New Organs

Cover Feature

Fenris Pipe
Organ, Kilkenny, Minnesota

Good Shepherd
Lutheran Church, Rochester, Minnesota

Project Scope

In the spring of 2002 we were contacted by Jeff Daehn, organ consultant for
Good Shepherd Lutheran Church in Rochester, Minnesota. The church was beginning
a project that encompassed doubling the size of the 1980s-era sanctuary, as
well as additional classroom and mechanical upgrades. Bids had come in somewhat
higher than anticipated, and consequently some project cutbacks were necessary.
Chief of these was all funding for the organ project.

For many years the church had been the home of Hinners Opus #537, I/9.
style="mso-spacerun: yes"> This had been somewhat undersized for
the room and certainly was not adequate for the remodeled space, which now
seats 350. The organ committee decided to part with their Hinners, which now
resides at Madonna Towers in Rochester, Minnesota. (For an account of Opus
#537's 100th birthday party see The Diapason, August 2003, page 3.)

We met with music director/organist Cynthia McLaren to discuss the
parameters of the project. The new instrument would be used primarily for
Sunday services, with some teaching also being done. This instrument would need
to be able to lead a congregation, be versatile, be reliable, aesthetically and
physically fit into a conceptualized space in the front of the sanctuary, and
be built on an erratic timeline determined by funding, or rather, lack thereof.

When we were awarded the contract in October 2002, the sanctuary addition
had just been completed. Load capacities had been accounted for, but the organ
chambers themselves remained unbuilt. The church requested that we segment the
project's construction to allow for fundraising on their part.

Phase I is complete and includes the Great and Pedal divisions, casework and
console. Phase II is the installation of the Swell division.

Leaving such a substantial part of the instrument incomplete is unusual. It
is common to find instruments still awaiting their prepared-for stops, even
though the instrument may have been installed generations ago. For this
scenario we felt a phased project was an option based upon two reasons. First,
the congregation was informed and educated enough to realize that without a
timely conclusion to the project, this would remain an acoustically incomplete
instrument. Second, Cynthia McLaren had been used to playing on a one-manual
instrument for years, and was comfortable continuing to do so in a temporary
capacity. The organ committee's demonstrated commitment to the project, along
with our willingness to work with a flexible construction timeline, allowed the
congregation to have a pipe organ. Without these mitigating factors, this
church would have been a likely candidate for a pipe organ simulator.

The Instrument

The instrument itself utilizes much of the pipework from a 1920s instrument,
including the wooden 16' Principal on façade. The 16' Principal is used
with the 16' Subbass for a 32' resultant. The Great Principal chorus is new,
and all pipework was either voiced or extensively revoiced. The 16' Principal
is on static wind, and the rest of the instrument is voiced on four inches of
wind pressure. Careful reuse of pipework resulted in a substantial savings in
total project dollars.

Windchests, bearers, racking, passageboards, reservoirs, casework and
console are all of new construction from our shop. Winding to 16' Principal in
the façade is supplied by a windtrunk designed and scaled to match note
B12. Notes B12-G32 are located on wind-chests placed in an "A"
arrangement on an elevated catwalk directly behind notes 1-11. Access to
catwalk and chambers is provided by means of a drop-down service ladder. Manual
keyboards are reused and of ivory, rebuilt and married to new keycheeks and keyslips.
Organ switching, blower and pedalboard are new. Casework and console are built
of red oak, stained to match church fixtures. Organ bench is overlength to
assist in teaching.

When designing the instrument, we felt it was important that some of the pipework
be visible to the congregation. We have found that instruments that are
entirely in chambers end up being considered as nothing more than giant
speakers by many parishioners. When the time comes to replace switching or
releather pneumatics, the instrument has not developed a visual identity within
the congregation. These instruments are more likely to be replaced by a pipe
organ simulator. Although important to be visible, it was equally important
that the organ's presence not overpower the space. No one is attending services
to worship the organ.

We painted the wooden 16' Principal to match the walls in the sanctuary.
They provide a textured, yet subordinate backdrop to the elevated cross. Mirror
image chromatic chests, elevated on either side of the chancel, draw the eyes
to the focal point of the space, again, the elevated cross.

Acoustic design is based upon historic tradition, with generous pipe
scaling. The instrument is not overloaded with screaming upperwork, but rather
provides a balanced pyramid of sound. Flute colors are available throughout the
instrument. Each manual division is also provided with mutations.

The room itself is a contemporary styled, geometrically interesting space.
It has a rather unusual shape, shallow and somewhat wide, with seating in
interlocking chairs radiating around the chancel area. Sound egress from the
chamber is via a massive expanse of grillecloth, directly behind the elevated
façade chests. Chambers are bright, with chests and pipework easily serviced.
Walls are taped and painted double 5/8? sheetrock to provide a reflective
surface.

This instrument is the result of sustained effort by music director/organist
Cynthia McLaren, chairman Bob Enger and the organ committee. Fenris
specification and voicing are by Bob Rayburn; design and cabinetwork by Wes
Remmey. Special thanks must be given to Roger Driessen, Barry Lund and Stuart
Ness for all of their efforts in the project.

--Wes Remmey

GREAT

16' Violone
style='mso-tab-count:1'> 49 pipes

8' Flauten
Principal 61
pipes

8' Principal
style='mso-tab-count:1'> 61
pipes

8' Viola
style='mso-tab-count:1'> 12
pipes

8' Rohr
Gedackt 61 pipes

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

4' Octave
style='mso-tab-count:1'> 61 pipes

4' Hohl
Flute 61
pipes

Sesquialtera
II (Swell)

2' Fifteenth
style='mso-tab-count:1'> (from
Great Mixture)

2' Flautino
style='mso-tab-count:1'> 12
pipes

2' Fourniture
IV 244
pipes

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

Gt/Gt
4

Sw/Gt
16-8-4

Auto
Pedal

MIDI

SWELL

16' Lieblich
Gedackt 61
pipes

8' Holtzgedackt
style='mso-tab-count:1'> 12
pipes

8' Harmonic
Flute 49 pipes

8' Salicional
style='mso-tab-count:1'> 61
pipes

8' Vox
Celeste TC 49
pipes

4' Principal
style='mso-tab-count:1'> 61
pipes

4' Harmonic
Flute 12 pipes

22/3' Nazard
style='mso-tab-count:1'> 61 pipes

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

2' Flageolet
style='mso-tab-count:1'> 61
pipes

13/5' Tierce
TC 37
pipes

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

16' Fagott
style='mso-tab-count:1'> (prepared for)

8' Oboe
style='mso-tab-count:1'> 61 pipes

4' Schalmei
style='mso-tab-count:1'> 12
pipes

Sw/Sw
16

Sw/Sw
4

Tremolo

MIDI

PEDAL

32' Acoustic
Bass (resultant)

16' Principal
style='mso-tab-count:1'> 32
pipes (open wood)

16' Subbass
style='mso-tab-count:1'> 12
pipes

16' Lieblich
Gedackt (Swell)

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

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

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

4' Choral
Bass (Great)

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

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

16' Fagott
style='mso-tab-count:1'> (prepared for)

