New Organs

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

Cover

Buzard Pipe
Organ Builders, Champaign, Illinois

Opus 29,
completed November, 2003

All Saints
Episcopal Church, Atlanta, Georgia

Some years ago I was contacted about a new organ for All Saints Episcopal
Church by the assistant organist, Jefferson McConnaughey. We seemed to be
speaking the same language concerning how we thought organs should sound, and I
was eager to meet him, music directors Ray and Elizabeth Chenault, and to visit
the church. Our conversations were put on hold while the parish called a new
rector and undertook other projects. At the time we were blessed with
commissions to build the organ at St. Paul's Episcopal Cathedral, Oklahoma
City, and large instruments for Glenview Community Church (III/71) and Holy
Family Catholic Church of Rockford, Illinois (III/56).

A few years went by, and I was invited to visit the church. Judging from the
size of the instrument under discussion, I expected to enter a huge space.
Instead, the church was more modest than vast, the acoustic more understated
than generous. At first blush, it seemed that 40 stops could have adequately
met their needs. But, no real lady ever gives up all her secrets at once, and
so I patiently looked and listened.

I listened to their former instrument while walking around the room, and
observed the acoustical phenomena under which the musicians had been laboring
for so long. The organ, although installed in the chancel in relatively close
proximity to the congregation, diminished drastically in volume in the nave. I
concluded that a part of the organ had to be installed in the body of the
church, to support singing and "pull" the sound out of the main part
of the organ installed in the chancel. Additionally, sound generated in the
nave lost its energy quickly; sound simply didn't travel well without becoming
garbled.

The musicians wanted to be able to properly register an organ to
"text-paint" Anglican Chant, choral anthems and ceremonial music in
the Anglican musical tradition. They needed a wide variety of accompanimental
tone colors at every dynamic level so that the organ could always support the
singers, even at pianissimo volume levels. It was equally important that the
organ musically render the great body of organ literature, even that of the
French Baroque school, of which Mr. McConnaughey seemed quite fond. And, the
Chenaults are duo organists; the literature which has been (and has yet to be)
commissioned for them had to be accommodated. This requires a large organ, as
coloristic stops outside the component voices for the essential choruses had to
be included and integrated into the design. Fortunately, these stops were never
in competition for space or funding, nor were our classic concepts of the
hierarchical scaling of divisions within the instrument ever compromised. Some
specific organs were studied: The Temple Church, London; King's College,
Cambridge; and St. Paul's Cathedral, London.

There is a beautiful chapel behind the Epistle side choir stalls, at 90
degrees to the axis of the church, which also serves as an overflow room on
Sundays. Worshippers there were relegated to viewing services on a small
closed-circuit TV, and could not participate in the hymn-singing because, being
outside the body of the church, they couldn't hear the organ. If the new organ
were to address and meet all the musical and acoustical requirements of the
church, then the chapel also needed to have some pipes in it, so that those
seated there could feel a part of the worshiping community.

All of these requirements were brought to bear upon a single instrument. Yes,
I agreed, this instrument has to be large--very large. Even if the room seats
only 550 souls, the musical and physical requirements dictated an organ of a
size which one might initially think out of proportion.

The position and installation of the new Main Organ was relatively
straightforward. The Great, Swell, Choir, Tuba, and Pedal would have to be
installed in the chancel, in an enlarged version of their existing chamber,
plus spaces created by cantilevering steel platforms into the chancel space on
both Epistle and Gospel sides.

The antiphonal division, a romantic Solo Organ including a Diapason Chorus
which mirrors the Great, had to be installed in the nave. But there was no
floor space for cases, no desire to see columns, and windows everywhere, many
of them signed by Louis Comfort Tiffany. By clever engineering of the diatonic
windchest layouts (which we had first used at St. Paul's Cathedral in Oklahoma
City) we were able to tuck the Solo Organ cases up in the rafters of the church
above the narthex, on either side of a central great window. By creative use of
perspective, we were able to engineer the location of the supporting steel
platforms so that they wouldn't block the view of the Tiffany windows in the
side aisles, yet give us sufficient height for the pipes inside the cases.

