New Organs

A. David Moore, Inc.,
North Pomfret, VT, has built a new organ for First Presbyterian Church,
Oshkosh, WI. The firm's opus 23 features a free-standing case of ash, trimmed
with cherry; pipeshades are basswood. Keys are covered with cowbone and
grenadil; stop pulls are hand turned applewood. Metal stops are of high lead
alloys, including facade pipework from the Great 8' and 4' Principals. The hand
engraved bone stop labels were done by Donald Carbino. Mechanical key and stop
action. The dedication recital was played by John Chappell Stowe; organist of
the church is Carol Winborne.

GREAT

16'
Bourdon

8'
Open
Diapason

8'
Stopped
Diapason

4'
Octave

2'
Fifteenth

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

22/3'
Twelfth
Bass

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

SWELL

8'
Chimney
Flute

8'
Dulciana

4'
Spire
Flute

8'
Trumpet

The Noack Organ Co., Inc. of Georgetown, MA, has built its Opus 124 for the chapel of the campus
of Toyo Eiwa Jogakuin, a women's university and high school in Yokohama. This
mechanical action organ is housed in a free-standing case, located in the
chapel's rear gallery. The original plan called for an organ in a simple case
in the modern style of the chapel.
Considering the fact that the majority of the students had very little exposure
to classical organs but would readily see the organ frequently the builder
suggested to the school authorities a style that would "look like a
commercial for J. S. Bach." Along with this suggestion it was decided to
design the case incorporating German elements, with towers and ornamental
carvings. The stoplist was restricted by space and budget to 17 stops, arranged
in the classical Hauptwerk/Brustwerk/Pedal Towers pattern. Swell shutters were
added to the "Brustwerk" to gain some flexibility in accompaniment.
The tonal design combines compatible elements from different
"classical" styles without trying to do things that an organ of this
size could not successfully accomplish. Consistent with the basic concept of
this organ a free-standing set of foot-operated bellows was placed in full view
behind the organ. More than just making the students aware that the organ is a
wind instrument, the non-blower winding actually turned out to be more quiet
and provides a calmer wind than the well-insulated "quiet" alternate
blower provides. Contributing artisans were Gebr. Käs of Bonn, Germany,
Kenneth Coulter of Eugene, OR and Lissa Turner of Merrimack, MA. Dr. Kazuo
Kohno, organ instructor at Toyo Eiwa Jogakuin, served as consultant for the
project. This organ is Noack's sixth in Japan.

GREAT

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

PEDAL

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

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

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

Bedient Pipe Organ Company, Lincoln, NE, has built a new organ for Redeemer Lutheran Church,
Bettendorf, IA. The firm's opus 40 comprises 13 stops, 15 ranks, and 792 pipes;
mechanical key and stop action. The case is of white oak, with pipe shades of
sap gum. Compass is 58/30. Dedication organist was Grant Moss. Linda Allebach
is church organist, The Rev. Richard Pokora is pastor, and Larry Peterson
served as consultant.

GREAT

8'
Principal
(TC)

8'
Rohrflute

4'
Octave

2'
Octave

III
Mixture

SWELL

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

8'
Salicional

4'
Spitzflute

22/3'
Nazard

2'
Flute

13/5'
Tierce

8'
Trumpet

PEDAL

16'
Bourdon

8'
Flute
(prep)

4'
Octave
(prep)

16'
Posaune
(prep)

8'
Trumpet
(Sw)

Gt/Ped

Sw/Ped

Sw/Gt

Tremulant

Zimbelstern
(prep)##

New Organs

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

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

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

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

GREAT

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

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

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

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

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

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

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

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

Cymbalstern

Gt
16-UO-4

Sw
16-8-4

SWELL

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Sw
16-UO-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

Gt
8-4

Sw
8-4

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

MANUAL I

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

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

MANUAL II

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

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

PEDAL

I/Ped

II/Ped

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

GREAT

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

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

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

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

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

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

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

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

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

Chimes

Zimbelstern

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremolo

CHOIR

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

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

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

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

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

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

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

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

Tremolo

FANFARE (prep)

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

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

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

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

--John-Paul Buzard

GREAT

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Cymbalstern

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

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

SWELL "A"

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

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

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

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

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

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

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

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

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

Tremulant

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

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

SWELL "B"

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

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

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

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

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

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

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

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

Tremulant

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

* denotes old pipework

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

GREAT

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

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

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

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

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

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

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

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

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

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

Tremulant

Chimes

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

CHOIR (prep)

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

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

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

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

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

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

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

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

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

Tremulant

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

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GREAT

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

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

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

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

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

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

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

IIIMixture

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

13/5' Tierce

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

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

Tremulant

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

PEDAL

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

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

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

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

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

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

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

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

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

GREAT

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

Tremolo

SOLO (enclosed with Swell)

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

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

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

Tremolo

ANTIPHONAL (prep)