8' Tromba
style='mso-tab-count:1'> 32
pipes

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

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

Gt/Ped

Sw/Ped

MIDI

Multi-level Memory

8 Generals Thumb
- Toe Piston

4 Great Divisionals Thumb
Piston

4 Swell Divisionals Thumb
Piston

Gt/Ped Reversible Thumb
Piston

Sw/Ped Reversible Thumb
Piston

Sforzando Thumb
Piston

Set Thumb Piston

CancelThumb Piston

Swell Shoe

Crescendo Shoe

Photo credit: T. C. Stanley Photography

Martin Ott Pipe Organ Company, St. Louis, Missouri, Opus 100

The Behrend
College, Penn State University-Erie

Opus 100 is a wonderful milestone for an organ builder to reach. We had
hoped that our commission for Opus 100 would be a special instrument. When The
Behrend College at Penn State University-Erie contacted us for a bid, we
immediately realized this would be a special situation. Larry and Kathryn Smith
had provided funding for a chapel. The chapel already housed a 48-bell
carillon, a gift of Mr. Smith's parents, the late Floyd and Juanita Smith. Now
the Smiths wanted to commission an organ in honor of their children, Colleen
and Kevin. The picturesque setting of the brick chapel and carillon would be an
excellent location for organ and choral music. This chapel would be a place of
spiritual retreat and renewal for the university community. The organ would
have an important role in this purpose.

To complement the clean, traditional architecture of the chapel, we chose a
simple yet dramatic organ design. The oak case and location of the organ
suggests intimacy and warmth. Visually the organ soars to the rafters,
suggesting transcendence. Time-tested methods of construction, such as mortise
and tenon joinery, were used so that the instrument will last for many
generations. Current technologies, such as solid-state combination action, give
the organ versatility. The suspended mechanical action of the instrument allows
the organist careful control of pipe speech. This also places responsibility on
the organist to be precise in articulation. A good organ should inspire the
organist to reach for new musical heights.

The organ stands twenty-five feet high. It comprises 23 ranks, 21 stops, and
more than 1,200 pipes. Manual key compass is 56 notes. The natural keys are
made of grenadil wood, and the sharp keys are of grenadil covered by cow bone.
The pedal keyboards have 30 notes and are made of oak.

Over more than three decades, Martin Ott and his company have been
developing their own style of tonal eclecticism. The tonal design for Opus 100
is an excellent example of the Ott style. The size of the chapel dictated an
instrument of modest size. In this situation, there is no room for waste in the
stoplist. Plenums are possible on both Schwellwerk and Hauptwerk. The IV-rank
mixture on the Hauptwerk is a full, robust addition to the principal chorus.
The clarity and beauty of the 8' stops allows them to be used as solo voices in
chorale and hymn preludes. The organ also includes a simple Krummhorn. This
reed stop is more versatile than an Oboe. When used alone, it is appropriate
for Baroque music or a solo voice in a 20th-century work. When paired with the
8' Viola, its character will sound more Romantic. The pedal's Posaune is robust
but can still be used in lighter textures without overpowering the manuals.

In the signature Ott style, the organ is voiced to be clear and strong
without overpowering the listener. The clear, cohesive tonal design supports
congregational singing, service playing, chamber music, and solo organ
literature. The vast majority of organ literature can be played on this 21-stop
instrument.

The finished organ was first played for donors Larry and Kathryn Smith and
the Behrend College Council of Fellows. For this private demonstration, Karen
Keene, lecturer in organ at Penn State-Behrend, ably assisted us as the
organist. In Mr. Ott's absence, Dennis Unks, a long-time friend and colleague,
explained the construction and tonal layout of the organ. The community had the
opportunity to experience the versatility and beauty of this organ at the
dedication recital by Larry Smith, Organ Department Chair at Indiana
University-Bloomington. Dr. Smith played works by J. S. Bach, Gardner Read,
Gaston Litaize, Paul Hindemith, Darius Milhaud, and Joseph Jongen. The varied
program testifies to the instrument's capabilities.

We are pleased and honored to have our Opus 100 in such a beautiful
environment. Opus 100 is a
summation of the Ott style and a continuation of our artistic growth.

The following craftsmen participated in the building of opus 100:

Alexander I. Bronitsky

James Cullen

William Dunnaway

Eileen M. Gay

Marya J. Fancey

Donna Hodges

Alex D. Leshchenko

Earl C. Naylor

Martin Ott

Sascha Ott

Jeffrey Spitler

--Marya Orlowska-Fancey

.

HAUPTWERK

8' Prinzipal
75%
tin

8' Rohrflöte
40%
tin

4' Oktave
style='mso-tab-count:1'> 75% tin

II Sesquialter
style='mso-tab-count:1'> 40%
tin

2' Nachthorn
style='mso-tab-count:1'> 40%
tin

IV Mixtur
style='mso-tab-count:1'> 75% tin

8' Trompete
style='mso-tab-count:1'> 75%
tin

Tremulant

SCHWELLWERK

8' Viola
style='mso-tab-count:1'> 75%
tin

8' Viola
Celeste (TC)75% tin

8' Bordun
style='mso-tab-count:1'> 30% tin

4' Prinzipal
style='mso-tab-count:1'> 60%
tin

4' Blockflöte
style='mso-tab-count:1'> 40%
tin

2' Oktave
style='mso-tab-count:1'> 75% tin

11/3' Quinte
style='mso-tab-count:1'> 40% tin

8' Krummhorn
style='mso-tab-count:1'> 75%
tin

PEDAL

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

8' Oktavbass
style='mso-tab-count:1'> 75%
tin

8' Pommer
(18 pipes) 40%
tin

4' About the Author </p>

Martin Ott Pipe Organ Company, Inc., St. Louis, Missouri
Trinity Evangelical Lutheran Church, Spring, Texas
Opus 68, b. 1991

