New Organs

Information supplied by George Edward Damp, University
Organist, Associate Professor of Music, and Chair, Departments of Music History
and Historical Keyboards, and by John Brombaugh.

John Brombaugh, Organbuilder, Eugene, Oregon, has built the firm's opus 33 for Lawrence University,
Appleton, Wisconsin. The three-manual, mechanical action organ is a mix of many
historical styles, and comprises 42 stops, 49 ranks, and 2,496 pipes. The stop
and combination action is a solid state system with 32 levels of memory, 12
general pistons, and eight pistons for each division. Lawrence Memorial Chapel
has a deep orchestral stage with good acoustics, so the organ has been placed
at stage rear on a raised platform which puts the organist in view of the
auditorium audience and allows interaction with musicians and directors on
stage. A shallow loft 12 feet above the floor at the back of the stage that
runs to the ceiling offers effective acoustic projection of the Swell and Pedal
divisions.

The architectual design of the main case housing the Great
and some of the Pedal was inspired by the 1685 "Father" Smith organ
at Christ Church Cathedral, Oxford. The Positive is based on an idea used by Charles Fisk, cantilevered in front of the main case over the organist's head. The major parts of the casework are made from white oak fumed by concentrated
ammonia, then oiled. The unfumed white oak decorative carvings and pipe shades
were designed and executed by David Campbell. The Swell division is located in
the loft above and behind the main case. The Pedal Posaune and Subbass are
located in the loft or under the Swell.

The principal design influence on the majority of pipes and
voicing is from old North German/Dutch organs. The Great reeds are based on the
late classical French type and the Swell reeds and some of its flues are based
on ideas of "Father" Henry Willis. Tuning is based on an unequally
tempered system developed by Herbert Anton Kellner; pitch is a440. The front
pipes for the Great case are 98% lead; Positive facade is of 98% tin; the
majority of interior plenum pipes are 23% tin; bass resonators of the Contra
Oboe are partially of copper. The Pedal Subbass is of Douglas fir; the bass octave of the 32' Posaune is of tulip poplar. All pipes were fabricated in the
Brombaugh shop, and all metal pipes are hammered. Smaller open metal pipes are
cone tuned; stopped metal pipes have soldered caps.

The manual keys have line-engraved natural keyplates made of
cow shinbone; sharps are ebony. The keyscale follows that of Andreas
Silbermann's organ in Marmoutier, Alsace. The flat pedalboard follows the old
American standard. Compass is 56/30. Other details around the keydesk include
ebony moldings near the keys, zebrawood keycheeks, and music rack of zebrawood
with a frame of ebony and fumed white oak. Stop knobs with engraved nameplates
are turned of boxwood, rosewood, or coca bolo.

The slider windchests have tables of western red cedar on a
grid of white oak and sugar pine. Alaskan yellow cedar sliders are used with
modern slider seals, and sugar pine toeboards. Pallet valves are made from
laminated poplar or Sitka spruce. Manual pallets are covered with a single
layer of leather; pedal pallets are covered with felt and leather. The
suspended action uses trackers made from Alaska yellow cedar; rollerboards use
steel rollers with welded arms and teflon bearings. The Swell division features
shades of laminated Sitka spruce, mechanically controlled.

The wind system consists of two large single-fold wedge
bellows in a room below the stage, and a third small wedge bellows below the
Swell windchests. Wind is supplied by a one horsepower blower, conveyed through
large rectangular wooden wind conductors. The wind is musically flexible
without requiring any assisting stablizers. The Pedal Posaune and Subbass are
on 130 mm; the remainder of the organ is on 87 mm. Two tremulants are present:
the tremulant affecting the Great and Positive is based on a form used by Arp
Schnitger and can be adjusted for depth by the position of the activating knob;
the Swell tremulant uses a small motor-driven weight on the Swell bellows.

The Brombaugh staff included Chris Fralick, David Campbell,
Karl Nelson, Keith Spahn, Michael Korchonnoff, Darron Welch, Terry Lambert,
Mark Werner, Matthew Vettrus, Trent Buhr, Bob Lea, Fred Spencer, Christa
Brombaugh, and John Brombaugh.

The Memorial Chapel, built in 1918 as a World War I
memorial, contained previous organs by Steere (1919), Kimball (1934), and
Schantz (1965). The organ department was chaired from 1926 to 1969 by La Vahn
Maesch (who served as Dean of the Conservatory 1954-70), and Miriam Duncan from
1969-84, when George Edward Damp was appointed University Organist. Robert
Dodson is Dean of the Conservatory. The new organ was dedicated on May 5, 1995
with a recital by Prof. Damp featuring works of Alain, Muffat, Couperin, Below,
Bach, Mendelssohn, and Brahms.

