Couplers

Gt/Gt
16-UO-4

Sw/Sw
16-UO-4

Sw/Gt
16-8-4

Gt/Ped
8-4

Sw/Ped
8-4

Schneider Pipe Organs, Inc., of
Kenney, Illinois, has completed the first phase of a multi-stage renovation of
the 1922 Hinners organ in Zion Lutheran Church, Peoria, Illinois. The initial
phase consisted of rebuilding the console and rewiring the organ utilizing a
Matters microprocessor-based relay system with a fiber-optic link between the
console and the organ chamber. All wiring on the existing windchests was
replaced with new modern wiring. A new pedalboard to replace the existing one,
which was disintegrating due to years of heavy use, was also installed. At the
same time, new 120 volt AC wiring and magnetic starter for the existing organ
blower and a new DC rectifier were installed, as well as new fluorescent
lighting within the organ chamber and blower room. Service receptacles for
maintenance work were also added to the installation. Limited pneumatic repairs
were made to the existing electro-pneumatic windchests as a temporary measure,
as well as replacement of a number of badly damaged and crudely repaired treble
pipes of the Stopped Diapason rank.

Completion of this phase of the work was March, 2002. It was rededicated on
Reformation Sunday, October 27, 2002, in conjunction with and celebrating 10
years of the ordination of the incumbent pastor, The Rev. Steven Paul Tibbetts,
S.T.S. at Zion. The day-long celebration included a Festival Eucharist
(Reformation), potluck meal, organ rededication concert, and Vespers. In
between were displays of the 75th anniversary of the completion of the main
church building.

Anticipated future phases are to include complete removal of the existing
windchests and pipework of the instrument from the chamber space while it is
being replastered and repainted, and construction of all-new wind-chests with
electro-mechanical action and expansion chambers. Participants in the project
included W.C. Burkett, Nick Fry, Dan Schneider, Matt Schneider, Joan Schneider,
Richard Schneider.

GREAT

8' Principal

8' Rohr
Floete

4' Principal

4' Rohr
Floete (ext)

2' Spitz
Floete (ext)

11/3' Mixture
II (new)

8' Oboe
(Sw)

Gt
UO-4

Sw/Gt
16-8-4

SWELL

16' Z?§rtbass
(ext)

8' Geigen
Principal

8' Holzgedackt

8' Salicional

8' Vox
Celeste (49 pipes)

4' Geigen
Octave (ext)

4' Traverse
Floete (ext)

4' Violina
(ext)

22/3' Nazard
(ext)

2' Principal
(ext)

13/5' Terz
(ext)

16' Basson
(ext, new L/2 basses)

8' Oboe

4' Schalmey
(ext)

Tremolo

Sw
16-UO-4

PEDAL

32' Acoustic
Bass (resultant, Zartbass)

16' Grand
Bourdon

16' Zartbass
(Sw)

8' Principalbass
(Gt)

8' Bourdon
(ext)

8' Gedackt
(Sw)

4' Choralbass
(ext Gt)

4' Gedackt
(Sw)

16' Basson
(Sw)

8' Oboe
(Sw)

4' Schalmey
(Sw)

Gt/Ped

Sw/Ped

New Organs

John-Paul Buzard Pipe Organ Builders, Champaign, IL, has built a new organ for First Congregational Church, Crystal Lake, IL: opus 16, 18 stops, 24 ranks. Although the original church was built in 1867, this is the congregation's first pipe organ. The first instrument was a reed organ which served faithfully for nearly 100 years. The reed organ's handsome case was made into the church's pulpit, still in use today. A Hammond electronic instrument followed, which the new pipe organ replaces.

The church expanded its crowded chancel to accommodate the
large music program and the new organ, installed front and center as a backdrop
for the worship space. The project incorporated the organ's design into the
greatly expanded chancel, harmonizing with the stately American colonial
architecture of the building.

The tonal design is a contemporary adaptation of American
organbuilding styles prevalent when the church was originally built. One notes
a large percentage of wood pipes as in earlier times. There are more open and
harmonic stops than one might typically see in new "eclectic"
instruments. The disposition of the flute choruses, large-scaled Great Open
Diapason, and plaintive English Oboe are also reminiscent of many 19th-century
organs. The inclusion of mixtures on both manuals, a full battery of Swell
reeds, employment of contemporary voicing techniques and classic scaling
concepts provides a contemporary sound for leading hymn singing, accompanying
choral and instrumental ensembles, and rendering a wide variety of solo
literature.