From the builder
Trinity Lutheran is a large Missouri Synod Lutheran Church located in Spring, Texas, north of Houston. The area was settled by Germans who brought with them their Lutheran faith and customs. The church, founded in 1874, is still located on its original property. As the church has grown, sanctuaries have been removed and new ones have been built. In 1991, our Opus 68 began as the hope of Melvin Schiwart, the music director at the time. Mr. Schiwart had been to Germany. He wanted a good quality German organ for Trinity Church, and his search led him to our firm. A mechanical action organ with a detached console was designed. Although the organ has German influences, it is an eclectic instrument in style and adapts well to its American environment. In 1994, the 49-rank, 39-stop organ was installed in the previous sanctuary’s balcony.
The church membership grew through the 1990s, and the organ continued to be an important part of worship. As plans were made for a new sanctuary, the congregation decided to relocate the organ into the new church. Moving the instrument to the new space enabled the church to keep ties with their past. The organ and the church bell were the only items moved from the old church to the new one. The cost for moving the organ was a small fraction of what a new instrument would cost.
From the very beginning, our firm was invited to participate in the design of the new worship space, specifically the layout of the balcony. We worked with architect John Gabriel, of Gabriel Architects, Inc., and acoustician Scott Riedel, of Scott R. Riedel & Associates, Ltd. The new sanctuary has 44,000 square feet and seats 1,325 parishioners in the nave. Of special concern was how the existing organ could be best incorporated in the new building both visually and acoustically. The music is performed from the “west balcony” opposite the chancel with the altar, pulpit, baptismal font and lectern. Mr. Gabriel designed the large new balcony to accommodate the organ, the choirs, and the orchestral musicians. He was enthusiastic about the organ project and understood the physical and logistic needs. The overall design of the organ remained unchanged. Crown molding was added to give the instrument a stronger visual presence in the new room. We also have added a 32′ Bombarde, a 32′ Untersatz, and a Zimbelstern with a rotating star. As the instrument was reassembled, we thoroughly cleaned every part. The reed pipes were disassembled and completely cleaned before reassembly.
Trinity Lutheran was very enthusiastic about the project. During the weeks we spent reconstructing the organ and voicing, many parishioners would visit to see the progress. Among these visitors was singer-songwriter Lyle Lovett, born near Trinity Church, who asked us many questions about organ building. Mr. Lovett attended Texas A&M University where he studied journalism and German. He also spent time in Germany for his studies. Through his conversations with me, Mr. Lovett learned that the Ravinia Festival in Chicago owned an Ott portative organ; and at the July 12, 2008 concert at this festival, Mr. Lovett used the organ for several pieces in front of a full capacity audience.
The revoiced and visually altered instrument at Trinity Lutheran Church certainly brings vigor in sight and sound to this new sanctuary. We have many people to thank for their assistance in the project: Senior Pastor Richard Noack, Dr. William Brusick, Mr. Melvin Schiwart, and all of the Trinity Lutheran parishioners who were supportive and helpful. I would like to thank all who worked on Opus 68.
1994: John Albright, Albert Brass, James Fantasia, Jeffery Fantasia, Richard Murphy, Earl Naylor, Martin Ott, Thorsten Ott, Mary Welborn. On-site help: new choir risers designed by Jack Rimes, built by Gerhardt Pipho and Melvin Schiwart; riser banisters by Rick Davis; pipe shades in organ towers painted by Duane Schiwart.
2008: James Cullen, Bill Dunaway, Marya Fancey, Larry Leed, Aleksandr Leshchenko, Eileen McGuinn, Earl Naylor, Martin Ott, Inna Sholka. On-site help: Paul Jernigan, Shawn Sanders.
—Martin Ott
Martin Ott Pipe Organ Company

From the acoustical consultant
Trinity Lutheran approached Riedel for consultation in architectural acoustics and sound system design services in August 2001. Our goal for acoustic design was to develop a space that supports and enhances the Lutheran liturgy. Important considerations include reverberation period, HVAC noise control, noise control between spaces and from the outdoors, sound projection from the music area, support for musical ensemble and congregation hymn singing, and speech intelligibility.
The completed Trinity Lutheran sanctuary has a reverberation time, during unoccupied conditions, of 3.5 seconds. This generous reverberance provides excellent sound distribution and enhancement of organ and traditional choral tone. It also benefits Lutheran liturgical practices, encourages congregational sung and spoken participation, and gives a strong sense of listener envelopment.
Excellent speech intelligibility is achieved through innovative sound system technologies and careful design practices. Digitally steerable line array speakers provide very clear sound in this reverberant environment with minimal visual intrusion. A digital signal processor automates the system and replaces older multiple component technologies.
While the organ and traditional choir are an integral part of the congregation’s worship life, the growing use of contemporary instruments in Trinity Lutheran’s music ministry will necessitate a lower reverberation period at times. Treatment options have been presented to facilitate a more contemporary music service, and may be implemented by the client. These treatments include adding modest sound absorbing wall surfaces in select areas of the room.
A flutter echo reflection pattern is audible in the center aisle, resulting from the smooth, curved “barrel vault” ceiling profile favored by the architect. This curve focuses sound energy toward the center aisle of the room, such that the flutter effects are much less noticeable in the congregation seating areas. The overall room shape is cruciform, with organ and choir located at the end of the long axis of the space, in a rear gallery; this facilitates a full and even distribution of musical sound throughout the environment.
We are honored to be part of the Trinity Lutheran Church design team, and we are proud to have assisted in creating an environment that enhances the Ott organ, all in the service of the church.
—Scott Riedel
Scott R. Riedel & Associates, Ltd.

From the minister of music
In May 2007, I was blessed to receive a call from Trinity Lutheran Church in Spring, Texas. One month later, after serving as minister of music for fifteen years at Grace Lutheran in St. Petersburg, Florida, I accepted the call to Trinity. Like Grace, Trinity is a benchmark church in the community that puts a high value on the role of music in quality worship. Throughout the northwest Houston area, Trinity is known for its particular strength in traditional, liturgical worship. To this end, an instrument was sought that would be capable of leading and enhancing this style of worship. All roads inevitably led to Martin Ott.
I am blessed to be the recipient of the hopes, the dreams and the fortitude of a congregation and former minister of music who put such high value on quality music and the instrument that will lead it for generations. Although I had studied on a Holtkamp tracker organ, I had never had the privilege of playing a Martin Ott instrument until my pre-call interview in March 2007. The organ, located in the former sanctuary, looked and sounded spectacular; and yet, it was unfinished. The missing extensions of the two 32′ stops and the absence of any crown molding on the casework were testament to the inevitable expansion that still lay ahead. For myself, one who has been trained in and enjoys improvising on hymns and hymn tunes, the variety of colors and the wide dynamic range made this organ a especially thrilling instrument to play. As a composer, it is also fair to say that having an organ like this is like having a world-class orchestra at your disposal.
While the organ’s weekly mainstay is the leading of over a thousand worshippers in great works of hymnody, our music ministry also calls upon the organ to gently accompany a soloist, add equal support to a majestic brass choir, and blend into and uphold the mighty forces of a full orchestra and chorus. All of these our organ does effortlessly. In this way, I am confident that the Ott Opus 68 pipe organ can provide the style of high quality music that Trinity has come to expect and appreciate over its many years of great musical leadership.
But the blessings don’t end here. While it is a rare opportunity for an organist to meet the creators of their instrument, it is indeed even rarer to have the opportunity to work close at hand with them. Because of the relocation of the organ, I have had the distinct privilege of establishing a close-knit relationship with Martin Ott and his highly skilled team. Over the four months of planning and physically moving the organ, I began to see the care and craftsmanship and the sheer love that Martin has for his instruments and for the churches that will be led by them. During even the most stressful moments of the project, his focus and faith in the outcome never wavered. This instilled great comfort in all of us, knowing that the end result would be beyond everyone’s imagination.
As minister of music at Trinity Lutheran Church, I can speak for all when I say that we are indeed fortunate to have Martin Ott’s Opus 68, which has the potential to bring the highest level of both sacred and secular music to its listeners—leading worship, lifting song, inspiring creativity, enhancing the Word, and energizing the soul.
—William R. Brusick, D.Mus.
Minister of Music
Trinity Evangelical Lutheran Church, Spring, Texas