As conversations concerning the tonal design took shape, Ray, Elizabeth, and
Jeff fell in love with our tonal style which, while embracing eclecticism, has
its own unique personality. They visited both our large organs, and Jeff
actually played Sunday services on our Opus 7 organ at The Chapel of St. John
the Divine in my wife Linda's stead. The All Saints organ is a very logical
outgrowth of our style as practiced in our smaller organs, and as our two
larger organs have led us. The humble beginnings of Opus 7 at the Chapel, in
which we made 29 stops into a cathedral organ, can be seen all over this much
larger organ. Well-informed national and historical inspirations are
distributed throughout, so that the whole is at unity with itself. No German
Hauptwerk, French Récit or English Chair Organs for us. For example the
Great includes the mature English practice of 8' First & Second Open
Diapasons, married nicely to the French Fonds d'Orgue. A voluptuous Full English
Swell has continental fire by virtue of the authentic (but modified) French
reed battery, but the lyrical soft solo reed is a plaintive English Oboe. No
quirky nomenclature either. Although rooted in 19th-century English practice of
"Diapason, Principal, Twelfth, Fifteenth," etc., the stops in our
organs are what they say they are. If the Swell reed is spelled
"Trompette," you can be assured that you will hear a Trumpet with
French shallots and pipe construction.

The Great is based upon a 16' Double Open Diapason of tin which stands
proudly in the Gospel side case along with the rest of the division. A complete
Diapason chorus through Mixture, flutes at 8' & 4', and a Viola da Gamba
make up the flue work, and the reeds are Trombas, brought up to the manuals from
the Pedal Trombone. The Mixture breaks at octaves, rather than at fifth
intervals. In this way, one doesn't hear alternating unison and fifths playing
as the top rank, and the breaks are virtually unheard.

The Great also incorporates an harmonic corroborating stop which was more at
home in English and American concert organs of the early part of the last
century. Our four-rank Harmonic Mixture has in it a unison, a quint, a tierce,
and a flat-seventh. These are all the harmonics present in Tromba class reeds,
which are on the Great at 8' and 4' pitches. We originally included the
Harmonic Mixture as a way to prevent the dark Trombas from covering the
brightness of the mixture work in full organ, but have found that when used
sans Trombas, the ancient flavor of 18th-century Dutch organs is perceived in
an uncanny way. One could even imagine the wind to be unsteady--but of course
it's not!

The Solo has a Diapason Chorus nearly mirroring the Great, and despite its
distance from the Main Organ, it can exactly balance the Great Plenum in
certain contexts. The Solo contains a pair of E. M. Skinner-inspired Gambas,
the celesting rank in the case across the church from its unison pair. Now
that's a Celeste! The Flügel Horn, while a lyrical romantic solo reed, has
just enough harmonic interest to function beautifully as a chorus reed. The
Bassett Horn is certainly at home playing obbligato parts in Elgar, but has
just enough Cromorne in it to play Daquin with a French nose in the air.

One can use the Choir in a classic context, as a Positiv when a lighter foil
to the Great is desired. But this division is the real choral accompanying
workhorse. It's one of the most elegant, light, but profound Choir divisions we
have created. The Choir features a flute chorus from 16' up, and a proper
Diapason chorus complete with a four-rank quint mixture, a fifth interval
higher than the Great. But the luxurious feature in this day and age is our
Dulciana Chorus, which includes a three-rank mixture in which the 4' enters
early on at tenor C. Our Dulcianas are truly small Diapasons, and there is
nothing like the effect of accompanying voices with Diapason color, but at such
a soft volume. The Dulciana Mixture has many uses in coloring and painting
texts, 90% of which I would never have envisioned. Our Cornopeans are
small-scaled, but fundamental Trumpets as the original prototypes were, not the
horn-like Cornopeans one would otherwise love to hate. The Clarinet is truly of
English style, and the English Horn is orchestral in color with enough body to
be the foundation of the Choir reed battery, yet enough jazz in the color to
differentiate itself from the more fundamental Swell English Oboe.

The Chapel Organ includes a small-scaled Diapason Chorus at 8' and 4' to
lead the hymn-singing, and an 8' Aeoline and Vox Angelica. These very, very
soft string-toned stops allow the worshippers there to feel connected, and also
provide a powerfully effective pianissimo "wrap-around" effect as the
softest sounds concluding a smooth decrescendo. These little strings can just
be barely heard in the nave as the expression box closes on the Solo Flute
Cœlestis. When they play alone, they are literally in another room, off in
the distance.