GREAT

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

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

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

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

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

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

                                    Mixture
IV-VI

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

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

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

POSITIVE

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

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

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

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

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

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

                                    Sesquialter
II

                                    Scharff
IV-VI

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

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

SWELL

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

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

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

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

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

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

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

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

                                    Willis
Mixture III

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

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

PEDAL

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

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

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

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

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

                  32'
style='mso-tab-count:1'>         Contra
Posaune

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

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

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

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

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

                                    Couplers

                                    Gt/Ped

                                    Pos/Ped

                                    Sw/Ped

                                    Pos/Gt

                                    Sw/Gt

*Great stops that transmit to Pedal

+Some bass tones common with another stop

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

GREAT

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

CONTINUO

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

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

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

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

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

                                                Zimbelstern
(prep)

PEDAL

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

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

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

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

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

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

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

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

GREAT

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

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

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

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

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

                                                Mixture
II-III

CHOIR

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

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

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

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

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

PEDAL

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

                                                Gt/Ped

                                                Ch/Ped

                                                Ch/Gt

                                                Tremulant

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

POSITIV (prep)

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

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

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

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

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

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

                                                MIDI

                                                Zimbelstern

HAUPTWERK

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

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

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

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

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

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

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

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

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

SCHWELLWERK

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

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

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

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

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

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

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

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

                                                Tremulant

PEDAL

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

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

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

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

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

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

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

                                                MIDI
(prep)

Cover

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

Rosales Organ Builders, Inc., Los Angeles, CA, has built a new organ, op. 17, for King of Glory
Lutheran Church, Dallas, TX: 32 stops, 37 voices, 48 ranks, 2,683 pipes. The organ features a detached console with 61/32 compass, mechanical key action, electric stop action, and a multi-level combination system. Wind pressures are
31/2" manuals, and 41/2" pedals. Additional features include
Cymbelstern, Nightengale, manual tremolo, pedal tremolo, and wind stabilizer
cut-out.

GREAT

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

                  8'
style='mso-tab-count:1'>             Principal I-II (rank II 25-49)

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

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

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

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

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

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

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

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

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

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

SWELL

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

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

                  8'
style='mso-tab-count:1'>             Voix céleste (t.c.)

                  8'
style='mso-tab-count:1'>             Gedeckt (wood & metal)

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

                  4'
style='mso-tab-count:1'>             Flûte traversière (wood & metal)

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

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

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

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

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

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

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

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

SOLO

                  V
style='mso-tab-count:1'>              Solo Cornet (from g20, mounted)

                                    Preparation
for additional stops

PEDAL

                  16'
style='mso-tab-count:1'>          Prestant (from Great-wood & metal)

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

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

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

                  4'
style='mso-tab-count:1'>             Super Octave (ext. Octave)

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

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

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

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

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

Austin Organs, Inc.,
has recently completed the installation of Opus 2750 for Christ Evangelical
Lutheran Church, Lewisburg, PA. The organ enjoys ideal placement left of the
altar area, immediately behind the choir loft. The design and subsequent
building of the new organ casework was done as a joint effort between Austin
Organs, Inc. and local craftsmen. The console is a three-manual stopkey style
with an oak case. Action is electro-pneumatic in the standard of the Austin
Universal Air-chest System.

GREAT

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

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

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

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

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

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

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

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

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

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

                                    Chimes

SWELL

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

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

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

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

                  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'>             Block Flute

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

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

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

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

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

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

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

                                    Tremulant

POSITIV

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

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

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

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

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

                  1'
style='mso-tab-count:1'>             Sifflöte

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

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

                                    Temulant

                                    Zimbelstern

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

J.F. Nordlie Company,
Sioux Falls, SD, has built a new organ, opus 31, for Sankte Georg Kapelle at
The Little World of Man Museum in Inuyama-shi, Aichi-ken, Japan. The museum includes a 7/10 scale replica of the Unter-Ammergau church in its Bavarian Village display. The room has a richly frescoed barrel-vault ceiling, three polychromed and gilded altar pieces, wood and plaster carvings in high baroque and rococo styles, a quarry-tiled floor and excellent acoustics. The case design and stoplist imitate South German prototypes from the mid 18th-century. High baroque design and artistry guided decisions about case shape (a central void between the bass towers frames the west window) and details (moldings copied from organs in Innsbruck, carvings and paint colors found in numerous Bavarian and Tyrolean kirchen). Mechanical key and stop actions; flexible wind by a single-fold wedge reservoir, curtain valve and feeder bellow or high speed
electric blower; wind pressure 55 mm; 168 metal pipes of 80% tin, 24 wood
basses of American black walnut; casework of painted poplar and oiled white
oak, with gilded moldings (23k goldleaf) and carvings (poplar); keydesk of
black walnut with ebony and boxwood-plated carved sugar pine keyboard, carved
walnut keycheeks, gilded keyheads, 8 bone-studded boxwood drawknobs; burl elm
music desk; maple and walnut-plated white oak pedal keys (having antique
sharpkey profile). Compass 54/27.