From the pastor
The dream for a fine pipe organ at Trinity Lutheran Church began in the mid 1980s with our former (now retired) minister of music, Melvin Schiwart. His vision was that we would have a mechanical key action instrument ideally suited to lead robust congregational singing. In response to Mr. Schiwart’s leadership and vision, the congregation decided to establish a special organ fund to bring the project into reality.
Mr. Schiwart interviewed a number of leading organ builders in the United States and in Europe. In the early 1990s the congregation selected Martin Ott of St. Louis, Missouri, to design and build Trinity’s pipe organ.
Martin Ott’s Opus 68 was installed in our former sanctuary in 1994. In June 2008 it was moved into Trinity’s new 1425-seat sanctuary. The organ was expanded with additional stops and enhanced with beautiful casework.
The sanctuary has a classic basilica design and is constructed with internal surfaces that provide a rich reverberation. These features optimize the blessing that is the organ. Martin Luther commented that music often inspired him to preach. I must say that a rousing presentation by a capable organist of Ein feste Burg, At the Lamb’s High Feast We Sing or Crown Him with Many Crowns has definitely inspired my preaching on more than one occasion!
The wonderful marriage of our organ and our new building has yielded many blessings. Our current minister of music, Dr. William (Bill) Brusick, and our pastors enjoy our worship planning sessions. It is fun and energizing to find creative ways to maximize the impact of this superb instrument.
Leading worship in the Name of the Trinity is a high and holy calling. Our magnificent organ is integral to our worship and enhances our worship immensely. It is a great treasure and we are keenly aware that we must exercise faithful stewardship of it to the glory of Jesus Christ.
—Rev. Dr. Richard C. Noack
Senior Pastor
Trinity Evangelical Lutheran Church, Spring, Texas

Trinity Evangelical Lutheran Church, Spring, Texas
39 stops, 49 ranks, 4 extensions

HAUPTWERK (Manual II)
16′ Bordun 56 pipes oak
8′ Prinzipal 56 pipes 75% tin
8′ Rohrflöte (1–12 Bdn) 44 pipes 40% tin
4′ Oktave 56 pipes 75% tin
4′ Nachthorn 56 pipes 40% tin
22⁄3′ Quinte 56 pipes 50% tin
2′ Oktave 56 pipes 75% tin
Mixtur IV–V 255 pipes 75% tin
8′ Trompete 56 pipes 50% tin
8′ Horizontale Trompete 56 pipes 80% tin
4′ Schalmei 56 pipes 75% tin
Zimbelstern  5 Schulmerich bells

SCHWELLWERK (Manual III)
8′ Viola 56 pipes 50% tin
8′ Viola Celeste tc 44 pipes 50% tin
8′ Holzgedackt 56 pipes oak
4′ Prinzipal 56 pipes 50% tin
4′ Gemsflöte 56 pipes 40% tin
Sesquialter II mc 64 pipes 40% tin
2′ Oktave 56 pipes 50% tin
Scharf III–IV 214 pipes 75% tin
16′ Dulzian 56 pipes spruce
8′ Trompete 56 pipes 75% tin
Tremulant

POSITIV (Manual I)
8′ Holzprinzipal 56 pipes oak
8′ Bleigedackt 56 pipes 25% tin
4′ Rohrflöte 56 pipes 40% tin
22⁄3′ Nasat 56 pipes 50% tin
2′ Nachthorn 56 pipes 40% tin
13⁄5′ Terz 56 pipes 75% tin
11⁄3′ Quinte 56 pipes 75% tin
Zimbel III–IV 180 pipes 75% tin
8′ Krummhorn 56 pipes 50% tin
8′ Horizontale Trompete (from HW)
Tremulant

PEDAL
32′ Untersatz (ext Subbass) 12 pipes spruce
16′ Prinzipal 30 pipes 75% tin
16′ Subbass 30 pipes oak
8′ Oktavbass (ext Prinz 16′) 18 pipes 75% tin
8′ Pommer (ext Subbass) 12 pipes oak
4′ Choralbass 30 pipes 50% tin
Mixtur IV 120 pipes 75% tin
32′ Bombarde (ext16′) 12 pipes spruce
16′ Posaune 30 pipes spruce
8′ Trompete (from Hauptwerk)
4′ Schalmei (from Hauptwerk)

Couplers
Schwellwerk/Hauptwerk
Positiv/Hauptwerk
Schwellwerk/Pedal
Hauptwerk/Pedal
Positiv/Pedal

Martin Ott Pipe Organ Company, St. Louis, Missouri

Opus 104: Zion Lutheran Church, Portland, Oregon


From the Organbuilder

In March of 2000, Mrs. Helen Hollenbeck, director of music at Zion Lutheran Church in Portland, Oregon, contacted our company about a new pipe organ. I was invited to come to Zion Lutheran Church to see the facilities and to meet with the organ committee.

In July of 2000, I visited Zion for the first time. I was impressed with the fine architecture of Pietro Belluschi—his design of the church is outstanding. At the time the new church was built, limited funds for a pipe organ were available. Zion decided to purchase a used organ. Mr. Belluschi installed this instrument on the choir balcony behind a radiating wall; the radius of this wall is 30 feet.

The organ committee, under the advice of their design architect, Mr. Joachim Grube of Portland, expressed their wish to keep the design of the new organ as Mr. Belluschi had originated. I agreed with the committee’s intention, and shortly after our meeting I submitted a proposal for the musical needs of Zion along with a visual design drawing. I kept the visual design simple but elegant. The new organ is now located again behind the radiating wall. A newly constructed organ chamber houses the organ apparatus and the pipes. The previous openings in the wall have been greatly enlarged, and the new organ case features the pipes of the Hauptwerk Prinzipal 8' and some pipes of the Pedal Oktavbass 8¢ exposed in the façade.

The layout of the divisions is symmetrical: the Great division is to the left and right side behind the façade pipes; the Swell division is centered above the keydesk of the organ; the Pedal division, which has the tallest pipes, is to the back of the organ chamber and centered behind the Swell division. The tonal design will support the strong musical tradition of the Lutheran church. The instrument is flexible and will be able to support congregational singing, choral anthems, and solo organ literature for preludes and postludes. The façade pipes are 75% tin, which contributes to the bright sound. The wooden pipes are made of poplar, spruce and mahogany.

We are especially grateful to the congregation for their enthusiasm and assistance. Many members spent a hot Sunday afternoon unloading the organ with our organ builders. We are thankful to the organ committee who facilitated the organ building process.


The following craftsmen participated in the construction of the organ for Zion Lutheran Church, Opus 104:


Alexander I. Bronitsky

James Cullen

William Dunaway

Eileen M. Gay

Bryan Hanlen

Alex D. Leshchenko

Richard Murphy

Martin Ott

Sascha Ott

Inna Sholka

Jeffrey Spitler

—Martin Ott

Orgelbaumeister

From the Director of Music and Organist

“You give it to them; they gather it; you open your hand, and they are filled with good things.” (Psalm 104:29)

As we gathered at Zion for the organ dedication, we were reminded of the many blessings that God showers upon us. We celebrated the gift of a new pipe organ—an instrument that will be used to praise God, lead His people in worship, give opportunity for teaching music and organ playing, and provide outreach to the Portland community. This was a huge undertaking for Zion Lutheran Church and, for most of us, a once in a lifetime experience.