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

MANUAL I or II

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

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

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

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

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

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

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

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

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

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

Chimes

PEDAL

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

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

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

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

Accessories

Tremulant

16' Contra-Bassoon reversible

I/Ped reversible

II/Ped reversible

II/I reversible

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

Analysis

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

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

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

D Gemshorn 8' 85 pipes, enclosed, variable scale

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

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

G Trumpet 16' prepared

GREAT

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

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

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

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

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

MIDI

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

New Organs

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

GREAT

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

CONTINUO

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

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

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

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

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

Zimbelstern
(prep)

PEDAL

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

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

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

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

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

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

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

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

GREAT

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

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

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

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

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

Mixture
II-III

CHOIR

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

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

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

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

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

PEDAL

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

Gt/Ped

Ch/Ped

Ch/Gt

Tremulant

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

POSITIV (prep)

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

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

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

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

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

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

MIDI

Zimbelstern

HAUPTWERK

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

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

8'
style='mso-tab-count:1'> Rohrflöte

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

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

2'
style='mso-tab-count:1'> Waldflöte

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

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

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

SCHWELLWERK

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

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

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

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

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

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

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

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

Tremulant

PEDAL

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

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

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

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

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

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

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

MIDI
(prep)

New Organs

Cover Feature

A. David Moore, North Pomfret, Vermont, Opus 27

The home of George Becker and Christo Bresnahan,

San Francisco, California

From the builder

Opus 27 is a compact two-manual organ designed to give the player the
greatest number of stop combinations and colors from a small stoplist. The
lower keyboard controls the Great, the upper the Positive. The manual compass
is 56 notes, and the straight pedalboard has 30 notes. Couplers include
Positive to Great, Positive to Pedal, Great to Pedal. The tremulant affects the
entire organ.

The Great has an 8' Clarabella, a 4' Principal in the display, Twelfth,
Fifteenth and Seventeenth. The Clarabella is scaled after examples found on
early Hook organs. The bass octave is stopped. Pipes from tenor C are of open
wood and of English style construction with the windway carved into the cap.
They are similar to early New England-style Stopped Diapason pipes without the
stopper. The blocks have a little step down after the front edge next to the
windway, which helps a great deal with the speech of the pipes. Provision of an
8' open stop on the Great allows for a rich plenum with a strong fundamental.
The Clarabella, drawn alone, serves as a distinctive foil to the 8' Stopped
Diapason. The Clarabella must not be confused with the Melodia, also an open 8'
stop. (The Melodia typically has an inverted mouth, a cap that protrudes over
the front of the pipe, more nicks, and a block, the top of which is curved
forward in various degrees depending on the builder.) Twenty-one Principal
pipes are in the display above the keyboards. The treble pipes are in the case,
followed, front to back, by Fifteenth, Twelfth and Seventeenth. Initially
conceived as a double draw Sesquialtera, it was thought better to separate the
two ranks to allow greater freedom of registration.

The Positive has an 8' Stopped Diapason of wood, a 4' Flute and an 8'
Trumpet. The Stopped Diapason is quite literally an open wood diapason which is
stopped, in the manner of early Hook and English examples. The speech has a
hint of quint and a subtle chiff. The Flute is of open wood pipes. The bass of
the Trumpet has wooden resonators, wooden blocks and shallots.
style="mso-spacerun: yes"> The blocks and shallots are turned (on
a South Bend lathe) from a single piece of wood. The inside bore of the shallot
is tapered. The tongue is held in place with a hardwood cleat and two small
wood screws. The opening in the shallot is tapered and milled into the wooden
face. The dimensions of shallot opening, bore, taper and resonator inside
diameters are close to eighteenth-century North European practice. The use of
wood for the shallot avoids the need for lead-faced shallots or leathered
shallot faces. The wood face, in terms of hardness, is somewhere between lead
or brass and a leathered surface. The brass tongues are fairly wide, thick, and
tapered. The lowest octave has wooden resonators which impart a strong
fundamental and circumvent concerns about collapse. Metal resonators are used
from 4' C with wood shallot-blocks; at middle C the resonators are metal, the
blocks lead and the shallots brass, much like an old North European Trumpet.
The Trumpet has a brightness of speech as well as a distinct and prominent
fundamental throughout. The Trumpet can be played either from the upper manual
or from the pedal, or on both manuals and pedal simultaneously. It is useful
for a cantus firmus, or for an independent pedal line when used with the 8' and
4' Positive stops against the lower manual plenum, and is satisfying as a solo
register.

The Pedal contains the 16' Subbass of butternut wood; the lowest six pipes
flank the manuals. The butternut, like most of the wood in the organ, was
felled on the North Pomfret Moore property. The logs were sawed into boards of
various thicknesses on a WoodMizer thin-kerf band sawmill. Much of the wood is
quarter sawn.