In the All Saints organ, the Great, Swell, Choir, Solo, and a portion of the
Pedal divisions play upon 4 inches of wind pressure. The Trombones and Trombas
play upon 7 inches of wind, the Solo Festival Trumpets on 6 inches, and the
Major Tuba plays upon 20 inches of wind. The Tuba is housed in its own
expression box, and the organist can easily select which expression shoe may be
used to operate the Tuba's expression (or whether it is to remain open) by a
simple rotary switch. We aim to expand the color and dynamic range of the pipe
organ, while keeping the console controls simple and straightforward.

Before I was selected as their builder, Ray, Elizabeth, and Jeff charged me
to design the perfect instrument for all their requirements, and they would
undertake the responsibility of presenting this plan to the organ committee to
get their reaction, and see if the instrument would have to suffer at the hands
of "value engineers." Although my past experience made me somewhat
timid about presenting such a large (expensive) instrument as part of a
selection competition, we arrived at the specification of 63 straight speaking
stops, 87 ranks of pipes (5229 pipes overall), in five free-standing cases
throughout their church.

I will never forget the evening of a crucial organ committee meeting when I
received an excited telephone call from Ray. The musicians presented the
proposal and the room fell silent. People on the committee asked questions to
the effect: "Now, do all three of you musicians agree on this builder? Do
all three of you agree with each other in every respect to this instrument?"
When the answer was an emphatic yes, a committee member said: "How many
times do musicians agree with each other about anything, let alone every of the
many thousands of details in this organ's design!? This is what we need for All
Saints, and we need John-Paul to build it for us." A member of the
committee, Sarah Kennedy, later wrote a check for the entire project, in loving
memory and in honor of her family, The Kenans.

The organs' visual designs were developed during August and September of
2001. The first draft of the Chapel Organ's design was revised to be more in
keeping with the modern nature of the chapel (and less like King's College,
Cambridge). The Main Organ and the Solo Organs were built according to my first
pen-and-ink renderings.

All of my design drawings are executed by hand. The discipline of cleaning
the drafting table and truing the parallel bars and 90-degree instruments
contributes to clearing my mind of everything except what I need to think about
for the organ on the blank piece of paper.

It is always my goal to design organ cases which appear as though they had
always been in the church. The All Saints cases use shapes and colors found
throughout the room, and mirror the restrained nature of the Victorian Gothic
design. But the cases become vivid, exciting, and dramatic by incorporation of
the fabulous red enamel and gold leaf adorning the church's clerestory. The
inclusion of the red gave me license to add contracting pieces of red-stained
Honduras mahogany in the stained white oak cases. The soaring nature of the
Solo Organs, as their lines ascend while moving toward the great window, seemed
to cry out for heraldic angels, announcing the Great Day of Judgment on
gold-leafed trumpets. Thanks to parishioner David Foerster for making these
possible.

All of us will remember exactly where we were on 9/11. I was at the drafting
table finishing the designs for the Main Organ cases. I had penciled the
drawing the day before and was preparing to ink the drawing when I heard the
news reports. My entire staff came up to the drafting room and we all went to
the conference area where a small television showed us the horrors unfold as
the second airliner smashed into the second building. As we heard a large
airplane overhead, being sent to land at our local airport, I was asked if we
were going to close for the day. I said, no. We had to go about our task of
making beautiful things, especially in light of the ugliness that visited
itself on our country that day. If we wanted to take time off individually to
mourn our country's losses, go with my blessing, but the doors would remain
open and I would continue to draw a beautiful pair of pipe organ cases.

I set to cleaning out my India ink pens, and put on a CD of The English
Anthem II from St. Paul's Cathedral,
London.

Oh Lord, look down from heaven, and behold the habitation
of Thy holiness and of Thy glory: Where is Thy zeal and Thy strength? Thy
mercies towards me, are they restrained?

My deepest thanks to the musicians at All Saints Church, everyone on the
organ committee, Greg Kellison, chairman; Paul Elliott, the rector; David
Foerster, and Sarah Kennedy for selecting me and my firm for this tremendous
commission.