The Great division is located in the left side of the organ
case, with the Swell enclosed on the right side. The Pedal is divided between
both the Great and Swell. Facade pipes are from the Pedal 8' Octave and Great
8' Open Diapason, made from lightly polished English tin. Members of the Buzard
staff include: Phillip Campbell, Brian K. Davis, Stephen Downes, Charles Eames,
Michael Fisher, Charles R. Leach, Stuart Martin, Jay Sallmon, and Ray Wiggs.
Eva Wedel is minister of music of the church; Barbara Thorsen is organist.

GREAT

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

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

8'
style='mso-tab-count:1'> Melodia
(open wood)

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

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

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

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

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

Cymbalstern

Gt
16-UO-4

Sw
16-8-4

SWELL

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Sw
16-UO-4

PEDAL

32'
style='mso-tab-count:1'> Subbass
(1-12 elect ext Bourdon)

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

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

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

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

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

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

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

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

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

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

Gt
8-4

Sw
8-4

B. Rule & Co.,
New Market, TN, has recently completed a four-stop practice organ for a
residence in Knoxville, TN. A simple mechanical action of cherry backfalls and
correctly-sized pallet valves ensure a responsive touch, including a definite
sense of "pluck." The action compensates for seasonal humidity
changes. Several ranks of 19th-century pipework, small-scaled and gently
voiced, were incorporated into the organ.
The old Vox Humana was revoiced into a regal-type reed. The Principal
4', made by Paul Byron of York, ME, has eight polished tin pipes in the facade.
The customer, who has experience with building harpsichords from kits, was able
to do some of the work, including painting the case, recovering the recycled
keyboards (c. 1865) with boxwood, and cutting out the patterns in the
ornamental center door panels. Windpressure 23/4"; temperament 1/6 comma,
after van Biezen; compass 56/30; couplers I/Ped, II/Ped, II/I.

MANUAL I

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

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

MANUAL II

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

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

PEDAL

I/Ped

II/Ped

The Schlicker Organ Company, Buffalo, NY, has built a new organ for Forest Park United Methodist
Church, Fort Wayne, IN: three manuals, 36 ranks. The new organ replaces an
instrument that was severely damaged by fire. Some of the pipework was
restored, rescaled, and revoiced in keeping with the concept of the new instrument.
The 3-manual English style console is moveable, and the choir has flexible
seating, allowing a variety of performance possibilities. Chest design is
electric slider with a solid state combination action.

GREAT

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

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

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

8'
style='mso-tab-count:1'> Gemshorn
(ext, prep)

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

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

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

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

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

Chimes

Zimbelstern

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremolo

CHOIR

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

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

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

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

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

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

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

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

Tremolo

FANFARE (prep)

16'
style='mso-tab-count:1'> Trompeta
(tc, ext)

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

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

PEDAL

32'
style='mso-tab-count:1'> Resultant
(Gemshorn & Bourdon)

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

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

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

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

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

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

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

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

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

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

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

John-Paul Buzard Pipe Organ Builders,
style='font-weight:normal'> Champaign, IL, has built a new organ for First
United Methodist Church, Park Ridge, IL: Opus 15, 34 stops, 42 ranks. The
church is a brick structure designed in the 1920s by a member of the
congregation. Of Tudor influence, the exterior features patterned brickwork,
interesting chimney treatments, and lavish half-timber work. The sanctuary's
interior features heavy hand-adzed dark oak beams, almost square windows, and
low arches.

The organ's cases were inspired by the oldest extant pipe
organ, in Sion, Switzerland. The heavy embattlement crenelations and mouldings
atop the towers and flats match details in the room and in architecture of the
period. The arched facade openings match the stained glass window frames and other broad arches elsewhere in the building. The casework of white oak is stained to harmonize with other furnishings. A simple universal pattern woven into circles is used for the pipeshades.

Tonal design was inspired by English cathedral organbuilding
style. A straight 3-manual organ would not fit within the available space or
projected budget, but the organ had to have a wide variety of unison colors,
complete choruses, mutation stops, reed stops for the Full Swell, a profound
pedal, and a high volume solo stop. A two-manual, divided swell concept was
developed to offer accompanimental flexibility and eliminate duplicate stops
needed to fill out a complete third division. Although inspired by English
examples, it is not an English romantic organ. A light articulation in the
speech of appropriate stops, moderate wind pressures, and inclusion of mutation
and mixture stops serve to make this an American organ of the 1990s.