When I became director of music and organist at Zion in 1998, I never dreamed that I would become involved in a pipe organ building project. What a journey it has been! The search committee spent hours researching and visiting instruments. There were endless meetings, much prayer, and lots of hard work needed to define the type of instrument that would best serve Zion’s congregation. One of the most critical elements was the historical nature of Zion’s building. The elegant simplicity of the Belluschi architecture would, without a doubt, become the inspiration for the design of the new organ case. Also, the tonal resources would need to be eclectic so that all styles of music—from Renaissance to the twenty-first century and beyond—could be played authentically. It was important that the organ live for the future, as well as for the past and present. With this in mind, the search went out to find a builder who would work with the specific needs of the Zion congregation. Martin Ott immediately connected with us by his understanding of Pietro Belluschi’s design philosophy.

I first became familiar with Martin Ott and his work when I attended the dedication of the two Ott pipe organs at the Mt. Angel Abbey in Mt. Angel, Oregon. Later, when I was preparing to complete work on my master’s degree, I chose to perform my graduate recital on the gallery organ at Mt. Angel Abbey Chapel. The Ott Opus 104 at Zion is just as inspiring and a great blessing to play.

It has been such a privilege to be part of this project. It took an enormous team effort. For this, I am grateful for the support and encouragement of Zion’s members and friends, as well as Zion’s pastors—Stephen Krueger, Paul Hilgendorf, and Ty Miles. I am also extremely thankful for the fundamental understanding that is present here at Zion, for the importance of music in the life of this congregation that was so critical to the building of this new organ. For all of this, God is to be praised and glorified! We have indeed been “filled with good things.”

—Helen Hollenbeck

From the Architect

I hope my work has gone unnoticed. As people experience the sound and sight of the new organ and appreciate the improved lighting and the renovated choir loft finishes I hope it never appears that any design work occurred.

It was the goal of the renovation plans to restore the design of the building’s original architect and to feature the work of the organ designer without introducing any additional aesthetic elements. A significant effort has been made by the design and construction teams to affect this transformation, but I hope this work appears transparent. I hope that the sanctuary will continue to be viewed as the work of Pietro Belluschi, now featuring an organ by Martin Ott.

Architectural consulting for this project was begun in 2000 by Joachim Grube of the Portland firm Yost Grube Hall. Mr. Grube collaborated with Pietro Belluschi in designing several Portland churches and has served Zion as a friend and advisor since Belluschi’s death in 1994. Mr. Grube assisted the congregation’s organ committee in selecting an organ design that would be complementary to the distinctive architectural character of the space. Following this preliminary planning, while the organ awaited fabrication, I began the work of planning and preparing the second floor of the sanctuary for the instrument’s arrival.

Renovation of the choir loft and organ chamber began following Easter services in 2005. Two weeks were spent removing hazardous materials that were used in the building’s original construction and following this abatement the rear wall of the choir loft was removed in order to extract the old organ. Marceau and Associates Pipe Organ Builders recovered all of the original pipes to be reused in other organs, while the largest rank of pipes was stored and reinstalled in our new instrument. Further demolition was done in the organ chamber before the curved wall was rebuilt in a configuration to accommodate the new organ.

Rebuilding these spaces provided an opportunity to improve lighting and accessibility of the choir loft for use in performances. The original risers were removed and the original tile floor finish was replaced to provide a uniform floor level allowing flexibility of movement by the choir and instrumentalists. A select group of original light fixtures was removed and replaced by improved fixtures and controls that will allow for multiple lighting scenes, which can be adjusted to complement varying musical arrangements.

Thank you to all of the members of the design, construction and organ building teams for your efforts and cooperation in providing this wonderful improvement to Zion’s worship space.

—Craig Rice, AIA

History of Zion’s New Organ

In 1999, the new organist/choir director and minister of music, Helen Hollenbeck, presented an evaluation of Zion’s current organ. Her personal experience with the instrument, in addition to her discussions with previous Zion organists, especially Tim Drews, pointed up major deficiencies in both the physical and musical quality of Zion’s pipe organ. Its condition had been deteriorating over the previous decade so that it was no longer possible to maintain it as the fine instrument it once was.
The board of trustees formed a committee to determine the possibility of getting a new organ for Zion. The question was whether Zion should purchase a used instrument, as it had done in the past, and attempt to fit it to our sanctuary, or contact a builder and have a new organ built to fit our needs and the marvelous acoustics of our church. In order to best serve the needs of the congregation, it was decided that a new organ be built, if possible.

The committee began to contact builders, not only in the Portland area, but also in the Northwest and in other areas of the country. Builders who expressed an interest in working with us were contacted. Not only did they come to Zion to see the building and experience its sound, but the committee in turn visited several of their instruments to see and hear how the organs fit their surroundings, both visually and musically. Because Zion is listed on the National Historic Registry, it was necessary that the builder produce an instrument to fit our musical and visual aesthetics as well as remain within our financial means.

Three organ builders were chosen and asked to submit proposals. The builder who seemed to fit us best in all categories was the Martin Ott Pipe Organ Company of St. Louis. In September 2001, the board was presented with the committee’s findings and at the same meeting they charged the committee to contract with Mr. Ott to begin work on the Zion instrument, to begin raising the money for the purchase of the new organ, and to handle the remodel of the balcony to accommodate the organ. Delays in fund-raising and getting approval from the State of Oregon for the renovations pushed back the date of the new instrument.

In spring of 2005, a contractor was engaged to work with Zion and Martin Ott Pipe Organ Company to assure that the balcony would accommodate the new instrument. The organ was delivered to the church on Sunday, June 5, and the congregation was there to greet it and help unload the thousands of pieces that make up this musical puzzle. Assembly began the very next day, June 6, 2005. Tonal finishing was begun on July 17 and the organ was consecrated to the Glory of God and the edification of all on Sunday, August 14, 2005.

The inaugural concert was played by David Dahl on September 30. Concerts continue this season: November 20, Helen Hollenbeck; February 19, Portland AGO chapter members; April 30, Tim and Nancy Nickel, Prokofiev: Peter and the Wolf; June 18, Jonas Nordwall.

—Charles P. Kovach

Chair, Zion Organ Committee

Ott Opus 104

30 stops, 40 ranks

HAUPTWERK

16' Bordun 56 pipes

8' Prinzipal 56 pipes

8' Rohrflöte 56 pipes

4' Oktave 56 pipes

4' Nachthorn 56 pipes

22/3' Quinte* 56 pipes

2' Oktave 56 pipes

13/5' Terz* 56 pipes

Mixtur IV 224 pipes

8' Trompete 56 pipes

Tremulant

SCHWELLWERK

8' Viola 56 pipes

8' Viola Celeste TC 44 pipes

8' Bordun 56 pipes

4' Prinzipal 56 pipes

4' Traversflöte 56 pipes

Kornett II TC 88 pipes

2' Flöte 56 pipes

11/3' Quinte 56 pipes

Mixture IV 224 pipes

16' Bombarde* 56 pipes

8' Trompette 56 pipes

8' Krummhorn 56 pipes

Tremulant

Zimbelstern

PEDAL

16' Offenbass 30 pipes

16' Subbass 30 pipes

8' Oktavbass 30 pipes

8' Pommer 22 pipes

4' Choralbass 30 pipes

Mixtur IV 120 pipes

16' Posaune 30 pipes

8' Trompete* 30 pipes



*prepared for

Couplers

HW/Ped with reversible thumb & toe pistons

SW/Ped with reversible thumb & toe pistons

SW/HW toe piston

Accessories

Attached keydesk, AGO standards

Case made of oak

Mechanical key action

Electric stop action

Combination action with 128 levels:

HW 1-2-3-4-5-6 thumb

SW 1-2-3-4-5-6 thumb

PED 1-2-3-4-5-6 thumb & toe

General 1-2-3-4-5-6-7-8 thumb & toe

Cancel–thumb

Set–thumb

Tutti–thumb & toe

Tuning after Fisk I

Karl Wilhelm, Inc., Mont St-Hilaire, Quebec, has built a new
organ for St. Athanasius Church, Evanston, Illinois. The firm’s Opus 147
was built according to classical principles. Key action is mechanical, stop
action is electric with 32 levels of solid-state memory. Great and Swell
divisions are housed in the right case, Pedal division in the left case. The
two cases are made of solid white oak and designed to complement the front
altar. Pipe shades are carved from butternut wood. The tonal design mainly represents
the classic German and French traditions. Temperament is after Vallotti, which
yields five pure fifths. Façade pipes are of 75% polished tin. Other
metal pipes are of 32% tin and 68% hammered lead. The organ has two
wedge-shaped bellows, creating a flexible wind. Manual/pedal compass is 56/32;
25 stops, 1,600 pipes.

HAUPTWERK

16’           Bourdon

8’               Prinzipal

8’               Rohrflöte

4’               Oktave

4’               Spitzflöte

22/3’     Quinte

2’               Superoktave

13/5’     Terz

11/3’     Mixtur
IV

8’               Trompete

SCHWELLWERK

8’               Salicional

8’               Hohlflöte

8’               Celeste
TC

4’               Principal

4’               Rohrflöte

2’               Waldflöte

1’               Scharf
III

8’               Oboe

                        Tremolo

PEDAL

16’           Subbass

8’               Prinzipal

8’               Bourdon

4’               Choralbass

2’               Rauschpfeiffe
III

16’           Posaune

8’               Trompete

Aldo J. Baggia

Aldo J. Baggia is the retired chairman of the department of modern languages and instructor in French, Spanish, German and Italian at Phillips Exeter Academy in New Hampshire. He has studied and traveled extensively in Europe and has written numerous opera reviews for various publications as well as articles for The Diapason.

Niederrhein (Lower Rhine) is a small part of Westphalia that borders the Dutch cities of Arnhem and Nimegen, which had great importance in the Second World War because of their strategic locations as entrances to Germany. They are dealt with at great length in the well-known film, A Bridge Too Far. They are also culturally important because of their relationship with the towns of Niederrhein. Linguistically, one sees the relationship in the fact that the Dutch language is readily understood in the towns on the immediate border. It is very common for Dutch people to shop in a town such as Kleve, which is on the border, rather than in Holland, because the prices are better. It is normal to see the parking lot at the City Hall in Kleve with half of the cars having Dutch plates. When crossing into Holland, such as we did when going to ’s-Hertogenbosch to see the famous organ at Sint Jan’s Kathedraal, we saw very few cars besides our own with German plates.
The cathedral at Den Bosch is a magnificent gothic structure that dates from 1220, and the grand organ, III/48, with its Coptic oak case, dates from 1617, although it was not ready for use until 1622. Franz Symons, a carpenter from Den Bosch, and Georg Schysler, a sculptor from the Tirol, were responsible for the beautiful case. After work by various builders, the organ, which has 3,000 pipes, was completely restored in 1984 by Flentrop. The choir organ, II/29, by Verschueren, was installed in 1985. A recording by Jacques van den Dool shows the grand organ to very good effect in pieces by Bach, Reger, Messiaen, de Grigny, Guilain and van den Dool.1
Before going to Niederrhein, I tried to buy a guide book of the area in a large bookstore in the city of Bamberg. In the travel section, there were hosts of books dealing with what seemed to be every conceivable area of Germany, but, to my surprise, there were no guides of Niederrhein. I inquired at the desk and was told that there were no guides of Niederrhein because it was not a tourist area. I found this hard to believe, but had to accept the reality of the situation. Later, I did find a few guide books when I arrived in the city of Kleve, which, as mentioned previously, is right on the border with Holland. The whole area has towns that are quite similar, with an emphasis on pilgrimage churches (Wallfahrtkirchen) that serve as a common touch. The churches tend to be very large with good-sized organs and are the focal points of the towns.

Kevelaer
Kevelaer is the most famous pilgrimage place in Niederrhein, and its Marienbasilika has the largest organ in the area (IV/128). The town was bombed during the war, but not everything in the town center was destroyed, and the main street leading to the tower of the basilica looks as though it had not been touched for hundreds of years. The Marienbasilika organ originally had 124 stops, and additions were made in 1926, bringing the total to 131. At that time it received electric action, and a four-manual movable console was built. In the last days of World War II, the echo organ was destroyed, leaving the instrument with 110 stops. A restoration by Seifert in 1977 brought the organ of 10,000 pipes to its current total of 128 stops.2 The sound is quite dramatic because of the excellent acoustics that really enhance the power and majesty of the instrument. The recording mentioned in the endnotes features works by Reger, Liszt, Reubke (The 94th Psalm), and Karg-Elert. The airy quality of the sound is clear and leaves nothing to be desired.

Seifert & Sohn IV/128
Marienbasilika, Kevelaer
Unterwerk (I)
16' Pommer
8' Principal
8' Grobgedacht
4' Octave
4' Koppelflöte
2' Octävlein
2' Querpfeife
1-1/3' Spitzquinte
Sesquialter II
Scharff IV
Cymbel III
16' Cor anglais
8' Hautbois
Tremulant

Hauptwerk (II)
16' Principal
16' Bordun
8' Principal major
8' Principal
8' Fugara
8' Flaut major
8' Gamba
8' Gemshorn
8' Gedacht
8' Quinteviole
8' Doppelflöte
51'3? Quinte
4' Octave
4' Hohlflöte
4' Fugara
4' Flauto
4' Seraphon-Octave
3-1/5' Terz
2-2/3' Quinte
2' Octave
2' Flöte
1' Octavin
Cornett IV
Mixtur V
Scharff V
Rauschquinte II
16' Tuba
8' Trompete
4' Feldtrompete

Oberwerk (III)
16' Gedacht
8' Principal
8' Doppelgedacht
8' Rohrflöte
8' Flaut harmonique
8' Quintatön
8' Seraphon-Gamba
8' Cello
8' Dolce
8' Vox angelica
4' Octave
4' Rohrflöte
4' Violine
4' Flaut dolce
2-2/3' Nasard
2' Octave
2' Piccolo
1-3/5' Terz
Progressio III
Mixtur IV
Octavcymbel III
Scharff V
Rauschpfeife II
16' Fagott
8' Trompete
8' Clarinette
4' Schalmei

Schwellwerk (IV)
16' Lieblich gedacht
8' Principal
8' Geigenprincipal
8' Konzertflöte
8' Gedacht
8' Aeoline
8' Vox coelestis
8' Quintadena
4' Gemshorn
4' Traversflöte
4' Octave
4' Nachthorn
2-2/3' Quintflöte
2' Flautino
2' Superoctave
1-3/5' Terzflöte
1-1/3' Quinte
1' Sifflöte
Mixtur V
Carillon III
Terzcymbel III
Paletta III–VII
16' Tuba
8' Trompete
8' Krummhorn
8' Vox humana
4' Clairon
4' Celesta
Tremulant

