Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

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

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

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

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

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

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

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

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal  (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

                        Great
to Great 4

                        Swell
to Great 16-8-4

                        Choir
to Great 16-8-4

                        Zimbelstern

SWELL

16'  Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola  (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4       

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave  (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass  (32 pipes)

II Rauschquint (64 pipes)

II Mixture  (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

 

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

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

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

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

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

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

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

                        Positiv
to Hauptwerk

                        Hauptwerk
to Pedal          

                        Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

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

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

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

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

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

                        Gt
& Sw to Ped 8

                        Sw
to Gt 16-8-4

                        Gt
4

                        Sw
16-UO-4

                        Antiph
to Ped 8

                        Antiph
to Gt 8

                        Antiph
to Sw 8

Cover

An organ built by J.L. van den Heuvel
style='font-weight:normal'>, Dordrecht, the Netherlands, has been installed at
the Church of the Holy Apostles, New York, NY. Originally installed at Castle
Shiloah, Fairview, TX, it was relocated by the Organ Clearing House, and
revoiced by Rosales Organ Builders. When a fire destroyed the Church of the
Holy Apostles in 1990, it also destoyed the church's Casavant organ. The parish
entered into an agreement with Rosales Organ Builders for a new instrument. As
the restoration of the building consumed available funds, it became apparent
that the congregation could no longer afford the new organ. In an effort to
make the best use of monies available, Rosales agreed to explore alternatives.
In 1991, Joseph and Marla Mooibroek of Fairview, TX, commissioned J.L. van den Heuvel
to build an organ for their home. The organ was installed in Castle Shiloah in
1994. In 1996 the Mooibroeks decided to sell their residence and organ. Manuel
Rosales examined the organ and notified Holy Apostles about its availability.
The Organ Clearing House, Alan Laufman, executive director, moved the organ to
its new home. After the two-month reassembly, Manuel Rosales revoiced the organ
for its new environment. The organ is housed in a Dutch Baroque-style case with
detailed sculpture and carvings. Tonally it is in early French romantic style.
The Organ Clearing House staff, Alan Laufman, executive director, included
Amory Atkin, Terence Atkin, William Dixon, Whitney Flecher, George Gibson,
Richard Hamar, Scott Huntington, and Joshua Wood. Manuel Rosales was assisted
by Peter Batchelder, Timothy Fink, and Scot Huntington. Donald Joyce is music
director of the church. Compass is 61/32. The nave of the church is used each
day for one of the parish's outreach programs--the Holy Apostles Soup Kitchen, which
serves over 1,000 meals per day. Photo by Amy Reichman.

GRAND ORGUE

16' Bourdon

8' Montre

8' Flûte a cheminée

8' Flûte harmonique

4' Prestant

2' Doublette

 Plein Jeu III-V

 Cornet IV (MC)

8' Trompette

 Tremblant

Pos/G.O.

Réc/G.O.

RÉCIT

8' Flûte traversière

8' Viole de Gambe

8' Voix céleste

4' Flûte Octaviante

2' Octavin

8' Basson-Hautbois

8' Voix Humaine

Tremulant

POSITIF

8' Bourdon

8' Salicional

8' Unda Maris

4' Flûte à fuseau

22/3' Nasard

2' Flageolet

13/5' Tierce

1' Piccolo

8' Clarinette

8' Trumpet Royal (horizontal)

   Tremulant

  Chimes

  Zimbelstern

  Réc/Pos

PÉDAL

32' Bourdon (electronic)

16' Soubasse (1-24 G.O.)