Metal in the Principal is lead with 28% tin. Smaller amounts of antimony,
bismuth and copper are added to the metal alloy. The melting pot holds 700 lbs
of metal. To this is added 1.25 lbs of antimony, .25 lbs of bismuth and 2.5 lbs
of copper. Copper seems to give the alloy a nice ringing sound. Antimony is
added to prevent metal collapse. Pipe metal was poured, hammered and fashioned
into pipes all in the Moore workshop. (A Dom Bédos-type hammering
machine, made by Dave Moore, graces the workshop and is used "once in a
while.") A new hammering machine that can automatically hammer a full
sheet of metal as it is taken from the casting table is now used. This machine
has 17 metal hammers that are raised and dropped onto the metal all at once,
covering the whole width of the sheet. The sheet is then advanced a fraction of
an inch and the hammers move over slightly. Metal hammered with this machine
prevents the "bacon effect" (caused by sheets of metal being hammered
on the edges more than in the middle, thus the sheet starts to get wavy like a
piece of cooked bacon). Hammering pipe metal is an old practice that hardens
the metal, optimizes pipe resonance and imparts a richness of timbre not
otherwise obtainable.

The metal pipework is voiced with fairly wide windways and regulation at the
toe hole for most stops. The toe holes are closed down until the volume of the
pipe is just right. In essence, an Open Diapason register would have pretty
much open toes in the mid range and then the treble pipes would be regulated a
bit at the top register. Toe regulation is important in stops above 4' pitch.
Thus with a 2' stop the windways are kept just right in the top octaves and the
volume is controlled at the toe. This keeps the top ranges of the stop from
being too loud and overpowering. This style of voicing, with moderate nicking,
is just about what the early New England organ builders practiced. One can
often find this type of voicing in various European styles. The pipes are cone
tuned.

The action is suspended, and is provided with easily accessible adjustment
nuts. Trackers are of wood with rolled threaded brass ends and wood or leather
nuts for adjustments. Some tracker ends have wires into the wooden trackers
that go through unbushed metal rollerboard arms. The pedal action has some felt
bushings and washers but the manual keyboards do not.

Winding for the organ is controlled by a small curtain valve. A small
single-fold reservoir is located at the bottom inside the case and feeds air to
three windchests through solid wood trunks in the manner of old instruments.
Pressure is 211/16 inches. Winding is flexible in that a sustained note in one
part of the keyboard is influenced by a moving passage in another part of the
register. The blower is a quiet operating Laukhuff. The tremulant is of the
tremblant doux type described by Dom Bédos and found on early French and
New England organs. A leather-covered door is poised at an angle in a horizontal
section of the main wind trunk. When the tremulant is engaged, the door
oscillates back and forth, creating fluctuation in the wind pressure and a
tremulant effect that varies depending on what is being played.

--A. David Moore

From the owner

I first met Dave Moore in 1970 when he was renting an apartment in the
Pigeon Cove house of Charlie and Ann Fisk. David apprenticed in the then small
Fisk shop before establishing his own workshop in North Pomfret, Vermont, where
he has been designing and building historically informed mechanical action
organs for over three decades. This unique builder has traveled extensively and
studied some of the finest old (and some new) organs of Germany, France, the
Netherlands, Denmark, Italy and England. He has a working knowledge of the
treatises of Clicquot and Dom Bédos. Living and working in New England,
he has acquired a knowledge, both intimate and scholarly, of the 18th- and
19th-century New England builders. His association with the likes of John Fesperman,
Barbara Owen, Fenner Douglass, Mark Brombaugh and Kevin Birch (to name but a
few) has contributed to his understanding of the organ and its music. (Indeed,
David himself is a quite respectable organist.)

Opus 27 was built almost entirely from trees harvested by David Moore on his
Vermont farm, from lead and tin melted, poured and hammered, and from cow
bones, fashioned into keys and stop labels, all in his workshop. When I visited
the shop in 2000 to see the progress of the instrument, boards for the Subbass
still had bark on them! Wood in the organ includes butternut, black cherry,
maple, ash, walnut, pine and oak. Basswood is used for the tableboards of the
windchests. Sliders are made of poplar. Pipe shades were designed by Tom Bowen
and carved by Dave Laro.

Working out the stoplist was an exciting process involving frequent e-mails,
conversations and a number of changes. The goal was to create an instrument of
character (Moore character) with a light, responsive suspended action, stops of
distinctive color, resilient winding, and a case which bespeaks its New England
roots.

Dave Moore and Thad Stamps drove the organ from North Pomfret to San
Francisco in 72 hours! Christo and I helped them unload pipetrays, blower and
organ parts into the modestly sized music room of our San Francisco Victorian.
Over the next three weeks the organ was erected and Dave completed tonal
finishing. The organ has an unmistakable character reflecting David's vision,
his New England craftsmanship and his musical genius. Opus 27 was celebrated
with a dedication recital played in January 2003 by Charles Krigbaum. At that
time Dave Moore gave a brief demonstration of the organ to an appreciative
audience.

Dave Moore prefers to avoid the term eclectic for his organs:

. . . the organs I've made have
a certain sound to them. Pretty full, quite a lot of fundamental, good solid
bass to most things, upperwork designed along the lines of early American
organs . . . I prefer not to have them labeled in any one way. If you say,
"This is an organ constructed after French principles," some people
think that all you can play on it is French music. I prefer to keep the stop
nomenclature in English, so that if someone comes along and says, "Aha!
This is very much like the old Dutch organs, it's perfect for that," they
play that music on it and they're very happy . . . You're much better off if
you can accept an instrument for what it is and play what you can on it.1

Although I have found the organ especially appropriate for playing Bach,
Sweelinck and their contemporaries (having myself played many old organs of
Holland and North and Central Germany), opus 27 does admirably well with the
likes of Franck, Hindemith, Pinkham and Hampton. David Moore and his co-workers
Tom Bowen and Thaddeus Stamps have created a cohesive, harmonious and
imminently musical organ in a little shop in rural Vermont. The sheer joy of
playing this splendid and modestly elegant instrument is, for me, as good as it
gets.