Pedal
32' Contrabaß
32' Untersatz
16' Principalbaß
16' Octavbaß
16' Salicetbaß
16' Violon
16' Subbaß
16' Gedachtbaß
10-2/3' Quintbaß
8' Principal
8' Baßflöte
8' Dulciana
5-1/3' Quinte
4' Fugara
4' Octave
4' Flöte
2' Clarine
Mixtur VI

Hintersatz V
32' Bombarde
16' Posaune
16' Trompete
8' Trompete
8' Fagott
4' Clairon

Normal couplers
Crescendo
2 free combinations
Pedal combination
3 Tutti
Electropneumatic action
Source: Psallite CD 60131. Romantische Orgelmusik (an der großen Orgel der Marienbasilika zu Kevelaer – Orgelbau Romanus Seifert & Sohn)

Next to the basilica there is the Kerzenkapelle (the candle chapel), which has an outside collection of hundreds of candles that have been left by pilgrims. It includes an organ, II/28, which was originally installed in 1843, and rebuilt and cleaned by the firm Seifert & Sohn, which had moved to Kevelaer during the construction of the new organ for the Marienbasilika in 1906.3
The pilgrimages in honor of the Blessed Mother date from the middle of the seventeenth century, and the Kerzenkapelle was built during the years 1643–45. By the second half of the century there were from 18,000 to 20,000 pilgrims on feast days, and today Kevelaer is known as the largest pilgrimage center in northwestern Europe with over one million visitors per year.4
The organ of the parish church of Kevelaer, Sankt Antonius (III/42), was also built by the firm of Seifert & Sohn and dates from 1987. It has 2,915 pipes and benefits from the excellent acoustics of the church. This church was badly hit during World War II, but has been completely rebuilt in a manner that shows off its pre-war splendor.5

Xanten
One might wonder why a large cathedral was built in Xanten, a small town with the unusual name beginning in “X,” but its history is quite telling. In 15 B.C., the Romans built a large military camp called Castra Vetera I. This lasted until 69–71 A.D., when it was destroyed and replaced by Castra Vetera II. North of the military complex, a civilian settlement was planned and created in 105 A.D., with the name Colonia Ulpia Traiana, through the good graces of the emperor Marcus Ulpius Traianus. At the time, this was a fairly large area only 23 hectares smaller than the Colonia that was the provincial capital, known today as the city of Köln (Cologne).6
In October 1933, professor Walter Bader discovered two graves located in the present-day crypt that date from the years 348–350 A.D. They were identified as Christian soldiers in their thirties, who subsequently became the symbol of the strong faith of the people in this area.7 Martin Ahls indicated that the name “Xanten” is, in effect, a derivative from “Ad Sanctos,” which means “next to the saints.” He went further to answer his own question as to why a cathedral was built in this rather remote town on the Lower Rhine:

This question is answered when we go into the crypt. Although it is the most recent part of the cathedral, built after the excavations made in our century, it contains the very core of its history: the tomb of two Christians who were slain in the fourth century. This tomb of the Holy Martyrs is the center and the starting point of religion on the Lower Rhine and at the same time it is the key that helps us understand the construction of the cathedral and of the town: Here people wanted to pray and to live—next to the Saints. History gave the Martyrs a name: Viktor—the victor even beyond death.8
After the war, it was decided to add urns filled with ashes from the concentration camps of Auschwitz, Bergen-Belsen, and Dachau as memorials to all who suffered from the atrocities of the Nazi regime.9
The cathedral can be seen from afar, inasmuch as it is such a large edifice. The organ, III/45 with 3,293 pipes, is the largest that the cathedral has ever had and was built by Seifert & Sohn of Kevelaer in 1973–1975.10 The instrument has a free-standing case on the floor in the back of the church and can effectively play the repertoire from Bach through Messiaen. The symbolic nature of the cathedral is of paramount importance to the citizens of the town, and the restoration that was done after the severe damage of World War II fits in well with the original construction work. A curious aside is that Xanten is featured in the Nibelungenlied and was supposedly the birthplace of Siegfried.11

Seifert & Sohn, III/45
Dom St. Viktor, Xanten
Hauptwerk
16' Praestant
8' Prinzipal
8' Rohrpfeife
4' Oktave
4' Koppelflöte
2' Superoctave
Kornett V
2' Mixtur V
Cymbel III
16' Trompete franz.
8' Trompete franz.
4' Clairon

Schwellwerk
8' Holzflöte
8' Viola da gamba
8' Schwebung
4' Venezianerflöte
2-2/3' Nasat
2' Querflöte
1-3/5' Terz
1' Schwiegel
4/7' Septime
1-1/3' Mixtur IV
16' Basson
8' Hautbois
Tremulant

Rückpositiv
8' Metallgedacht
4' Prinzipal
4' Rohrflöte
2' Gemshorn
1-1/3' Quinte
Sesquialter II
Scharff V
8' Cromorne
Tremulant

Pedal
16' Prinzipal
16' Untersatz
102/3' Quintbaß
8' Oktavbaß
8' Rohrpommer
4' Choralbaß
4' Spitzgedacht
2' Nachthorn
5-1/3' Rauschwerk IV
2-2/3' Hintersatz V
16' Posaune
8' Trompete
4' Schalmei

Constructed 1973–1975
45 stops (3,293 pipes)
Mechanical key and stop action
Normal couplers, 3 free combinations, Pleno, Tutti
From the liner notes of Psallite CD 60161

Kleve
If one looks at a map, one can see how the towns of Niederrhein are interrelated; the concept of so many pilgrimage churches makes sense. Kleve, right on the Dutch border, suffered as much as the Dutch cities of Arnhem and Nimegen, the largest cities on the Dutch side. This area represented one of the Allied entry points into Germany, and it is quite clear that the towns on the German side suffered tremendously because of this.
A small book that was published in Kleve in 1964 alludes to one of the biggest problems the people in this area had.12 According to the author, “the British and Canadian troops advanced without having the slightest understanding of the many-sided problems a people living under a dictatorship had, and therefore on German soil they saw every German as a Nazi.”
The organ of the Stiftskirche or St. Mariä Himmelfahrt, III/45, was built by the Austrian firm Rieger in 1991 and is primarily used to accompany congregational singing during Mass. However, a recording by Martha Schuster playing romantic and post-romantic works shows what heights the organ can achieve.13 The case, as one can see, is quite modern. Kleve is known in legends as having a relationship with Lohengrin, who is certainly well known because of Wagner’s opera. A modern fountain in the pedestrian zone of the city shows a swan pulling at Lohengrin. The symbol of the city is the Schwanenburg (the Swan’s castle), which dominates the city along with the towers of the Stiftskirche nearby.