8' Flûte

8' Violoncelle

16' Basson

4' Chalumeau

  G.O./Péd

  Pos/Péd

  Réc/Péd

Bond Organ Builders, Inc., Portland, OR, has completed the restoration of the organ at St. Mary's
Cathedral of the Immaculate Conception, also in Portland. The organ was
originally built in 1904 by the Los Angeles Art Organ Co., opus 42, under the
direction of Murray M. Harris, for Holy Cross Catholic Church in San Francisco.
It was severely damaged in the 1906 earthquake. Falling debris largely
destroyed the Great and Choir divisions; the original Fleming windchests for
these divisions were replaced by new chests of the Spencer design. Repairs were
carried out by a local firm using new pipes, windchests, and other parts
supplied by Murray Harris. Some original stops survived, notably the Great 16'
and 8' Diapasons, most of the 4'Octave, and the Doppel Flute, as well as the
Choir Melodia. The Great Second Open Diapason was added at this time, and the
Choir tremolo deleted. By the 1980s, the organ was in need of a complete
restoration; nevertheless, it was heard at the 1988 OHS convention. The church
was damaged again by the Loma Prieta earthquake of 1989, and the parish closed
at that time. In 1995, the Archdiocese of Portland acquired the organ.
Disassembly and removal from Holy Cross Church began in September, 1995.
Smaller internal parts were carried by hand down a narrow staircase from the
balcony. Windchests, pedal pipes, reservoir, etc., were too large to handle in
this manner. A crane was erected outside the church, a hole was broken in the
roof just large enough to allow the crane hook to pass into the building, and
the large parts were lowered to the floor.

Restoration began with a thorough cleaning. All parts of the
original patented electro-pneumatic action were retained and restored,
including releathering. All pipes were washed and voiced for the new room.
Damaged pipes were repaired, missing pipes replaced. Front casework and console
were well preserved; it was necessary only to clean and repair scratches. Side
casework was re-engineered to provide access to the mechanism inside and
strengthened. The console mechanism was retained in its entirety, including 10
combination pedals. Stenciling on the facade pipes was copied, the pipes
stripped, and new paint applied using the original design. After much
deliberation, it was decided to add Mixtures to the Great and Swell, as well as
a Pedal 16'  Trombone. The
additions were carried out after study of extant mixtures and trombones built
by Murray Harris. 41 ranks, 37 stops.

GREAT

16' Double Open Diapason

8' Open Diapason

8' Open Diapason (2nd)

8' Viola da Gamba

8' Viola d'Amour

8' Doppel Flute

4' Octave

22/3 Octave Quinte

2' Super Octave

Mixture III-IV*

8' Trumpet

SWELL

16' Bourdon

8' Violin Diapason

8' Viol d'Orchestre

8' Aeoline

8' Voix Celeste

8' Stopped Diapason

4' Fugara

4' Harmonic Flute

2' Flautina

                        Cornet
IV*

8' Oboe

8' Vox Humana

                        Tremolo

CHOIR

8' Geigen Principal

8' Dulciana

8' Melodia

4' Violina

4' Flute d'Amour

2' Harmonic Piccolo

8' Clarinet

PEDAL

32' Resultant*

16' Open Diapason (wood)

16' Bourdon

16' Lieblich Gedeckt (Sw)

8' Violoncello

8' Flute Stop'd

16' Trombone*

*additions by Bond

Berghaus Organ Company, Inc., Bellwood, IL, has built a new organ for Trinity Lutheran Church,
Faribault, MN. The new organ comprises 23 ranks (1,263 pipes) on two manuals
and pedal. Slider windchests are used for the Great, Swell, and Pedal
divisions, with an all-electric action windchest for the Trompete stop. The
movable oak console has keyboards of maple naturals and rosewood sharps. Stops
and couplers are controlled by tilting tablets placed above the top keyboard.
Preparations have been made for future installation of MIDI. The Swell division
is located in wooden chambers to the left and under expression. Great division
is to the right of the Swell, and the Pedal is housed in a chamber behind the
Great.

GREAT

8' Principal

8' Rohrfloete

4' Octave

4' Spillfloete

22/3' Nasat

2' Hohlfloete

13/5' Terz

IV Mixtur

8' Trompete

                        Tremulant

                        Chimes

                        Zimbelstern
(prep)

SWELL

8' Gedackt

8' Viola

8' Celeste

4' Spitzfloete

2' Principal

11/3' Quinte

III Scharf-Zimbel (prep)

8' Schalmei

Tremulant

8' Trompete

PEDAL

16' Subbass

8' Offenbass

4' Choralbass

II Rauschquinte (prep)

16' Still Posaune

8' Trompete

4' Trompete

Temple Organs, St.
Joseph, MO, has rebuilt the 1968/1986 Wicks organ at West Hills Presbyterian
Church, Omaha, NE. All original pipework was retained in new casework of oak
trim over birch panels, painted to match the church walls. A new 3-manual
console includes an Artisan control system, with preparation for future digital
additions. The Principal, Octave, and Subbass form the facade. The low octave
of the 16' Trumpet, by Killinger, was added as a donation by one of the
church's organists, Dr. Ted Holyoke. Music director is Dwaine Price.