--George Becker, M.D.

Notes

1. Quoted from the essay "A. David Moore, Organ Builder: An Account of
His Work (1971-1994)" by Kevin Birch, music director of St. John's R.C.
Church, Bangor, Maine.

A. David Moore Opus 27 can be heard at the following website
. Dr. Becker, an orthopaedic surgeon, is assistant organist
at the Old First Presbyterian Church in San Francisco. Contact: George
Becker, M.D., 1375 Sutter St., Suite 304, San Francisco, CA 94109;
415/563-7383 . Cover photo: Sean Vallely

GREAT

8' Clarabella

4' Principal

22/3' Twelfth

2' Fifteenth

13/5' Seventeenth

Tremulant
(affects entire organ)

POSITIVE

8' Stopped
Diapason

4' Flute

8' Trumpet

PEDAL

16' Subbass

8' Trumpet

Couplers

Gt/Ped

Pos/Ped

Pos/Gt

30-note, straight pedalboard

Kellner temperament

A = 440

Fabry, Inc., Fox Lake, Illinois, has
completed the renovation of the organ at Zion Lutheran Church, Marengo,
Illinois, originally built in 1960 by Haase Pipe Organs of Chicago as three
manuals and 40 ranks. In 1986 the congregation demolished their old church and
built a new one on the same site. The organ was dismantled, stored, and then
installed in the new building. Over time, the organ deteriorated to the point
where some major work was necessary.

In February 2002, Fabry was engaged to repair, refurbish, and enlarge the
organ. Phase one, completed in October 2002, included a new three-manual
console with movable platform built by Fabry. The new console was fitted with a
Peterson MSP-1000 combination action, multiplex coupler relay and chamber
relay, and is prepared for MIDI. Phase two, completed in February 2003,
included the addition of six ranks of pipework, several additional windchests,
four new wind supply reservoirs, four electric tremolos, a Zimbelstern, and
complete revoicing and re-regulation of the entire instrument. Some of the
existing pipework was repaired and re-racked, and one rank was relocated. David
G. Fabry built all the chestwork, three-manual console, and movable platform.
Joseph Poland handled the installation.

GREAT

16' Quintadena

8' Principal

8' Bourdon

4' Octave

4' Gemshorn

2' Fifteenth

V Mixture

8' English
Trumpet (new)

Chimes

Tremolo

Gt/Gt
16-UO-4, Sw/Gt 16-8-4, Pos/Gt 16-8-4, MIDI/Gt

POSITIV

8' Quintadena

8' Wood
Flute (new)

8' Wood
Flute Celeste (new)

4' Rohrflote

2' Principal

11/3' Larigot

1' Sifflote

III Scharf

8' Trumpet
(Gt)

8' Cromorne

Zimbelstern
(new)

Tremolo

Pos/Pos
16-UO-4, Sw/Pos 16-8-4, MIDI/Pos

SWELL

8' Rohrgedeckt

8' Gamba

8' Gamba
Celeste (TC)

4' Principal

4' Spitzflote

22/3' Nazard

2' Koppelflote

13/5' Tierce
(new)

IV Mixture

16' Chalumeau
(new)

8' Trompete

4' Schalmei

Tremolo

Sw/Sw
16-UO-4, Pos/Sw, Gt/Sw,

MIDI/Sw

PEDAL

32' Acoustic
Bass (resultant)

16' Principal
(new)

16' Subbass

16' Quintadena
(Gt)

8' Principal

8' Nachthorn

4' Choral
Bass

II Rausch
Pfeife

32' Bombarde
(resultant)

16' Chalumeau
(Sw)

16' Posaune

4' Schalmei
(Sw)

Gt/Ped
8-4, Sw/Ped 8-4,

Pos/Ped
8-4, MIDI/Ped

Bedient Pipe Organ Company

Roca, Nebraska

First Presbyterian Church

Chippewa Falls, Wisconsin

The challenge to Bedient was to maintain the integral parts of an 1889
Steere and Turner, update and expand the organ, while at the same time make the
organ user-friendly and accessible. Opus 72 at First Presbyterian Church,
Chippewa Falls, Wisconsin (II/30) accomplished just that. In 2003, much of the
organ was dismantled and moved to our Lincoln, Nebraska shop where it was
reassembled, and old and new were interlaced.

New additions to the organ are 11 ranks of pipes (including a new speaking
façade drawn from the Principal 8' and Pedal Principal 8'), a new,
enlarged Swell windchest, electro-pneumatic stop action, solid-state
combination action, electro-pneumatic Pedal key action, wind system components,
both keyboards, the pedalboard and an adjustable height organ bench. Retained
and modified were the Great windchest and Pedal Bourdon wind-chest, some of the
façade casework (necessitating the stripping of old paint and careful
matching of cherry wood finish on both old and new parts), and structural parts
of the organ. The entire organ was revoiced to accommodate the newly renovated
sanctuary and blend the old and new pipes to be as one. The new stops are
indicated in italics.

