New Organs

Fabry Inc., Fox Lake, Illinois

The Community Church, Ludington, Michigan

Fabry Inc. has been maintaining the church’s 3-manual,
27-rank Wicks pipe organ for the past ten years. After many years of service,
the mechanical relays and console contacts were failing. The constant
combination action troubles and dead notes due to contacts breaking in the
chamber relays made the instrument difficult to play. It was obvious that
contact replacement or a solid-state conversion was needed. The church elected
to convert the entire system to solid-state.

Fabry Inc. completed a total solid-state conversion of this
instrument with the addition of electric shade actions, electric tremolo units,
movable platform console, and new electric chime system. The entire wood
interior of the console has been replaced and fitted with an MSP-1000
microprocessor from Peterson. The console project also included full MIDI
resource system, sound module, speakers, and adjustable bench.

Fabry Inc. would like to thank Mr. Lee Shipman who
coordinated the entire project. David G. Fabry completed all the console
woodwork and installed the console microprocessor. Crew leader Joseph Poland
and David J. Fabry handled the installation of the remaining equipment.

--David J. Fabry

GREAT

8’ Open
Diapason

8’ Second
Diapason

8’ Doppel
Flute

8’ Viola
d’Gamba

8’ Gemshorn

4’ Octave

4’ Flute

4’ Gemshorn

22⁄3’ Twelfth

2’ Fifteenth

III Mixture

8’ Trompete

Tremolo

Chimes

SWELL

16’ Lieblich
Gedeckt

8’ Open
Diapason

8’ Stopped
Flute

8’ Flauto
Traverso

8’ Salicional

8’ Aeoline

8’ Voix
Celeste

4’ Principal

4’ Flauto
Traverso

4’ Violina

4’ Flute
d’Amour

4’ Aeoline

22⁄3’ Nazard

2’ Piccolo

11⁄3’ Larigot

III Harmonic
Aetheria

8’ Trumpet

8’ Oboe
Horn

8’ Vox
Humana

4’ Clarion

Tremolo

CHOIR

16’ Dulciana

8’ Geigen
Diapason

8’ Melodia

8’ Concert
Flute

8’ Gemshorn

8’ Dulciana

8’ Unda
Maris

4’ Prestant

4’ Open
Flute

4’ Dulciana

22⁄3’ Dulciana
Twelfth

2’ Dulciana
Fifteenth

13⁄5’ Dulciana

III Dulciana

8’ French
Horn

8’ Clarinet

Tremolo

Chimes

Zimbelstern

PEDAL

32’ Untersatz

32’ Violone

16’ Violone

16’ Open
Diapason

16’ Bourdon

16’ Lieblich
Gedeckt

16’ Dulciana

8’ Octave

8’ Bass
Flute

8’ Flauto
Dolce

8’ Cello

8’ Dulciana

4’ Choral
Bass

III Mixture

32’ Bombarde

16’ Trombone

8’ Trumpet

8’ Oboe

Chimes

Couplers

Great
16-UO-4

Swell
16-UO-4

Choir
16-UO-4

Sw
to Gt 16-8-4

Ch
to Gt 16-8-4

Sw
to Ch 16-8-4

Gt
to Ch 8

Ch
to Sw 8

Gt
to Sw 8

Gt
to Ped 8-4

Ch
to Ped 8-4

Sw
to Ped 8-4

MIDI
to Gt, Sw, Ch, & Ped

Nave
shades on/off

Bedient Pipe Organ Company, Roca, Nebraska

Opus 65, United Methodist Church, Storm Lake, Iowa

In 1995, the United Methodist Church in Storm Lake, Iowa,
was given a generous gift. Because the donors stipulated that the money must be
spent on a new pipe organ, the organ committee put aside their original plan to
rebuild their old instrument and began researching pipe organ builders and
additional donors. Bedient was awarded the building contract, resulting in the
creation of a two-manual, mechanical-action organ with 19 ranks of pipes.