Analysis

16' Subbass (44 pipes)

16' Gedeckt (97)

8' Principal (61)

8' Geigen (73)

8' Gemshorn (61)

8' Gemshorn Celeste (77)

8' Bourdon (73)

4' Octave (73)

22/3' Twelfth (61)

16' Trompette (85)

8' Oboe (61)

                        Chimes
(25 tubes)

GREAT

8' Principal

8' Bourdon

8' Gemshorn

4' Octave

22/3' Twelfth

2' Fifteenth

Mixture III

8' Trompette

Chimes

Couplers

SWELL

16' Gedeckt

8' Geigen Principal

8' Rohrgedeckt

8' Gemshorn

8' Gemshorn Celeste

4' Prestant

4' Bourdon

22/3' Quinte

2' Blockflöte

13/5' Tierce

Scharf III

16' Trompette

8' Trompette

8' Oboe

4' Clarion

Tremulant

Couplers

CHOIR

Digital preparation

10 knobs

Couplers

PEDAL

16' Subbass

16' Lieblich Gedeckt

8' Principal

8' Pedalflöte

4' Choralbass

4' Rohrflöte

2' Super Octave

Mixture III

16' Trompette

8' Trompette

8' Fagotto

4' Clarion

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.

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

GREAT

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

CONTINUO

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

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

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

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

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

                                                Zimbelstern
(prep)

PEDAL

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

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

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

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

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

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

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

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

GREAT

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

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

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

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

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

                                                Mixture
II-III

CHOIR

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

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

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

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

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

PEDAL

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

                                                Gt/Ped

                                                Ch/Ped

                                                Ch/Gt

                                                Tremulant

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

POSITIV (prep)

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

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

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

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

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

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

                                                MIDI

                                                Zimbelstern

HAUPTWERK

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

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

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

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

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

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

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

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

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

SCHWELLWERK

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

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

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

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

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

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

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

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

                                                Tremulant

PEDAL

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

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

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

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

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

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

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

                                                MIDI
(prep)

Cover

Paul Fritts & Company, Tacoma, Washington

Princeton Theological Seminary, Princeton, New Jersey

 

On February 2, 2001, the new Joe R. Engle pipe organ, Opus
20 of Paul Fritts & Co., Organ Builders, Tacoma, Washington, for Miller
Chapel at Princeton Theological Seminary was dedicated with festivities which
included a dedication service and dedicatory recital, followed by a three-day
colloquium (sponsored by the seminary) featuring a variety of worship services,
recitals, lectures and panels on topics related to the organ in both historic
and contemporary worship.

David Dahl talks with Paul Fritts about the new organ.

 

David Dahl: After
you were selected to build the new organ for Miller Chapel, how did you arrive
at the concept we see and hear now at the seminary?

Paul Fritts: I
listened carefully to the musical needs for the chapel as expressed by Martin
Tel (organist and C. F. Seabrook Director of Music at the seminary) and the
members of the organ committee (chaired by James F. Kay, Associate Professor of
Homiletics and Liturgics at the seminary). They desired an organ with a strong
identity which would serve the daily worship of seminarians, as well as musical
concerts involving choir, soloists, and various instruments. Martin Tel stated:
"This is a very important instrument; seminarians need to be exposed to
and ‘moved' by an instrument of exceptional merit, such that in their
later work as clergy they would be encouraged to seek similar quality."

 

Dahl: In order to
reach consensus on the scope of the instrument, were there limitations which
you needed to consider?