My overwhelming gratitude goes to the members of my staff whose hard work
and dedication made such an excellent instrument so sublime: Charles Eames,
executive vice president, general manager and chief engineer; Brian K. Davis,
associate tonal director; Keith Williams, service department director; Shayne
Tippett, shop manager; Jay Salmon, office manager; Evan Rench, pipe maker,
voicer; Steve Downes, tonal assistant; C. Robert Leach, cabinetmaker; Stuart
Martin, cabinetmaker; Kenneth McCabe, winding systems; Ray Wiggs, consoles,
windchests; Robert Ference, service technician; Stuart Weber, service
technician; Jonathan Borchardt, service technician; JoAnne Hutchcraft Rench,
receptionist.

--John-Paul Buzard

GREAT (4-inch wind pressure)

Manual II - unenclosed pipework

16' Double Open Diapason

8' First Open Diapason

8' Second Open Diapason (ext 16')

8' Viola da Gamba

8' Harmonic Flute

8' Bourdon

4' Principal

4' Spire Flute

22/3' Twelfth

2' Fifteenth

2' Fourniture V

13/5' Harmonic Mixture IV

16' Double Trumpet

8' Trombas (ext Ped)

4' Clarion (ext Ped)

Tremulant

Chimes

8' Major Tuba (20" wind)

8' Tuba Solo (melody coupler)

8' Fanfare Trumpets (Solo)

SWELL (4-inch wind pressure)

Manual III - enclosed and expressive

8' Open Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste

4' Principal

4' Harmonic Flute

22/3' Nazard

2' Flageolet

13/5' Tierce

22/3' Full Mixture V

16' Bassoon

8' Trompette

8' Oboe

8' Vox Humana

4' Clarion (ext 16')

Tremulant

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHOIR (4-inch wind pressure)

Manual I - enclosed and expressive

16' Lieblich Gedeckt (wood)

8' English Open Diapason

8' Flûte à Bibéron

8' Gedeckt Flute (ext 16')

8' Dulciana

8' Unda Maris

4' Principal

4' Koppel Flute

2' Recorder

2' Mixture III–IV (Dulcianas)

11/3' Fourniture IV

Sesquialtera II (22/3' & 13/5')

16' English Horn

8' Cornopean

8' Clarinet

Tremulant

Cymbalstern (14 bells)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

Harp (digital)

Celesta (digital)

ANTIPHONAL SOLO (4- & 51/2-inch wind)

Manual IV - in twin cases over the narthex (expressive)

8' Open Diapason

8' Viola da Gamba

8' Gamba Celeste (CC)

8' Melodia

8' Flute Cœlestis II (Ludwigtone)

4' Principal

4' Flûte d'Amour

2' Doublette

11/3' Mixture IV

8' Flügel Horn

8' Corno di Bassetto

Tremulant

Cymbalstern (8 bells)

Chimes (Gt)

8' Fanfare Trumpets

8' Major Tuba (Gt)

Harp (digital)

Celesta (digital)

PEDAL (various wind pressures)

32' Double Open Diapason (digital)

32' Subbass (digital)

32' Lieblich Gedeckt (Ch, digital)

16' First Open Diapason

16' Second Open Diapason (Gt)

16' Bourdon

16' Lieblich Gedeckt (Ch)

8' Principal

8' Bass Flute (ext 16' Bourdon)

8' Gedeckt Flute (ext 16' Lieblich)

4' Choral Bass

4' Open Flute (ext 16' Bourdon)

22/3' Mixture IV

32' Contra Trombone (wood)

16' Trombone (wood, ext 32')

16' Double Trumpet (Gt)

16' Bassoon (Sw)

8' Trumpet (ext 16')

4' Clarion (Sw)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHAPEL (4-inch wind, floating)

8' Open Diapason

8' Aeoline

8' Vox Angelica (tc)