--Gene Bedient

GREAT

16' Bourdon

8' Principal

8' Dulciana

8' Melodia

4' Octave

4' Flute
d'Amore

2' Fifteenth

Mixture
III-V

8' Clarinet

8' Trompete

SWELL

8' Open
Diapason

8' Salicional

8' Voix
céleste (tc)

8' Stopped
Diapason (new pipes 13-58)

4' Spitzflute

22/3' Nazard

2' Doublette

13/5' Tierce

Mixture
II (1980s addition)

8' Oboe

8' Trumpet
(1980s addition)

PEDAL

16' Bourdon

8' Principal

8' Bourdon
(ext)

4' Octave
(ext)

16' Fagott

Couplers

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

New Organs

Cover

Noack Organ Co., Inc., Georgetown, Massachusetts

Middlesex School, Concord, Massachusetts

From the Organ Builder

Trying to find the "right" style in designing a
new organ seems harder today than ever. Rather than just following an
established, clearly defined model, we must choose from a wealth of information
that today, more than ever before, is accessible to us. One solution would be
to seek comfort in the relative safety of copying some beloved historical
instrument. While there is some debate as to how far that can be achieved, our
own attempts at this have not been failures in that they seem to be as close to
the model as any restored original. This route would result in an organ that is
pleasant to look at and renders the music of its own period authentically and
beautifully. The opposite extreme, I suppose, would be to attempt the creation
of a new style, throwing overboard much of what has spelled success in years
past. Whenever that has been done, however, the results have usually been the
more disappointing in their paucity as less tried and proven features are
incorporated.

At Middlesex School we wanted to create an organ that
renders music from a large range of musical styles in a pleasant and reasonably
authentic manner. We also wanted it to accompany the school congregation well.
The pleasant, quite traditional architecture of the chapel, obviously, provided
valuable clues. Last but not least we let the many historic organs we have come
to love inspire us. More blessed by this wealth of information than burdened by
it, we did what we normally do and designed an organ that is somewhat unique,
that belongs to its environment such as this school and its chapel. Informed
and mindful of its setting, yet independent and strong in its task of making
our lives richer through great music of a powerful tradition, it truly is the
Middlesex School organ.

The layout of the new organ follows the classical pattern of
the Great and Pedal divisions being placed in the upper, wider portion of the
case. The large wooden pipes of the Stopped Bass 16' are actually hung from the
organ's ceiling in the center of the upper case, above the central wallboard.
These two divisions share a symmetrical pair of windchests, which also
facilitates transmission of some of the larger pipes as well as the Trumpet
stop. We find that the savings in space--making the organ rather compact and
therefore projecting better--seem even more significant than the savings in
cost. Such transmissions require check valves, which could adversely affect
pipe speech in smaller pipes and reeds, which is why no small pipes are
transmitted. The Trumpet utilizes channel dividers that actually make check
valves unnecessary for this stop. The Swell division occupies the upper half of
the lower case. Even the full-length 8' stop belonging to this division found
room in the lower case, albeit with some difficulty. The key action is all
mechanical, while the stop action is electrical, allowing an extensive
combination action. The wind system employs a small "static"
reservoir, located near the blower in a storage room under the organ, and a
wedge bellows in the lower part of the organ as well as wooden ducts. We
attempt to give the organ a breathing quality, which we prefer to the rather
stern sound of an overly stable wind system. It is essential, of course, that
there be no audible blower noise.

The tonal palette contains a Plenum, vaguely reminiscent of
those by J. S. Bach's contemporary Gottfried Silbermann, a set of three reed
stops that echo classical French reeds, and a Dulciana that traces its ancestry
to Old New England. The gentle and colorful flute stops have common roots in
many fine historic organs. The casework is made from solid maple, painted in
two shades of white, and decorated with turned black walnut spindles serving as
Swell and pipe screens. The keydesk area is also from black walnut. The manual
compass is 58 notes C-a''', the keys have bone naturals and solid ebony
sharps. The 30-note pedalboard is concave-parallel.

The entire crew at The Noack Organ Company has enjoyed
designing and building this organ. Having hosted it for a year at our workshop
pending completion of the chapel renovation we were almost sad to part with it.
We are very grateful for the trust in our work and the valuable assistance by a
large number of people connected with this project. Besides the entire organ committee,
we must mention Mary-Sue Willie, former organ instructor; Deidra Ling,
headmistress; Jim Saltonstall, business manager; and Sarah Megan, head of the
Music Department of Middlesex School. We particularly enjoyed the cooperation
with Peter Sugar and the great staff of the firm of Ann Beha, Architects, of
Boston. The advice of Carl Rosenberg of Acentech, acoustical consultant, was
helpful, indeed, to provide a pleasant acoustical setting for the new organ.