Fritts: Limitations
can be both an asset and a drawback; they are a fact of life. If we try to
eliminate limitations everything gets watered down. For Miller Chapel it was
decided that the "identity" would be an organ known to be historically
successful with congregational singing and a large body of liturgical organ
repertoire. This identity was to be a blend of related North and Central German
and Dutch concepts common to the late 17th and early 18th century, in which a
large secondary division would serve as both an Oberwerk and Swell as companion
to the Great and Pedal.

 

Dahl: Would you say
that the concept is more "historically inspired" than a copy of some
form of an old organ?

Fritts: Definitely! I
worked to build this organ with an integrity based on historic models, but in
the end it represents what I think will work and sound best at this point in
time. It is a modern instrument.

 

Dahl: Would you
comment on how you arrived at the type of casework and architectural style we
see here at Princeton?

Fritts: Miller
Chapel is quite similar to Kilworth Chapel at the University of Puget Sound,
Tacoma, Washington, where ten years ago we built an organ with a case design
similar to organs in 18th-century central Germany"such as those built by
builders like Gottfried Silbermann and Hildebrandt. This concept works well
there, and I thought that, with the same height restrictions coupled with a
fair amount of depth, a similar casework and internal arrangement of the
divisions would be successful at Princeton. We also talked about the organs of
the early American organ builder, David Tannenberg, who built instruments in
Lutheran, Moravian and Reformed churches in the Mid-Atlantic region. Many of
his organs found their place in the meeting-house style of building, where he
most often used an 18th-century style case design. This building style is not
unlike Miller Chapel.

Placing the organ front and center was a decision reached
after exploring the possibility of the rear balcony. A good deal of remodeling
was done to provide more width to the front of the chapel, so that the organ
could stand on the floor at the front, with its presence clearly "in the
room." The remodeling, taking into account prior and current values for
worship and music, also provided a flexible open space in front of the organ
case, which during the colloquium following the dedication was the place for a
very effective modern dance program with organ music of Bach and Eben.

I wanted a rather spacious case inside for the pipes, like
Central German organs of Bach's time, which represents a change for me from
some of the previous organs I've built in the more traditionally confined cases
of North German style organs. This spaciousness would particularly ensure the
effectiveness of the Swell division.

 

Dahl: Could you
speak a bit more about your approach to building the Swell division, which,
with 14 independent registers, is rather substantial?

Fritts: Yes, it is a
rather large division. Some people have asked why there are not three manuals
with an organ of 39 stops and some 60 ranks. Quite simply there was not enough
height to do that, and I believe that a Swell should be on the large size in
order to be effective. We decided that both the Great and the Swell should have
principal choruses based on the 8' level. To make the Swell effective, there
are shutters on three sides of the Swell, which is positioned above the Great
with rather free egress to the room. These shutters close tightly to make even
a fairly large ensemble rather quiet; yet when open fully, the effect is
similar to that of an Oberwerk. The Swell contains three reeds, of which the
Hautbois 8' is closely modeled after Cavaillé-Coll"an exception to
the Germanic roots of the organ, but nevertheless one which blends well within
the total ensemble.

 

Dahl: I see that
your mixture registers are IV-VI ranks, or V-VII ranks. Are there up to six or
seven different pitches in these mixtures?

Fritts: The mixtures
normally have but four pitches; in the treble some of the pitches are doubled
with a second set of pipes. This helps achieve better tuning and focusing in
the ensemble. Multiple unisons do not increase loudness much at all. The Swell
Mixtur V-VII has an optional Tierce rank which may be added or left out.

 

Dahl: Getting back
to some of the limitations we spoke of earlier, I notice that you did not limit
the stop action to mechanical action, but you "piggybacked" an
electric stop-action with solid-state combination and memory system. Would you
comment on that decision?

Fritts: With a
straight mechanical stop action there is little or no chance of failure to use
the organ. However, we all agreed that with the size of the instrument and the
variety of purposes for which it would be used, it would be good to have a
state-of-the-art combination system. We installed a 99-level solid state memory
system, in which each memory level has 20 general pistons. A
"sequencer" is also provided, permitting the organist to advance from
one general to the next by the use of one lever located to the right of the
Swell pedal.