Because of limited space in the balcony, the Great division
is housed in a free-standing case in front of the balcony rail; the Swell and
Pedal are in the balcony behind matching casework. The Great case is supported
by columns extending to the nave floor. English tin of 75% was used for the
facade pipes, incorporating the Great 8' Open Diapason, 4' Principal, and Pedal
8' Octave. Great flutes are 50% tin with relatively small mouths. Reed pipes,
with the exception of the low octave of the Pedal Trombone, are made entirely
of 50% tin, and utilize English shallots with varying degrees of opening and
taper. The Tuba 8' is horizontally mounted atop the swell box, just behind the
flats. The pipes retained from former instruments were thoroughly rebuilt and
revoiced for the new tonal concept. The Buzard staff included: Brian Davis,
voicer, pipe repair, tonal finishing; Stephen Downes, windchests, winding
system, framing, installation; Charles Eames, engineering, windchests,
electrical system, management; Michael Fisher, pipe repair, tonal finishing;
Charles Robert Leach, case, framing, installation; Stuart Martin, case,
framing, installation; Jay K. Salmon, office and Zen management; Ray Wiggs,
windchests, console, installation.

--John-Paul Buzard

GREAT

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Cymbalstern

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

8'
style='mso-tab-count:1'> Tuba
Solo (C25-C61)

SWELL "A"

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

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

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

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

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

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

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

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

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

Tremulant

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

8'
style='mso-tab-count:1'> Tuba
Solo (C25-C61, Gt)

SWELL "B"

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

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

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

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

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

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

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

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

Tremulant

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

* denotes old pipework

Austin Organs, Inc.,
Hartford, CT, has recently completed its Opus 2759 for Christ Church UCC
Congregational, Brockton, MA. The new building is octagonal in shape with the
organ situated 90° from the chancel. This position places the choir in
front of the organ with the solid-state drawknob console centered. The room
enjoys a favorable acoustic. The entire Choir division is prepared for. The
facade is composed of pipes from the Great 8' Principal, Great 8' Harmonic
Flute, Pedal 16' Principal, and Pedal 8' Octave. Director of music and organist
is J. Kimball Darling.

GREAT

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

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

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

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

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

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

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

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

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

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

Tremulant

Chimes

SWELL

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

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

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

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

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

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

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

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

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

CHOIR (prep)

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

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

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

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

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

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

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

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

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

Tremulant

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

PEDAL

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

16'
style='mso-tab-count:1'> Principal
(ext Gt 8')

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

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

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

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

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

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

8'
style='mso-tab-count:1'> Gedeckt
(Ch, prep)

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

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

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

16'
style='mso-tab-count:1'> Trombone
(ext Gt 8')

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

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

4'
style='mso-tab-count:1'> Cromorne
(Ch, prep)

T. R. Rench and Co., Racine, WI, has completed a new organ for Coon Valley Lutheran Church, Coon Valley, WI. This is the third pipe organ in this Norwegian Lutheran church, and replaces a theatre organ installed in the 1950s. (The style 135 Wurlitzer is being re-installed in its original theatre in nearby Viroqua, WI.) Containing 17 sets of pipes (19 ranks), the new organ is of electro-pneumatic construction, and all windchests are of the unit type. Windpressures are 5" for the 16' Trumpet and 33/4" for the organ in general. The stoplist reflects 19th-century American and German Romantic tonal styles. However, a Cornet group is provided and the Swell division contains the basic elements of a Positive division. The layout of the instrument has the Swell in the organ chamber and the Great in front, contained by casework of walnut and mahogany. The front display pipes are from the church's first organ, restored to the original stencil designs and colors. Consultant to the church council was John Henley of Sauk City, WI.

GREAT

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

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

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

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

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

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

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

IIIMixture

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

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

SWELL

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

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

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

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

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

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

13/5' Tierce

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

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

Tremulant

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

PEDAL

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

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

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

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

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

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

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

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

The Schlicker Organ Company, Buffalo, NY, has built a new organ for First United Methodist Church,
Green Bay, WI. The 29-rank organ is located in divided cases in the rear
gallery, allowing it to speak clearly into the nave. The tonal concept provides
a complete 2-manual organ with 8' Principal choruses in each division. In order
to increase tonal flexibility for solo literature as well as accompanying the
choir, three Swell stops were given a separate manual and couplers as a Solo
division. This allows them to be used as part of the Swell chorus or in
contrast to it. The three-manual, terraced drawknob console is prepared for a
future antiphonal division, playable from the Solo manual. Schlicker's artistic
director, J. Stanton Peters, designed the specification and scaling to include
broad scaled principals with high cut-ups and a wide spectrum of colors, producing
a vocal quality and versatility in its liturgical function.