With its tonal qualities based on 18th-century German and
19th-century French and American traditions, the organ generates a wide dynamic
range for various accompanimental and performance tasks. All three traditions
provide a broad palette of musical possibilities, which are enhanced by the
lively acoustical environment provided through recent renovations.

The white oak organ case was designed to integrate with the
front of the sanctuary, which features a gilded trefoil pattern in the
woodwork. The pipe shades are of basswood in a flowing organic configuration.
The keyboard naturals are covered with blackwood and the accidentals are of
maple. The pedal keys are made of oak and the accidentals are capped with
moradillo. The stop knobs are made of cocobola.

Dr. Davis Folkerts, Professor Emeritus, Central College,
Pella, Iowa, and consultant on the organ project, played the dedication concert
on April 28, 2002. It featured diverse pieces from many countries and eras, and
included an historical narrative by Eunice Folkerts.

--Gene Bedient

GREAT

8’ Principal

8’ Rohrflote

8’ Dulciana

4’ Octave

2’ Octave
style="mso-spacerun: yes">

III–IV Mixture

SWELL

8’ Viole
de Gambe

8’ Voix
celeste

8’ Bourdon

4’ Spitzflute

2’ Doublette

II Sesquialtera

16’ Fagott

8’ Trompete

PEDAL

16’ Subbass

8’ Flute

16’ Fagott
(Sw)

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

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

Steven Cook, Edmonds, WA

Our Saviour's Lutheran
Church, Bremerton, WA

From the consultant:

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

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

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

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

David Dahl

Organ consultant for the project

From the builder:

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

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

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

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

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

Steven R. Cook

GREAT

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

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

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

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

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

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

Mixture
III

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

POSITIVE

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

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

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

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

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

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

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

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

PEDAL

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

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

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

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

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

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

usual couplers and tremulant to whole organ

organ tuned to Kellner temperament

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

GREAT

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

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

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

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

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

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

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

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

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

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

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

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

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

Chimes

Gt
16-UO-4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

MIDI

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sw
16-UO-4

Ch/Sw
8-4

MIDI

CHOIR

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sw/Ch
16-8-4

Ch
16-UO-4

MIDI

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

MIDI

New Organs

Cover

Berghaus Organ Company, Inc., Bellwood, Illinois

First United Methodist Church, DeKalb, Illinois

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

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

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

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

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

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

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

—Allyn Hoverland

Designer,
Berghaus Organ Company

GREAT

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

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

8'
style='mso-tab-count:1'> Rohrflöte

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

4'
style='mso-tab-count:1'> Holzflöte

22⁄3'
style='mso-tab-count:1'> Quinte

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

13⁄5'
style='mso-tab-count:1'> Terz

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

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

Tremulant

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

SWELL

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

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

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

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

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

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

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

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

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

Tremulant

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

SOLO

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

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

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

Chimes

PEDAL

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

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

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

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

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

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

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

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

Tremulant

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

Couplers

Sw/Sw
16-UO-4

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

Gt/Solo
16-8-4

Sw/Solo
16-8-4

Gt/Ped
8-4

Sw/Ped
8-4

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

GREAT

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

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

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

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

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

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

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

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

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

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

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

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

Tremolo
(new, electric)

Zimbelstern
(new)

Chimes
(moved)

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

Tremolo
(new, electric)

POSITIVE (new)

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

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

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

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

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

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

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

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

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

Tremolo
(new, electric)

CHOIR

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

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

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

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

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

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

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

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

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

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

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

Tremolo
(new, electric)

PEDAL

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

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

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

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

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

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

102⁄3'
style='mso-tab-count:1'> Quint

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*Re-voiced

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

Files

webDiapSept08p32.pdf (214.98 KB)