 

Dahl: The organ is
tuned in the well-tempered system known as "Kellner." Would you speak
about this choice for Miller Chapel?

Fritts: This is
quite an amazing solution to the challenge of temperament and tuning. All keys
are playable, and each has a slightly different personality. The major thirds
of the most commonly used keys (especially for hymn singing, and a majority of
repertoire) are more in tune than with equal temperament. However, even in the
more remote keys the Kellner temperament works well. We advocate this
temperament for nearly all of our instruments.

 

Dahl: The colloquium
in February (2001) offered a "test" for the flexibility and
capacities of the organ?

Fritts: It certainly
did. The opening dedication service as well as the variety of worship services
throughout the symposium included robust singing from the assembly, for which
the organ rose to the occasion with color and variety. One especially
interesting moment was the singing of a hymn in an African-American gospel
style. Here the organ took on a character not heard before and which worked
remarkably well. Recital pieces during the symposium not only included expected
works from the Baroque era, but also from the 19th and 20th centuries. While
the organ is Germanic in roots and personality, there is also sufficient
eclectic broadening to permit credible performance of music from all periods.

 

Dahl: How did the
organ work with the choirs which sang during the colloquium, and during the
morning seminary worship services?

Fritts: The
dedicatory recital included the Seminary Choir singing the Benjamin Britten
Rejoice in the Lamb, for chorus, soloists and organ. This was a good test for a
wide dynamic range, quick color changes and blend with voices. The Westminster
Choir of Westminister Choir College also presented an evening concert which
included the C. V. Stanford Magnificat & Nunc Dimittis in C, which required
the organ to work like an English cathedral organ. Here the Swell division
responded well to the demands of a wide dynamic range.

 

Dahl: Is there
anything you would do differently if you built this same organ again?

Fritts: Even if I
tried to make this identical organ again, with the same drawings, materials,
scaling and voicing, it would turn out somewhat differently. In any handcrafted
instrument, every crafted piece depends on so many variables at the time it is
crafted, adding up to a particular result at a particular time. Yes, there are
a few things I might "tweak" about pipe scaling and the action design
were I to go around again with this organ, but fundamentally, I am quite
pleased with the results we got at Princeton. We did not know how the room
would be after its remodeling nor how the room would "receive" the
organ. Happily the acoustical results exceeded my expectations for a room of
its size and shape insofar as it works with the tonal properties of the organ.
It fills the room easily with a "full yet relaxed presence." With
each instrument we build we try to improve in some way, although on occasion we
might regret a small decision here or there. If the ideal result for a given
organ might be compared to the "search for the Holy Grail," we will
probably never reach the ultimate goal, but hopefully with each instrument we
do get a little closer to it.

 

Postscript: The Paul
Fritts & Co. Organ Builders shop is located in a semi-rural part of Tacoma,
Washington. A total of seven craftsmen make up the work force. Paul's sister
Judy Fritts designs and carves pipe shades for the organs. Nearly every
component of each organ is made locally in the shop, including the casting of
metal for pipes, key actions, casework and wooden parts of the organ. Future
contracted organs will be installed at Vassar College, Poughkeepsie, New York;
Thompson Chapel of St. Mark's Cathedral, Seattle, Washington; and in a new
organ/ choral hall at the University of Notre Dame, South Bend,
Indiana."DPD

 

David P. Dahl is professor of organ emeritus at Pacific
Lutheran University.

 

From the Seminary organist:

The installation of the new organ in Miller Chapel was
conceived as part of a larger project"the renovation and re-dedication of
Miller Chapel. The plans for a new organ were thus able to evolve over a
prolonged period of theological and liturgical reflection. The committee's
primary objective was to come to an understanding of the functions of an organ
in this seminary community.

Princeton Theological Seminary is an institution of the
Presbyterian Church (USA). The primary liturgical function of an organ in a
seminary rooted in the Reformed tradition can be stated simply: the organ must
first and foremost undergird and encourage congregational singing. The
functions of the organ as accompaniment to choral singing and as an instrument
for organ literature are clearly ancillary. Our operating conviction was that
if all due attention were  given to
the primary function of the instrument, with design aspects supporting the role
of the choir, the function of the organ as a performing instrument for
literature would also fall into place.