--Fritz Noack

From the Dedication Recitalist

It was a pleasure and honor to perform the dedication
recital on this new organ. Rarely is a new instrument so perfectly integrated
into an existing building; much sensitivity was shown by architects and
acousticians in planning the placement and design of this organ balcony, and
the organ perfectly ornaments the room both visually and acoustically. It is
also an educational bonus in a school setting for the organist's activities
(especially pedalwork) to be seen clearly by the student congregants. It's important
not to hide the organist!

Music for the dedication recital of an organ must be
carefully chosen; simple and complex, fast and slow, soft and loud, Baroque,
Romantic and modern works must balance in order to show the full range of the
instrument's capabilities. This recital program attempted to show the
considerable possibilities afforded by the new organ, but the instrument's full
versatility will only be revealed in the coming years. The recital included
works of Buxtehude, James Woodman, Mendelssohn, Pierre du Mage, Messiaen, and
Bach, and all fit the instrument splendidly.

The Great chorus is strong, well-balanced, and focused
without aggressiveness. The Trumpet can seem to have both a dark German or
bright French sound depending on what is added to it; alone, it can hold its
own either in solo or contrapuntal textures. The Chimney Flute is strongly
colored but without excessive chiff, making it very useful as an
accompanimental stop. The mutations are strong and of principal tone, resulting
in good blend with either the Trumpet or the chorus.

The Swell division is quite a bit more than its stoplist
might indicate. The full-compass Dulciana sounds as a gentle, small Principal
much like early nineteenth-century examples and blends with the full-bodied
Gedackt to provide a strong foundation for the upperwork. The Principal 4'
anchors the division, while the Mixture is not high-pitched; it is even a bit
lower than the Great mixture, thus producing a tightly-knit chorus sound that
complements the Great and adds intensity without extra brilliance. The Cremona,
rich in fundamental, can function both as a chorus and solo reed, while the
flutes are piquant and colorful.

The Pedal provides a useful palette of colors and strengths
to support the manual sound; the Posaune in particular blends in with the other
stops and adds both considerable fundamental and quick speech to the lowest
pitches.

The key action is crisp and light, just as sensitive to
nuances of release as attack. There seems to be a felicitous balance between
the heft of the key action and the spring of the pedal action, resulting in an
almost-miraculous ease of coordination between them for passages where all
parts move simultaneously. The electric stop action makes the organ seem bigger
as quick registration changes become possible, increasing the flexibility
considerably.

It has never been as important as now to provide the best
possible examples of the organ for young people to experience in formative ways
in school settings. This new organ sets an example that I hope will be emulated
over and over as Middlesex students go out into the world.

--Peter Sykes

GREAT (Manual I)

8'
style='mso-tab-count:1'> Diapason
(70% tin, front)

8'
style='mso-tab-count:1'> Chimney
Flute (30%)

4'
style='mso-tab-count:1'> Octave
(70%)

22/3'
style='mso-tab-count:1'> Twelfth
(30%)

2' Fifteenth
(70%)

13/5'
style='mso-tab-count:1'> Seventeenth
(30%)

11/3'
style='mso-tab-count:1'> Mixture
IV (70%)

8'
style='mso-tab-count:1'> Trumpet
(20%)

SWELL (Manual II)

8'
style='mso-tab-count:1'> Gedackt
(C-B maple, rest 30%)

8'
style='mso-tab-count:1'> Dulciana
(70%)

4'
style='mso-tab-count:1'> Principal
(70%)

4'
style='mso-tab-count:1'> Recorder
(30%)

2'
style='mso-tab-count:1'> Gemshorn
(30%)

2'
style='mso-tab-count:1'> Mixture
III (70%)

8'
style='mso-tab-count:1'> Cremona
(30%)

PEDAL

16'
style='mso-tab-count:1'> Stopt
Bass (maple)

8'
style='mso-tab-count:1'> Diapason
(30%, C-B Gt)

8'
style='mso-tab-count:1'> Gedackt
(30%, C-fº Gt)

4'
style='mso-tab-count:1'> Octave
(30%)

16'
style='mso-tab-count:1'> Trombone
(30%, C-Fs 1/2 length)

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

New Organs

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

MANUAL I

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

8'
Rohrflöte (18 wood, 38 of 15% tin)

4'
Octave (15% tin)

2'
Mixtur III (15% tin)

MANUAL II

8'
Gedackt (wood)

4'
Holzflöte (wood)

2'
Principal (15% tin)

PEDAL

16'
Subbass (12 wood, 18 from Rohrflöte)

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

GREAT

16'
Bourdon

8'
Principal

8'
Stopped Diapason

4'
Octave

4'
Chimney Flute

2'
Fifteenth

IV
Mixture

III
Cornet

8'
Trumpet

Zimbelstern

SWELL

8'
Violin Diapason

8'
Celeste

8'
Gedeckt

4'
Principal Flute

22/3'
Nazard

2'
Octavin

III
Mixture

16'
Faggot

8'
Trompette

8'
Hautboy

Tremolo

PEDAL

16'
Subbass

16'
Bourdon (Gt)

8'
Principalbass

8'
Flutebass (ext)

4'
Choralbass (ext)