4' Principal

Chapel on Great

Chapel on Swell

Chapel on Choir

Chapel on Solo

Chapel on Pedal

Intraddivisional couplers

Gt/Gt 16-UO-4

Sw/Sw 16-UO-4

Ch/Ch 16-UO-4

Solo/Solo 16-UO-4

Interdivisional couplers

Gt/Ped 8, 4

Sw/Ped 8, 4

Ch/Ped 8, 4

Solo/Ped 8, 4

Sw/Gt 16, 8, 4

Ch/Gt 16, 8, 4

Solo/Gt 16, 8, 4

Sw/Ch 16, 8, 4

Solo/Ch 16, 8, 4

Pedal Stops to Divisional Pistons

The Wicks Organ Company, Highland,
Illinois has built a new organ for the Barrington United Methodist Church,
Barrington, Illinois. In 1999 the church building was destroyed by fire. Their
losses included a 41-rank Möller pipe organ, which had been rebuilt as
recently as 1988. As planning for their new building began, the search for a
new pipe organ started. The church’s demands for their new organ were
that it had to be a great congregational organ, but also able to perform for
recitals as well. The sanctuary was to be a top-notch performance facility as
well as a place of worship. The church desired an organ of 3 manuals and 5
divisions, including an antiphonal. Each division was to have a principal
chorus, and the foundations of the Great organ were to be exposed.

The church committee heard many styles of instruments built by Wicks over
the last seven decades. This included, a North German neo-Baroque style
instrument, a symphonic organ scaled and designed by Henry V. Willis, an
American Classic, and an Aeolian instrument from the 1920s that had been
rebuilt by the Wicks Organ Company in conjunction with Mr. Madison Lindsey. The
service playing abilities of each instrument were demonstrated to the
committee, and they identified and found themselves drawn to the
English/symphonic style of the rebuilt Aeolian instrument. The organ committee
chose Wicks over several other builders after hearing several new Wicks
installations and the company ‘s recent success in exactly this style of
instrument.

The completed organ is described as an English service organ with orchestral
capabilities. The instrument is able to not only provide a seamless crescendo
from ppp to fff, but can do it with flair. In addition to service music, the
organ is able to perform every possible type of organ literature from the
Renaissance to the present. It is also able to realize orchestral
transcriptions with great skill, thanks to the presence of many orchestral solo
stops in each division, blending choruses, and 2-inch thick beveled and overlapping
felted shades. The completed organ consists of 24 ranks of pipes and 25 digital
voices. The Wicks design team pre-engineered space to accommodate real pipe
ranks to replace these voices. The Swell is on 7 inches of wind, the Pedal 10
inches; the Choir and Great are on 6 inches, with the exception of the
Clarinet, English Horn, and Tuba in the choir, which are all on 10 inches.

The solo reeds of this organ are of a unique style, derived from the
Willis/Wicks style reeds used in many Wicks organs over the decades, married to
the traditional ideas of Skinner solo reeds. The end results were clear,
smooth, stops of unique color and great versatility throughout the compass. The
greatest asset to the organ is the lively acoustical environment of the sanctuary.
The collaboration of the building committee, acousticians Kirkegaard &
Associates of Chicago, and the Wicks Organ Company have resulted in a
beautiful, successful combination of organ and room.

The console is drawknob style with 45-degree side jambs, a glass music rack,
and P&S keys with ivory resin naturals and ebony sharps. The drawknobs are
made of polished hardwood. Made of red oak, the interior is very light and the
exterior is stained to match the woodwork of the chancel furnishings. The console
features a tilt tab that allows the digital Tuba and Festival Trumpet to
emanate from the antiphonal division located in the rear of the church instead
of their native divisions. The console also has a Manual I/II transfer for
French literature.

Installation of Opus 6412 began in August of 2003, and an initial tonal
finishing and adjustment of digital voices took place in early September. After
the church’s dedication, Wicks tonal director Dr. William Hamner and reed
voicer Greg Caldwell completed an entire tonal finishing.

--Brent Johnson

Great (exposed)

16’ Violone*

8’ First Open Diapason

8’ Second Open Diapason

8’ Violoncello

8’ Harmonic Flute (Ch)

4’ Principal

4’ Flute Octaviante

2’ Fifteenth

IV Full Mixture

8’ Chorus Tuba (Ch)

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Chimes* (Ant)

Swell (expressive)

16’ Minor Bourdon*

8’ Open Diapason

8’ Stopped Diapason*

8’ Viola*

8’ Viola Celeste*

8’ Flauto Dolce*

8’ Flute Celeste*

4’ Octave Diapason

4’ Triangular Flute*

22/3’ Nazard*

2’ Recorder*

13/5’ Tierce*

IV Plein Jeu

16’ Waldhorn*

8’ Cornopean

8’ Oboe*

4’ Clarion

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Tremolo

Choir (expressive)