And thus the form of the Miller Chapel organ is heavily bent
toward the sound of the congregation's voice. The organ stands in the same room
as the singers. The disposition allows for a wide range of accompanying
possibilities. The concern for supporting congregational song is borne out in
the two full principal choruses and in the presence of two distinct mixtures on
the Great division. It was recognized that mixtures designed for contrapuntal
literature have a different make-up than those designed primarily for the full
plenums needed for homophonic playing (e.g., the accompaniment of a vigorous
hymn). It is notable that in the Reformed Churches of the Netherlands many organs
were built (or rebuilt as the case may be) primarily for the accompaniment of
robust singing. These organs tend to have mixtures which markedly favor
homophonic textures"mixtures which may also obscure contrapuntal lines. On
the Miller Chapel organ the Great Scharff represents the mixture particularly
suited for homophonic accompaniment. The possibility of adding the Tierce rank
to the Swell Mixture accomplishes some of the same effect.

In the end, it was our desire to present to the seminary
community an instrument of consummate beauty and integrity which would inspire
a striving for excellence in the broader church which the seminary serves. We
saw in Paul Fritts a craftsman who builds upon the native strengths of the
organ. We sought to give him freedom to flesh out in an instrument the
functions we would call forth from the organ.

Paul, in his interview with David Dahl, recognizes that
there are inherent benefits in the limitations one encounters as one goes about
one's art. I fully concur. The organ as it was proposed and eventually built by
Paul Fritts has broad capabilities, and also recognizable limitations. It is
incapable of fulfilling all the instrumental musical requirements of daily
worship at Miller Chapel. Such a statement is not only prudent but, once
acknowledged, also liberating. The organ does not need to "do it
all." The seminary community represents many indigenous traditions beyond
the Western tradition in which the organ originally blossomed. The presence of
this instrument instructs all of us to pursue other musical traditions with the
same authenticity and integrity, whether this means the employment of piano,
conga drums, bamboo flute or Hammond organ. Conversely, we are free to build
and use the pipe organ according its native strengths.

The Miller Chapel organ project is thus not a regression to
some rigorously pure Reformed dogma of worship music. (Indeed, such a proposal
would eliminate the construction of an organ at all!) Rather, this project is
an attempt to build upon the strengths of a developing and living Reformed
tradition. It is an attempt to build on the native strengths of the pipe organ
as a liturgical instrument in a thoroughly modern and enlivening way. Now that
the instrument is in its place, it will be the calling of generations of
organists to have the wisdom and grace to discern when this instrument is and
when it is not the most appropriate means for leading the people's prayer and
praise. In such a context this installation can be understood to be a
progression. May it be so.

"Martin Tel

C. F. Seabrook Director of Music

 

Paul Fritts & Company Organ Builders: Greg Bahnsen,
Robyn Ellis, Ricky Frith, Jon Hamelton, Jacob Nelson, Michael Phelau, Andreas
Schonger, Peter Tomter, Judy Fritts (carver)

James Kay, Chair of Miller Chapel Renovation Committee and
Organ Committee

The organ was made possible by a generation by Mr. Joe R.
Engle, for whom the instrument is named.

For more in depth articles about the chapel renovation and
the Joe R. Engle organ, see The Princeton Seminary Bulletin, Vol. XXII No. 1
(New Series), 2001.

The Joe R. Engle Organ

GREAT

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

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

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

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

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

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

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

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

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

                                    Mixtur
IV-VI

                                    Scharff
III-V

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

                                    Mixtur
IV-VI

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

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

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

PEDAL

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

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

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

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

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

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

                                    Mixtur
VI-VIII

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

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

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

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

*Transmissions from other pedal stops

Couplers

                                    Swell
to Great

                                    Great
to Pedal

                                    Swell
to Pedal

 

Compass: 56/30

Features: Burnished tin front pipes, suspended key action,
mechanical stop action with pre-set system by Solid State Logic Ltd., variable
tremulant, wind stabilizer, Tierce (1 rank for Swell Mixture), Cimbelstern,
Vogelgesang, manual wind supply option, Kellner temperament