MANUAL

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

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

                  4'
style='mso-tab-count:1'>             Prinzipal (treble & bass)

                  4'
style='mso-tab-count:1'>             Nasat (treble)

                  2'
style='mso-tab-count:1'>             Oktave (bass & treble)

PEDAL

                  pulldown
to manual keys, with pedal check

Bedient Pipe Organ Company, Lincoln, NE, has built its opus 43 for Christ Lutheran Church, also
of Lincoln. The organ features three stops, three ranks, and 168 pipes. The
case is of white oak with pipe shades of red gum; mechanical key and stop
actions. Organist is Marlene Hallstrom; pastor is The Rev. Tom Hallstrom. The
organ was displayed and used for workshops at the Dallas AGO convention, and
then moved to Grace Lutheran Church.

GREAT

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

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

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

PEDAL

                  Manual/Pedal

Kegg Pipe Organ Builders, Uniontown, OH, has built a new organ of 16 ranks for Trinity Lutheran
Church, Winfield, KS. The existing gallery chamber was rebuilt with sound
reflecting walls and the exterior was refinished in white to match the rear
wall. The Swell and Pedal Subbass were placed in the chamber; Pedal Principal
and Great Principal chorus were encased on top of the chamber. The standard
Kegg console is a terraced drawknob design with walnut interior, and fitted
with multiple memory SSL combination system. Manual keys are reversed color and
fitted with tracker touch; naturals are covered in ebony and sharps are covered
in walnut with bone caps. Pedal sharps are walnut. Console and case are of
white oak; the console is movable throughout the gallery. The dedication was
played by John Behnke, who also served as consultant to the church. The dedication also featured the church’s choirs under the direction of Sandy Yount, director of music, and Amy Haist. Norma Orr was chair of the organ committee. Organ construction and installation were by Charles Kegg, Frank Vinton and Lois Lee; tonal finishing was done by Charles Kegg and Frederick Bahr.

GREAT

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

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

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

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

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

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

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

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

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

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

                                    Chimes

                                    Gt/Gt
4'

                                    Sw/Gt
16' 8'

SWELL

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

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

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

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

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

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

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

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

                  13/5'
style='mso-tab-count:1'>      Tierce (37 pipes)

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

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

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

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

                                    Tremulant

                                    Sw/Sw
16' 4'

PEDAL

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

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

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

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

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

                  32'
style='mso-tab-count:1'>          Harmonics (derived)

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

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

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

                                    Gt/Ped
8'

                                    Sw/Ped
8'

A. E. Schlueter Pipe Organ Sales and Service, Inc., Lithonia, GA, has built an organ for Covenant Presbyterian Church, Huntsville, AL. The new organ incorporates the 1968 Schantz organ opus 837 (II/13) from Grace Episcopal Church, Gainesville, GA. With the exception of the 16' octave of the Gemshorn, all of the Schantz
pipework was reused. New pipework was purchased from Giesecke-Colby, USA,
enlarging the instrument to 24 ranks. The console was rebuilt and additional
chestwork was constructed in Lithonia.

GREAT

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

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

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

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

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

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

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

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

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

                                    Gt/Gt
16-UO-4

                                    Sw/Gt
16-8-4

SWELL

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

                  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'>             Koppelflote

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

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

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

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

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

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

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

                                    Tremulant

                                    Sw/Sw
16-UO-4

PEDAL

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

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

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

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

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

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

                                    Gt/Ped
8

                                    Sw/Ped
8

*Additions by A.E. Schlueter

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

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

HAUPTWERK

16’           Bourdon

8’               Prinzipal

8’               Rohrflöte

4’               Oktave

4’               Spitzflöte

22/3’     Quinte

2’               Superoktave

13/5’     Terz

11/3’     Mixtur
IV

8’               Trompete

SCHWELLWERK

8’               Salicional

8’               Hohlflöte

8’               Celeste
TC

4’               Principal

4’               Rohrflöte

2’               Waldflöte

1’               Scharf
III

8’               Oboe

                        Tremolo

PEDAL

16’           Subbass

8’               Prinzipal

8’               Bourdon

4’               Choralbass

2’               Rauschpfeiffe
III

16’           Posaune

8’               Trompete