GREAT

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

Tremolo

SOLO (enclosed with Swell)

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

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

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

Tremolo

ANTIPHONAL (prep)

PEDAL

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

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

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

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

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

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

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

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

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

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

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

Visscher Associates,
Santa Cruz, CA, has built a new organ for Trinity United Methodist Church,
Chico, CA. Casework is of California walnut and Eastern black walnut. Facade
pipes in the towers are of polished copper, with the center pipe in each
"point" having a "flamed" upper lip of polished tin. Facade
pipes in the flats are of 75% tin. Key and stop action are mechanical. Swell
shades immediately behind the facade pipes provide expression for the manual
stops except the 8' Prestant. The depth from the wall to the front of the case
is 60 inches, which allows choir members to stand in front of the organ when
singing. To make the organ this shallow, bottom octave pipes of the Pedal 16'
Subbass and 16' Bassoon were located in recesses on the back wall to either
side of the main case. Having only space and funds for a smaller organ of 14
stops, the decision was made to opt for what is basically a single manual division with "either-or" registration, allowing any of the manual stops to be played on either keyboard. The option not taken, of dividing the stoplist between two independent divisions, would significantly decrease registration possibilities. Manual stop levers move up to the "on" position for the upper keyboard, to a detent in the middle for off, and down to the "on" position for the lower keyboard. The bottom 12 pipes of the 16' Contra-Bassoon are unique in that they employ "Haskell" miters for
the bottom octave. The two-piece resonator has a half-length "cap" of
parallel proportions fitting over a half-length, tapered bass, creating a
continuous taper, full-length, 16' resonator in nine feet. Dr. David Rothe was
consultant and played the dedication recital. Molly Wadsworth was chair of the
organ committee, and Ellen Rowan is Pastor of the church. Visscher Associates'
staff involved in building this organ included Lorraine Emery, Bret Smith,
Timothy O'Brien, Ernesto Sustaita, Gwen Shupe, and William Visscher.

MANUAL I or II

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

8'
style='mso-tab-count:1'> Viol
(1-4 from Gedeckt)

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

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

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

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

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

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

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

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

Chimes

PEDAL

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

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

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

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

Accessories

Tremulant

16' Contra-Bassoon reversible

I/Ped reversible

II/Ped reversible

II/I reversible

J.F. Nordlie Company,
Sioux Falls, SD, has built a new organ for Edina Community Lutheran Church,
Edina, MN: an electro-mechanical action instrument of six ranks. The free
standing case and open keydesk are constructed of rift sawn red oak. The low 20
pipes of the Principal 8' are made of polished aluminum and make up the facade.
The console is connected to the organ by a single fiber optic cable allowing
flexibility in placement. The integrated combination/relay action as built by
Matters, Inc., allows complete programmable control over the switching system
and a sophisticated combination action complete with transposer and player
mechanism. Carsten Slostad is Music Director for the church and served as
consultant on the organ project. The organ was built in the Nordlie shop by
craftsmen John F. Nordlie, Paul E. Nordlie, Trintje Nordlie, David L. Beyer,
Martin D. Larsen, Eric Grane, James Greenwald, and Beth MacDonald.

Analysis

A Bourdon 16' 85 pipes, 13-85 enclosed, 1-24 wood, variable
scale, 1-40 Gedackt, 41-54 Rohrflöte, 55-85 Blockflöte

B Principal 8' CC-g'' 44 open metal pipes unenclosed, 1-20
aluminum facade

C Octave 4' c°-g'''' 56 open metal pipes unenclosed

D Gemshorn 8' 85 pipes, enclosed, variable scale

E Quinte 11/3' CC-d''' 51 pipes, enclosed, variable scale

F Terz 13/5' c°-d''' 39 pipes, enclosed

G Trumpet 16' prepared

GREAT

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

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

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

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

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

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

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

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

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

1'
style='mso-tab-count:1'> Mixture
II-III D&E

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

PEDAL

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

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

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

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

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

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

4'
style='mso-tab-count:1'> Gedackt
A

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

11/3'
style='mso-tab-count:1'> Mixture III
C&E

16'
style='mso-tab-count:1'> Harmonics
D

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

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

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

MIDI

Eight programmable stops x nine levels memory for a total of
72 MIDI stops. All stops with choice of coupling or non-coupling and accessible
in any division. Connections for MIDI in, MIDI out, and MIDI thru.