 

Robert G. Dial, Organbuilders, Springfield, Illinois, has rebuilt the organ at Grace United
Methodist Church, St. Louis, Missouri. The organ was built by M. P. Möller
in 1952, Opus 8353. The project included releathering and rewiring the entire
instrument, as well as the addition of five new ranks. The original console has
been rebuilt with new keyboards, drawknobs, couplers, tilting tablets, and
terraces, as well as a Solid State Logic combination action and multiplex
switching system. Although some ranks were repositioned within the instrument,
all the original pipework was retained. On February 11, 2001, the organ was
rededicated during the morning worship service. The rededication recital was
played later that day by John Walker. Kathleen Bolduan is the church's director
of music.

 

GREAT

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

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

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

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

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

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

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

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

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

                                    Fourniture
III

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

                                    Chimes

                                    Gt
16-UO-4

                                    Zimbelstern*

SWELL

                  16'
style='mso-tab-count:1'>          Flute
Conique

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

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

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

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

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

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

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

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

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

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

                                    Plein
Jeu III

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

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

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

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

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

                                    Tremolo

                                    Sw
16-UO-4

CHOIR

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

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

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

                  8'
style='mso-tab-count:1'>             Hohlflöte++

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Ch
16-UO-4

BOMBARDE

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

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

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

                                    Harmonics
IV

                                    Bombarde
4'

PEDAL

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

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

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

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

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

                  16'
style='mso-tab-count:1'>          Flute
Conique

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

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

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

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

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

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

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

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

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

                  32'
style='mso-tab-count:1'>          Contre
Bombarde (1-12 digital)

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

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

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

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

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

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

 

                                    Transposer

                                    All
Swells to Swell

                                    Great/Choir
Transfer

                                    Tower
Chimes

 

* New stops

** New Gt Violone ext

+ Former Ch Keraulophon

++ Moved from Gt

+++ Moved from Sw

 

Andover Organ Company,
Methuen, Massachusetts, has rebuilt the Hook & Hastings Opus 2117 organ at
the Community Church of Jackson, New Hampshire. The organ was built in 1906
with two manuals and seven stops. In 1965 Andover revoiced the Great, replaced
the Swell 8' Viola with a 2' Principal, and replaced the 4' Harmonic Flute with
a 4' Rohrflute.

Another builder made some unworkable changes in the late
1970s. The Swell 4' Rohrflute was moved to the Great and converted into an 8'
Flute. It took the place of the Great 8' Dolce, resulting in no string stop on
the organ. The Dolce was cut in half and moved to the Swell as a 4' Flute.

In January 2001, Andover returned the 4' Rohrflute to the
Swell. A used Dolce installed on the Great now provides a soft stop for accompaniment.
Pipes were voiced, regulated, and tuned. In addition, Andover releathered the
pallets, and installed new pull-down wires and neoprene links on the manual key
action to cure a problem with ciphers. Table and slider holes were enlarged to
provide adequate wind for stable tuning. Chests were shimmed to provide proper
clearance for sliders and eliminate wind noise and leakage.

GREAT

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

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

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

                                    Sw/Gt

SWELL

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

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

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

PEDAL

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

                                    Gt/Ped

                                    Sw/Ped

Jaeckel, Inc., Duluth, Minnesota, has built a new organ for St. John's
Church UCC on Madeline Island, La Pointe, Wisconsin. The two-manual and pedal
organ comprises 8 stops, 10 ranks, and 516 pipes. Manual/pedal compass is
56/30. Key and stop actions are mechanical. The case is of solid white oak,
fumed and oiled. Voicing took place on site. Tuning is according to a
temperament developed by J.G. Neidhardt in 1732; a' is 440hz at 68ºF. The
organ uses some pipes from the church's previous organ and from the collection
of Tom Vennum. All these pipes were rebuilt and revoiced to fit the new tonal
scheme. The use and rebuilding of a windchest which Mr. Vennum had in storage
encouraged the beginnings of contributions for the organ project. The organ
took five months to build, install, and voice. Members of the Jaeckel staff
included Frank Mehle, David Rollin, John Thoennes, Dean Hauge, Todd Caine, and
Peter Pestalozzi.