Glück New York,
New York, New York
Leon Lowenstein Memorial Auditorium, Congregation Emanu-El, New York, New York
The Fox Memorial Pipe Organ began its career as M. P. Möller’s Opus 9718 of 1962, designed by Dr. Robert S. Baker in collaboration with John H. Hose, tonal director of the Möller firm. The instrument was installed behind draperies in the amphitheatre choir loft of the 1,100-seat auditorium, which is designed to transform from a concert and lecture venue into a fully equipped summer sanctuary. Only the 16' Contrebasse and 16' Hélicon are partially visible from the auditorium. The placement of the instrument near the choir’s microphones (also used for radio broadcasts) forced an unhappy situation of under-scaled and feebly winded pipes, with closed toe holes and mouth heights as low as 1/6 cut-ups.
After 45 years, the temple contracted with Glück New York to tonally redesign the instrument and replace its mechanical systems. The solid-state drawknob console retains the original ivory keyboards and tiger maple pedalboard. The organ’s remote pneumatic relays and combination stacks were replaced with solid-state equipment.
The new tonal design moved from a typical American church organ of the period toward a warmer, fuller, rounder sound. Some of the mid-century tonal concepts that were of no use in the synagogue service (such as the two pseudo-baroque 4' reeds) were replaced by voices more essential to the liturgy. Many of the flue pipes had been left with untreated languids and were cut up only high enough to get them to speak. Furthermore, they had not had their toe holes opened, and could be considered essentially new and unvoiced, an added bonus in the context of the project. The unusual Shofar stop was designed by W. Adolph Zajic (1909–1987) and built with only six pipes; the organ’s new relay is prepared to fill out the stop in the future.
The new specifications were drawn up by Sebastian M. Glück, artistic and tonal director of the firm, who also carried out the voicing and tonal finishing. Albert Jensen-Moulton, general manager, was responsible for all technical aspects of the project. The three other pipe organs in the temple complex include a IV/135 in the sanctuary and a III/35 in Beth-El Chapel, both by the Glück firm. A fourth pipe organ, a II/7 Wilfred Lavalée in Greenwald Hall, was removed in the 1990s.
—Sebastian M. Glück

Fox Memorial Pipe Organ
Leon Lowenstein Memorial Auditorium, Congregation Emanu-El, New York, New York

GRAND-ORGUE
Manual II, unenclosed, 31'4' wind
16' Bourdon
8' Montre
8' Bois ouverte
8' Violon sourdine
4' Prestant
2' Doublette
Plein jeu IV
8' Shofar
Tremblant
Jeux empruntés:
8' Bourdon (Pos)
8' Voix angélique (Pos)
8' Voix mystique (Pos)
4' Flûte (Pos)
8' Hautbois (Réc)

RÉCIT-EXPRESSIF
Manual III, enclosed, 4' wind
8' Viole de gambe
8' Voix céleste
8' Flûte à cheminée
4' Prestant
4' Flûte harmonique
2' Flûte à bec
Fourniture III
16' Basson
8' Trompette
8' Hautbois
Tremblant
8' Trompette de fête (Pos)

POSITIF-EXPRESSIF
Manual I, enclosed, 4' & 6' wind
8' Violon sourdine (G-O)
8' Voix angélique
8' Voix mystique
8' Bourdon
4' Prestant (prep)
4' Flûte
22'3' Nazard
2' Quart de nazard
13'5' Tierce
8' Clarinette
Tremblant
8' Trompette de fête

PÉDALE
Unenclosed, 4' wind
16' Contrebasse
16' Sous basse
16' Violoncelle sourdine (ext G-O)
16' Bourdon (G-O)
8' Octavebasse
8' Flûte
8' Bourdon (Pos)
8' Violon sourdine (G-O)
4' Quinzième
4' Cor de nuit
Mixture II
32' Aliquots graves
16' Hélicon
16' Basson (Réc)
8' Trombone
8' Basson (Réc)