8’ Geigen (1-12*)

8’ Concert Flute

8’ Dolcan*

8’ Dolcan Celeste*

4’ Octave Geigen

4’ Transverse Flute

2’ Harmonic Piccolo

16’ Bass Clarinet

8’ Clarinet

8’ English Horn

8’ French Horn*

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

8’ Chorus Tuba

Tremolo

Harp*

Antiphonal (unenclosed - floating) (prepared)

8’ Festival Trumpet*

8’ Tuba Mirabilis*

Chimes*

Antiphonal Pedal (prepared)

Pedal

32’ Contre Bourdon*

16’ Open Wood

16’ Major Bourdon

16’ Violone* (Gt)

16’ Minor Bourdon* (Sw)

8’ Principal

8’ Flute

8’ Stopped Flute

4’ Octave

4’ Harmonic Flute (Gt)

32’ Ophicleide*

16’ Trombone (1–12*)

16’ Waldhorn (Sw)

8’ Tromba

8’ Trumpet (Sw)

4’ Oboe (Sw)

7-bell zimbelstern

*= Digital Voices

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

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.

Cover

Grant Edwards, Portland,
Oregon

Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia

 

From the builder

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

Temporary lodging

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

From the Northwest to the Southeast

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

Nips and tucks

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

Small is beautiful

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

A tonal world where none exclude

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

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

A firm foundation

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

Features create flexibility

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

Heavenly casework

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

Summary

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

--Grant Edwards

 

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

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

From the organist

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

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

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

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

John E. Wigal

Organist/Choirmaster

Grant Edwards, Portland, Oregon, Opus 1

Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia

16 ranks, 810 pipes

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

Lower Manual

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

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

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

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

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

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

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

                                    Mixture
III (double-draw)

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

Upper Manual

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

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

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

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

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

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

                                    Tremulant
(affects entire organ)

Pedal

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

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

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

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

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

 

                                    Lower
Manual to Pedal

                                    Upper
Manual to Pedal

                                    Manual
Coupler

 

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

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

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

—Wes Remmey

Fenris Pipe Organ, Inc.

 

GREAT

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

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

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

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

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

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

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

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

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

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

                                    Gt/Gt
4

                                    Sw/Gt
16-8-4

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Sw/Sw
16-4

                                    Tremolo

PEDAL

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

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

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

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

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

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

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

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

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

                                    Gt/Ped

                                    Sw/Ped

 

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

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

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

--James Lauck

Lauck Pipe Organ Company

 

GREAT

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

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

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

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

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

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

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

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

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

                                    Gt/Gt
4

                                    Sw/Gt
16-8-4

                                    Ch/Gt
16-8-4

SWELL

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Sw/Sw
16-UO-4

CHOIR

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Ch/Ch
16-UO-4

                                    Sw/Ch
16-8-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    Ch/Ped
8-4

 

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

 

GREAT

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

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

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

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

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

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

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

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

SWELL (enclosed)

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

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

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

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

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

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

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

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

PEDAL (flat pedalboard)

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

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

* E. & G.G. Hook, 1870

+ Stevens & Jewett, 1856

Cover

Hendrickson Organ Company,

St. Peter, Minnesota

Church of St. Peter,

St. Peter, Minnesota

 

When in March, 1998, a tornado gutted the Catholic Church of
St. Peter and damaged the Hendrickson shop and home, there was much for
everyone to do on many fronts. Fortunately, we were able to rescue our 1981,
opus 53, 27-rank organ from the historic and once-beautiful church, designed by
renowned architect Emanuel Masqueray. Unfortunately, during the church's final
heart-rending demolition, many of its other architectural and spiritual
features were lost in the rubble.

A large new church facility, including a sanctuary, school,
gymnasium, and offices, was designed on a new site under the direction of
principal Milo Thompson of BTR Architects of Minneapolis. The organ's visual
design is by Andreas Hendrickson, a former student of Thompson's, and now
designer at the Hendrickson Organ Company. Eric Hendrickson was in charge of
the organ installation, with tonal design by Charles Hendrickson.