16'
Trombone

8'
Tromba (ext)

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

GREAT

16'
Bourdon*

8'
Principal

8'
Chimney Flute*

8'
Salicional*

4'
Octave

4'
Cone Flute*

22/3'
Twelfth*

2'
Fifteenth

13/5'
Seventeenth*

11/3'
Mixture IV

8'
Trumpet

Chimes

Bell
Star

Sw/Gt

SWELL

8'
Viol Principal

8'
Wood Flute

8'
Celeste

8'
Gentle Flute

4'
Fugara

4'
Harmonic Flute

2'
Octavin

16'
Bassoon

8'
Cornopean

8'
English Horn

PEDAL

16'
Subbass

16'
Bourdon (Gt)

8'
Principal (Gt)

8'
Cello

8'
Chimney Flute (Gt)

4'
Octave Bass

16'
Trombone

8'
Trumpet (Gt)

Gt/Ped

Sw/Ped

Tremulant

*Great stops enclosed in the Swell box with Swell stops

New Organs

Cover

Our Savior's Lutheran Church,
Rockford, Illinois

Buzard Pipe Organ Builders,
Champaign, Illinois

Opus 23

Builder's statement

It has been a high honor to build the new organ for Our Savior's
Lutheran Church. The congregation is actively engaged in musical expression at
every service and their participation is extraordinarily high. The new organ is
a part of the congregation's ongoing growth and recent construction of a new
church building.

The Evangelical Lutheran Church of America is an inclusive,
living tradition which embraces diversity and newness, while fostering
liturgical expression through the Lutheran Book of Worship and its incredibly
rich musical tradition. It is truly a catholic, inclusive tradition, as are its
musics and requirements for an organ. Therefore, a balanced eclecticism must be
embraced when designing the organ. However, it is only through a single
artistic vision that such eclecticism can have integrity as the organbuilder's
individual style.

Our instruments are first and foremost accompanying organs.
Their primary roles are accompanying choirs, leading hymn-singing and lending
grandeur to ceremonial occasions. They are liturgy-spirited, but
literature-minded as well. A wide variety of solo literature played for
voluntaries and recitals is an essential requirement of an organ and is given
careful consideration when designing all our instruments. The true test of such
an instrument is its ability to sensitively accompany choral repertoire,
colorfully illuminate textual subtleties in the hymns and canticles, and
musically render the Bach "Magnificat" fugue at the close of service.

The abundance of 8-foot stops creates a blended full sound,
made more intense by each successively added stop as a crescendo is built. The
rich, warm "Buzard Trademark" strings are sufficient for leading a
congregation of 300 people, and the full Swell behind the box majestically
supports a choir without overpowering. The Festival Trumpet (a Tuba) can
regally herald the arrival of the Bishop or a bride, and it is orchestrally
appropriate to the full organ's accompaniment. The organ can text-paint the
hymns and accompaniments through registrations and subtle changes as the
meaning of the texts shifts. Within its modest stoplist are the resources to
effectively capture the sprightliness of Purcell, the spirituality of Howells,
and the intricacies of Bach's counterpoint.

The case of this organ is made of solid white oak with
walnut accents, and was designed in conjunction with the building's architects.
The facade pipes utilize flamed copper and polished tin, with the low 9 pipes
of the Pedal 16' Open Diapason made of poplar and cherry, lacquered in a color
which harmonizes with the other colors in the room. The Tuba is horizontally
mounted over the Great Organ and is made of flamed copper. The interior pipes
are made of 50% tin and lead, with 15% tin for some of the metal flutes. The
Great, Swell, and a portion of the Pedal divisions play upon 4 inches of wind
pressure. The low 10 pipes of the Pedal 16' Open Diapason and the 16' Bourdon
play on 41/4 inches, the Festival
Trumpet plays on 10 inches of pressure. The organ comprises 24 stops, 30 ranks,
across two manuals and pedal.

Thanks to the Buzard staff who have made this organ a
reality, and who turn hunks of wood and metal into living, breathing, and
singing creations worthy to praise and extol our Creator. John-Paul Buzard,
design, artistic direction, tonal finishing; Brian Davis, head voicer, manager,
tonal department, installation; Stephen P. Downes, tonal assistant,
installation; Charles Eames, general manager, engineering, installation; R.
Charles Leach, cabinetmaker, installation; Stuart Martin, cabinetmaker,
installation; Kenneth McCabe, cabinetmaker, wind system, installation; Jay K.
Salmon, office manager; Ray Wiggs, console & chest builder, installation;
Keith Williams, service department manager.