Fabry, Inc., Antioch, Illinois
Immanuel Presbyterian Church, Milwaukee, Wisconsin
Located in one of the oldest neighborhoods in Milwaukee, Immanuel Presbyterian Church has held a place of honor on Yankee Hill, overlooking Lake Michigan. In 1881 the church purchased what is now the core of the present instrument. Nearly all of the unison voices and lower are from the original instrument, including the 16' Double Open Diapason and 16' Principal, both of which are wood. During the next 120 years, additions and rebuilds occurred, bringing the instrument to its current state, still preserving over 75% of the original instrument. In 1965, the organ was fitted with a used Austin three-manual console. While the console worked well for a time, it was clear a new console was needed. When Fabry, Inc. was contacted to do the work, the previous curator had left many parts, tools and pipes in the organ area. Among these items was an 8' French Horn, purchased by the church and awaiting installation.
Fabry, Inc. undertook the following to improve the usability and tonal palette of the organ. An all-new three-manual drawknob console was custom crafted by David G. Fabry to control the 67-rank, 71-stop instrument. Utilizing the ICS-4000 combination action and relay system, this console and interface brings the 1881 Hook & Hastings into the 21st century. The aforementioned French Horn received a new chest built by David G. Fabry, and was installed in the String division with its own dedicated electric tremolo. A new electric extension of the 16' Bassoon in the Swell was installed, fully utilizing this rescaled 8' stop to a greater degree. Other smaller jobs, such as bracing and reworking the ventilation system were also completed at this time. While one half of the organ had been re-wired with PVC-coated wiring, the other half was brought up to standard.
Fabry, Inc. would like to thank the Rev. Deborah A. Block, pastor; Steven J. Jensen, organist; and John S. Komasa, director of music.
—Phil Spressart

GREAT
16' Open Diapason
16' Bourdon
8' Open Diapason
8' Chimney Flute
8' Doppel Flute
8' Aeoline (TC)
8' Gamba
8' Gemshorn
4' Octave
4' Harmonic Flute
22'3' Twelfth
2' Fifteenth
2' Waldflöte
2' Mixture IV
16' Double Trumpet
8' Trumpet
8' Tuba Mirabilis (Ped)
4' Clarion
Cathedral Chimes
Great 4
Great Unison Off
Great 16

SWELL
16' Lieblich Gedeckt
8' Open Diapason
8' Stopped Diapason
8' Viole d’Gambe
8' Viole Celeste
4' Octave
4' Flute Traverso
22'3' Nazard
2' Flautino
13'5' Tierce
11'3' Plein Jeu III
16' Bassoon (1–12 elec.)
8' Hautbois
8' Trumpet
8' Vox Humana
4' Clarion
Tremolo
Swell 4
Swell Unison Off
Swell 16

CHOIR
8' Geigen Principal
8' Melodia
8' Viol d’Amour
8' Viol Celeste
4' Octave
4' Stopped Flute
2' Piccolo
11'3' Larigot
22'3' Mixture II
8' Clarinet
8' Tuba Mirabilis (Ped)
8' Harp Celeste
Mockingbird
Cymbelstern
Tremolo
Choir 4
Choir Unison Off
Choir 16

STRING
8' Dulciana
8' Violon Cello
8' Cello Celeste
8' Violin Sordo
8' Violin Celeste
8' French Horn
Tremolo

PEDAL
32' Violone (1–12 elec.)
32' Contra Bourdon (1–12 elec.)
16' Double Open Diapason
16' Principal
16' Bourdon
16' Lieblich Gedeckt (Sw)
16' Violone (Gt)
8' Octave
8' Bass Flute
8' Holzgedeckt
8' Violin Cello
4' Fifteenth
2' Mixture III
32' Bombarde (1–12 elec.)
32' Contra Trombone
16' Bassoon (Sw)
16' Double Trumpet (Gt)
16' Trombone
8' Tromba
4' Tromba

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Quimby Pipe Organs, Inc.,

Lively-Fulcher Organbuilders, Alexandria, Virginia

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PÉDALE

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Steven Cook, Edmonds, WA

New Organs

New Organs

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