MANUAL I

8'
Principal (6 wood, 50 of 50% tin)

8'
Rohrflöte (18 wood, 38 of 15% tin)

4'
Octave (15% tin)

2'
Mixtur III (15% tin)

MANUAL II

8'
Gedackt (wood)

4'
Holzflöte (wood)

2'
Principal (15% tin)

PEDAL

16'
Subbass (12 wood, 18 from Rohrflöte)

Andover Organ Company, Methuen,
Massachusetts, has built a new organ, opus 108, for St. Michael's Episcopal
Church, Milton, Massachusetts. The console of the old organ had been installed
in a small room off the sacristy. Only by looking in a mirror could organist
John Whiteside see the celebrant and coordinate the music with the service. In
the new mechanical action organ, the Great division is cantilevered into the
chancel, with the console directly below it. The case was designed by Donald H.
Olson to blend with Ralph Adams Cram's turn of the century chancel. The
two-manual and pedal console is of walnut. The case is of red oak stained to
match existing wookwork, with painted zinc case pipes from the 8' Open
Diapason. Manuals have bone naturals and vermillion sharps. The 30-note flat
pedalboard has maple naturals and walnut sharps. The stops have oblique knobs
with bone labels. Mechanical design by Jay Zoller includes stop action by
electric solenoid. Solid state combination action includes eight levels of
memory. The Swell is located behind the Great on the same level, with the Pedal
at the sides and to the rear of the manuals. Key action is a suspended type.
The mechanism and wind system have been relocated behind the Great in the area
formerly occupied by the console. John Whiteside played the dedication recital
which coincided with the 100th anniversary of the church.

GREAT

16'
Bourdon

8'
Principal

8'
Stopped Diapason

4'
Octave

4'
Chimney Flute

2'
Fifteenth

IV
Mixture

III
Cornet

8'
Trumpet

Zimbelstern

SWELL

8'
Violin Diapason

8'
Celeste

8'
Gedeckt

4'
Principal Flute

22/3'
Nazard

2'
Octavin

III
Mixture

16'
Faggot

8'
Trompette

8'
Hautboy

Tremolo

PEDAL

16'
Subbass

16'
Bourdon (Gt)

8'
Principalbass

8'
Flutebass (ext)

4'
Choralbass (ext)

16'
Trombone

8'
Tromba (ext)

Martin Pasi Organbuilders, Roy,
Washington, has built a new organ for the First Church of Christ, Scientist, in
La Mesa, California. The organ has 29 stops on two manuals and pedal,
mechanical key action and electric stop action. The keydesk is located more
than 15 feet from the base of the organ case, requiring the trackers to run
beneath the platform area. Most of the organ's 1,450 pipes were made in the
builder's shop. Several ranks of pipes were reused from the church's previous
organ, an Estey from the 1920s. Although the case and tonal design are rooted
in historical traditions, particularly the 19th-century American
“Victorian” organ, the aim was to create a thoroughly modern
instrument capable of playing a wealth of repertoire. The organist of the church
is John Churchill. The organ was dedicated on November 16, 1997 with a recital
by Bruce Neswick.

GREAT

16'
Bourdon*

8'
Principal

8'
Chimney Flute*

8'
Salicional*

4'
Octave

4'
Cone Flute*

22/3'
Twelfth*

2'
Fifteenth

13/5'
Seventeenth*

11/3'
Mixture IV

8'
Trumpet

Chimes

Bell
Star

Sw/Gt

SWELL

8'
Viol Principal

8'
Wood Flute

8'
Celeste

8'
Gentle Flute

4'
Fugara

4'
Harmonic Flute

2'
Octavin

16'
Bassoon

8'
Cornopean

8'
English Horn

PEDAL

16'
Subbass

16'
Bourdon (Gt)

8'
Principal (Gt)

8'
Cello

8'
Chimney Flute (Gt)

4'
Octave Bass

16'
Trombone

8'
Trumpet (Gt)

Gt/Ped

Sw/Ped

Tremulant

*Great stops enclosed in the Swell box with Swell stops