Rieger III/45
Stiftskirche St. Mariä Himmelfahrt, Kleve
Grand Orgue (I)
16' Montre
8' Montre
8' Flûte harmonique
8' Salicional
8' Bourdon
4' Prestant
2' Doublette
2' Fourniture IV
1' Cymbale III
8' Cornet V
16' Bombarde
8' Trompette
4' Clairon

Positif (expressive) (II)
8' Principal
8' Bourdon
4' Octave
4' Flûte douce
2-2/3' Nasard
2' Doublette
1-3/5' Tierce
1-1/3' Larigot
1' Plein jeu IV
8' Trompette
8' Clarinette
Tremblant

Récit Expressif (III)
16' Quintaton
8' Flûte traversière
8' Viole de Gambe
8' Voix céleste
4' Flûte octaviante
2' Octavin
III Carillon (2-2/3' + 1-3/5' + 1')
16' Tuba magna
8' Trompette harmonique
8' Basson-Hautbois
8' Voix humaine
4' Clairon harmonique
Tremblant

Pédale
32' Soubasse
16' Contrebasse
16' Soubasse
8' Basse
8' Bourdon
4' Flûte
32' Contrebombarde (ext)
16' Bombarde
8' Trompette

Mechanical key action
Electric stop action

Kalkar
Very near Kleve lies the small town of Kalkar, which profits from a quaint setting. The Nicolai Kirche’s intricately cut wood carvings make up much of the decoration that surrounds the different altars, as well as the elaborate casework of the organ (Seifert & Sohn, III/34). The first organ of the church dated from 1457, and from 1684 there was a baroque instrument. That was replaced in 1867–72 by a two-manual and pedal organ of 30 stops by the Rheinberg builder Bernhard Tibus (1815–1896). The Cologne architect Heinrich Wiethase designed a late-gothic case that is still in use today. Holger Brülls writes about this organ and the subsequent ones in an article cited below. One notes the influence of Aristide Cavaillé-Coll, and the Dombauinspektor (cathedral building inspector) Friedrich Schmidt praised the organ for its workmanship. The placement of the organ varied from the west tower to the south portal, where it is currently situated. The instrument was replaced in 1904 by Franz Tibus, but retained the Wiethase case. The two-manual and pedal organ on pneumatic cone chests was in line with German organ building of the late romantic years. In the late 1960s, Seifert & Sohn (Kevelaer) built an electric-action slider chest three-manual and pedal organ of a neo-baroque character and retained the Wiethase case. The organ has 2,450 pipes. It received some additions in the year 2000 during the course of interior renovation work in the church; two octave couplers and a new stop (Trompette-harmonique 8') were added. Jan Szopinski is the Cantor of St. Nicolai Kirche. Typical of the towns in the area, near the main square there is a picturesque windmill that was converted into a restaurant.14

Wesel
Driving directly west from Kleve, one encounters the city of Wesel, which has a very large Protestant cathedral (Dom) in the city center. The destruction during the war was substantial, and it is sad to see the pictures on display in the interior. It is a church of enormous scope, and the rebuilding was done over the span of many years, i.e., from 1947 to 1994, with the support of the Willibrordi-Dombauverein (Dom building association). The intent was to bring back the medieval nature of the Dom.15
The steeple stands high over the center of the town, and the only drawback is the fact that most of the windows are of plain glass. I don’t know what the situation was before the bombing, but there is no question that stained glass would have been extraordinary. It would have created a remarkable image in the interior because of the height of the windows. The organ, built by Marcussen & Søn of Denmark in 2000–2001 (III/54), is a very impressive instrument in a freestanding position in the west part of the church, and the case is striking. The acoustics are very good, and two recordings feature the instrument in repertoire from Buxtehude, Pachelbel, Bach, and Mozart through Franck, Mendelssohn, Reger, Brahms, and Messiaen. I found particularly impressive the Reger Introduction and Passacaglia in D minor, Boëllmann’s “Carillon” from Douze Pièces, and Dieu parmi nous by Messiaen.16

Marcussen & Søn III/54
Wesel Dom
Hauptwerk (II)
16' Prinzipal
8' Oktave I–III*
8' Hohlflöte
8' Rohrgedacht*
8' Gambe
4' Oktave I–III*
4' Spitzflöte
2-2/3' Quinte
2' Oktave I–III*
2' Waldflöte
Hintersatz VI–IX*
Scharf VI–VII
16' Trompete
8' Trompete
8' Spanische Trompete

Schwellwerk (III)
16' Rohrpommer*
8' Salizional
8' Voix céleste
8' Rohrflöte
8' Quintatön
4' Prestant*
4' Flüte octaviante
2-2/3' Nazard
2' Octavin
1-3/5' Tierce
Plein jeu V–VII
16' Basson*
8' Trompette
8' Vox humana
8' Oboe
4' Clairon

Rückpositiv (I)
16' Bordun*
8' Prinzipal
8' Gedacht
8' Spitzgambe*
4' Oktave*
4' Rohrflöte
2-2/3' Nasat
2' Gemshorn
Cornet II
Sesquialtera II*
1-1/3' Quinte
Mixtur V–VI
16' Dulzian*
8' Cromorne

Pedal
32' Untersatz*
32' Prinzipal*
16' Subbaß
8' Oktave
8' Spitzflöte
4' Oktave*
2' Nachthorn
Mixtur V*
16' Posaune
16' Fagott
8' Trompete

* all or partially made from pipes of the previous organ by Walcker

Bocholt
A very short distance from Wesel lies the city of Bocholt, which is in Westphalia but just outside the geographical limits of Niederrhein. The Liebfrauenkirche has a magnificent Klais organ, III/38, from 1979. I had been in touch with the Kantorin, Irmhild Abshoff, before going to Germany, and I knew something of its features from a recording that was issued in 1996 to commemorate 95 years of the parish’s work. When I arrived in Bocholt, the Kantorin was good enough to demonstrate the organ. There is no question that this is an extraordinary instrument capable of playing the entire repertoire for the organ. The recording opens with Bach’s Prelude and Fugue in G major, BWV 541, and the organ has a true baroque sound. The Kantorin also plays Karg-Elert’s Choralimprovisation für Orgel “Nun danket alle Gott,” which really shows the power and majesty of the instrument. It would be difficult to look for more. Bernhard Ratermann plays Franck’s Choral No. 2 in B minor, and here fonds d’orgue passages effectively contrast with a powerful reed-dominated tutti.17

Klais III/38
Liebfrauenkirche, Bocholt
Oberwerk (I)
8' Holzgedacht
8' Gamba
8' Unda maris
4' Principal
4' Traversflöte
2' Waldflöte
1-1/3' Larigot
2-2/3' Sesquialter II
2/3' Scharff IV
16' Basson Hautbois
8' Cromorne Trompete
Hauptwerk (II)
16' Quintade
8' Principal
8' Holzflöte
8' Gemshorn
4' Octave
4' Koppelflöte
2-2/3' Quinte
2' Superoctave
8' Cornet V
1-1/3' Mixtur IV
8' Trompete
4' Trompete

Brustwerk (III)
8' Rohrflöte
4' Blockflöte
2-2/3' Nasard
2' Principal
1-3/5' Terz
1' Sifflet
8' Vox humana

Pedal
16' Principal
8' Subbaß
8' Octave
8' Spielflöte
4' Tenoroctave
2-2/3' Rauschpfeife IV
16' Posaune
8' Holztrompete

6 couplers, 2 tremulants, 6 adjustable combinations
Mechanical key action, electric stop action

One could continue to visit other instruments in the area, but it is clear that this area is fairly typical of what one finds in Germany. The organ history in Germany is a long one and emphasizes the importance of music in the country.

 

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