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'> Flûte
à Bibéron (metal)

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

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

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

Chimes

8'
style='mso-tab-count:1'> Festival
Trumpet (10≤ wind)

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

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

MIDI
on Great

SWELL

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

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

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

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

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

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'> Festival
Trumpet (Gt)

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

Sw/Sw
16-UO-4

MIDI
on Swell

PEDAL

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

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

                  16'
style='mso-tab-count:1'>          Open
Diapason (wood, flamed cop-                                        per,
polished tin)

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

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

8'
style='mso-tab-count:1'> Principal
(from 16') (tin-facade)

8'
style='mso-tab-count:1'> Gedeckt
Flute (from 16')

4'
style='mso-tab-count:1'> Choral
Bass (from 8') (tin-facade)

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

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

8'
style='mso-tab-count:1'> Trumpet
from 16')

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

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

Gt/Ped
8 4

Sw/Ped
8 4

MIDI
on Pedal

Festival Trumpet

Swell reed battery

Lauck Pipe Organ Company, Otsego, Michigan, has completed an
organ renovation project for Pillar Christian Reformed Church, Holland,
Michigan. The church's organ was originally built in 1900 by Barkhoff. In 1928,
Hinners installed an electro-pneumatic organ. Stolz Piano and Organ of Holland,
MI, was contracted in 1965 to provide a new console, recondition pipes and
replace the blower. In 1996 Lauck Pipe Organ Company installed a new 2-manual
console and completed an electric action rebuild as their Opus 42, which added
11 new ranks, repositioned the windchests, and returned the facade to the 1900
configuration. The present project added nine new ranks, including a third
manual division, revoicing and rescaling of old ranks, and a new three-manual
console. The firm's Opus 52 comprises 31 ranks, electric action. A service of
rededication took place on September 10 with guest organist Linda Hakken
performing. Jonathan Tuuk played the rededication concert on September 11.

GREAT

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

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

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

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

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

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

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

Mixture
III

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

Chimes

Harp

Gt/Gt
4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

CHOIR

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

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

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

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

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

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

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

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

Tremulant

Ch/Ch
16-4

Sw/Ch
16-8-4

SWELL

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

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

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

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

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

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

Plein
Jeu III

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

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

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

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

Tremulant

Sw/Sw
16-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

Orgues Létourneau Limitée, Saint-Hyacinthe,
Québec, has completed a new organ for the historic Chapel Royal of St.
Peter ad Vincula at H.M. Tower of London. The firm's opus 70, the instrument
features mechanical key action and both mechanical and electronic stop action.
The organ was designed to accompany the chapel's professional choir, as well as
provide leadership for worship services. It is built within the 1699 case by
Father Smith, which was restored in the Létourneau workshops to its
original dimensions. The facade pipes, composed of the 8' Open Diapason, are
made of 70% tin (as is the entire principal chorus) and are gilded with 24
carat gold by artisan Isabelle Hordequin. Manual naturals are covered with
bone, accidentals are ebony; pedal naturals of maple, accidentals of ebony;
manual/ pedal compass 56/32. The photo is reproduced by permission of Historic
Royal Palaces under license from the Controller of Her Majesty's Stationery
Office.

Crown copyright: Historic Royal Palaces

GREAT

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

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

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

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

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

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

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

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

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

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

Tremulant

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

PEDAL

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

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

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

8'
style='mso-tab-count:1'> Bourdon
(1-12 stopped wood)

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

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

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

R.T. Swanson, Inc., of Grand Ledge, Michigan, has built a
new organ for the chapel of Michigan Lutheran Seminary, Saginaw, Michigan. The
school is affiliated with the Wisconsin Evangelical Lutheran Synod. Its main
purpose is to train students in grades 9 through 12 who are anticipating
careers in the teaching and pastoral ministries. The organ will be used for
daily chapel services and as a teaching and practice instrument.

The two-manual organ comprises 20 ranks, 1186 pipes located
in a shallow chamber created from what was previously second level storage
space. Action is electro-mechanical. All pipes are new with the exception of
the Subbass, Holtzgedeckt/Gedecktbass, and Hohl-flöte, which are recycled
pipes which were revoiced to blend with the new. Facade pipes are polished zinc
and are from the bass 17 of the Great 8' Principal and the bass 18 of the Pedal
8' Octave. The console is located on a rolling platform on the chapel's main
floor and features a 32 memory combination action and out only MIDI. Compass is
61/32. The organ dedication was on August 26 and featured a performance by
Leonard Proeber.

GREAT

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

8'
style='mso-tab-count:1'> Rohrflöte

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

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

4'
style='mso-tab-count:1'> Hohlflöte

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

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

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

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

Gt
16-UO-4

Sw/Gt
16-8-4

MIDI
on Gt

SWELL

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

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

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

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

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

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

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

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

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

Sw
16-UO-4

MIDI
on Sw

PEDAL

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

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

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

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

8'
style='mso-tab-count:1'> Bassflöte

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

4'
style='mso-tab-count:1'> Flöte

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

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

Gt/Ped
8, 4

Sw/Ped
8, 4

MIDI
on Ped

New Organs

Related Content

New Organs

GREAT

MANUAL I

MANUAL II

PEDAL

GREAT

SWELL

CHOIR

PEDAL

GREAT

SWELL "A"

SWELL "B"

PEDAL

GREAT

SWELL

PEDAL

GREAT

SWELL

PEDAL

GREAT

SWELL

PEDAL

MANUAL I or II

PEDAL

Analysis

GREAT

SWELL

PEDAL

New Organs

New Organs

New Organs

From the Organ Builder

From the Dedication Recitalist

New Organs

New Organs

Cover

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