New Organs

Cover

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

Kernersville Moravian Church, Kernersville, North
Carolina

From the builder:

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

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

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

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

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

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

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

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

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

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

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

--John Nordlie

From the director of music:

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

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

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

--Wayne Leupold

Director of Music/Organist

Kernersville Moravian Church

GREAT

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

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

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

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

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

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

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

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

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

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

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

Tremulant
to Great

Sw/Gt

So/Gt

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant
to Swell

SOLO

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

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

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

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

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

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

Tremulant
to Solo

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gt/Ped

Sw/Ped

So/Ped

BELLS

Chimes
on Great (prep)

Glockenspiel
on Great (prep)

Glockenspiel
on Solo (Gt)

Chimes
on Pedal (Gt)

Zimbelstern

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

GREAT

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

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

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

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

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

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

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

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

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

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

Zimbelstern*

Chimes
(prep)

Tremolo

Gt
16-UO-4

Sw/Gt
16-8-4

MIDI
to Gt

SWELL

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

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

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

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

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

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

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

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

11⁄3?
style='mso-tab-count:1'> Quinte

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

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

Tremolo

Sw
16-UO-4

MIDI
to Sw

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

Chimes

Gt/Ped
8-4

Sw/Ped
8-4

MIDI
to Ped

*
new pipework

New Organs

Cover

Bedient Organ Company, Lincoln, Nebraska

Sharon United Methodist Church, Charlotte, North Carolina

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

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

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

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

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

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

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

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

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

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

www.4w.com/bedientorgan/

--Gene R. Bedient

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

GREAT

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

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

8'
style='mso-tab-count:1'> Rohrflöte

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

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

22⁄3'
style='mso-tab-count:1'> Quinte

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

Mixture
III-V

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

SWELL

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

13⁄5'
style='mso-tab-count:1'> Tierce

Cymbale
III

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

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

PEDAL

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

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

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

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

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

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

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

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

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

Couplers

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

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

GREAT

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

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

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

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

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

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

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

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

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

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

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

MIDI

SWELL

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

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

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

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

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

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

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

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

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

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

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

Tremolo

MIDI

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

MIDI

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

GREAT

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

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

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

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

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

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

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

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

Fourniture
IV

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

Sw/Gt

Ch/Gt

SWELL

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

13⁄5'
style='mso-tab-count:1'> Tierce

Mixture
III

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

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

Tremulant

CHOIR

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

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

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

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

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

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

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

Sw/Ch

PEDAL

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

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

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

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

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

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

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

Sw/Ped

Gt/Ped

Ch/Ped

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

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

GREAT

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nasat

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

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

13⁄5'
style='mso-tab-count:1'> Terz

11⁄3'
style='mso-tab-count:1'> Quint

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

Trumpet

Celeste

SWELL

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nasat

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

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

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

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

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

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

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

PEDAL

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

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

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

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

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

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

51⁄3'
style='mso-tab-count:1'> Quint

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

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

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

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

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

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

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

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

New Organs

History

Project

Related Content

New Organs

Quimby Pipe Organs, Inc.,

Lively-Fulcher Organbuilders, Alexandria, Virginia

GRAND ORGUE

POSITIF EXPRESSIF

RÉCIT EXPRESSIF

PÉDALE

New Organs

Cover

From the builder

Temporary lodging

From the Northwest to the Southeast

Nips and tucks

Small is beautiful

A tonal world where none exclude

A firm foundation

Features create flexibility

Heavenly casework

Summary

From the organist

Grant Edwards, Portland, Oregon, Opus 1

New Organs

Cover

GREAT (partially expressive) Manual II

POSITIV (unenclosed) Manual I

SWELL (expressive) Manual III

GRAND CHOIR (unenclosed) Manual IV

PEDAL

Couplers

GREAT

SWELL

PEDAL

Couplers

GREAT

SWELL

PEDAL

New Organs

GREAT

MANUAL I

MANUAL II

PEDAL

GREAT

SWELL

CHOIR

PEDAL

GREAT

SWELL "A"

SWELL "B"

PEDAL

GREAT

SWELL

PEDAL

GREAT

SWELL

PEDAL

GREAT

SWELL

PEDAL

MANUAL I or II

PEDAL

Analysis

GREAT

SWELL

PEDAL

New Organs

New Organs

Current Issue