The enlarged and revised organ is hardly recognizable in
either appearance or sound from the original. Now three manuals and 40 ranks
with a new movable console, the organ is centered in the choir area to the left
of the open chancel. The spaces between the speaking façade pipes are
filled with half-pipes salvaged from the tornado-damaged façade in the
old church. The organ represents the music history of the congregation by
incorporating pipes from the original 1912 organ and the Hendrickson
instruments of 1981 and 2001. Manual/pedal compass is 56/32.

Father Harry Behan, Kay Osborne, and musician Joan Werner
represented the church in the negotiations. Organists Diane Moberg and Vonnie
Elker have served since the organ opened. The organ was dedicated on September
30, 2001 by James Biery, organist of the Cathedral of St. Paul, which is
Masqueray's largest church building. The Sioux Trails Chapter of the AGO
(STAGO) uses the organ for its series of summer recitals.

The musical goals of the instrument are, like the modern
church, somewhat diverse, but it manages to project a traditional style in an
American Classic interpretation. The principals are of medium power and more
clean than heavy. The big reeds dominate full organ, but the overall effect is
one of blend rather than obliteration. The flutes are aimed at beauty rather
than power, again not too dark. The foundations can be mixed together smoothly
(if one desires), and there are adequate solo mutations and reeds. The
acoustics of the room requires more wind pressure and tonal power than the old
church needed. Psychoacoustics have a bit to play here—the sound is
enhanced because of the modern and exciting façade.

--Charles Hendrickson

Hendrickson Organ Company

 

GREAT

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

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

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

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

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

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

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

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

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

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

                                    Mixture
IV–VI

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

POSITIV

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

 

A. E. Schlueter Pipe Organ Company,
style='font-weight:normal'> Lithonia, Georgia, has completed the building and installation
of a two-manual instrument of 23 ranks for Stella Maris Catholic Church,
Sullivan's Island, South Carolina. The manual/ pedal compass is 61/32 and the
tuning is equal temperament. The chest action is electro-pneumatic. The
draw-knob console features tracker touch, multiple memory levels, and is
moveable.

The organ case and console are built of Honduras mahogany.
Mahogany was chosen for its resistance to dimensional changes under severe
climate conditions, a strong consideration with the church's location only 200
yards from the Atlantic at the mouth of the Charleston Harbor. The organ case
is located to one side of the gallery to allow sight lines between the
congregation and the gallery bell change ringers. The organ design was
developed with a goal of visual integrity to the older sanctuary architecture.
Incorporated in the gallery organ case are moldings and arches that mirror
those found in the chancel.

The façade pipes are gold with stencils. The stencil
patterns pick up liturgical elements and colors from the church's stained glass
windows. To assure accurate stencil colors, numerous paint samples were made in
the church in various lighting conditions.

The organ is voiced after an American/English tradition with
strong emphasis toward choral accompaniment. Prior to construction, sample
pipes were voiced in the room to aid in development of proper scales and
voicing. The decision to use large scales with moderate cut-ups and moderate
wind pressures has provided a richness and warmth in the organ registrations
for both solo and accompaniment. The organ reeds feature English shallots and
break harmonically to continue their tonal ascendancy. A large solo reed was
built as the instrument's tonal capstone. This stop, the Trombe Maestro, is
available in all divisions and is non-coupling. The organ was scaled, voiced,
and tonally finished by Daniel Angerstein with the assistance of John Tanner.
The consultant for this project was Rev. Lynn Bailey. The organist is Rhett
Barnwell, and the parish priest is Father McInerny. The organ was dedicated by
Gerre Hancock.

--Arthur E. Schlueter III

 

GREAT (unenclosed)

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

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

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

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

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

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

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

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

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

                  8'
style='mso-tab-count:1'>             Trombe
Maestro

                                    Tremolo

                                    Gt
16-UO-4

                                    Sw/Gt
16-8-4

SWELL (expressive)

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Sw
16-UO-4

PEDAL

                  32'
style='mso-tab-count:1'>          Sanftbass
(prepared for)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

 

GREAT (unenclosed)

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

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

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

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

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

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

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

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

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

                  8'
style='mso-tab-count:1'>             Trombe
Maestro

                                    Tremolo

                                    Gt
16-UO-4

                                    Sw/Gt
16-8-4

SWELL (expressive)

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Sw
16-UO-4

PEDAL

                  32'
style='mso-tab-count:1'>          Sanftbass
(prepared for)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4