New Organs

From the builder

Hendrickson Organ Company, St. Peter, Minnesota, has built a
new organ for Wayzata Community Church, Wayzata, Minnesota. Opus 92 is a
4-manual, 70-rank tracker action instrument installed in a white colonial-revival style case at the front-center of the new church sanctuary. The "C.
Charles Jackson" pipe organ is named for its principal donor and long-time
supporter of the church and its music program. Diana Lee Lucker is Director of
Music and Organist.

The facade pipes are in 70% tin from the Pedal Prestant 16',
the Great Principal 16', Octave 4', and Horizontal Trumpet 8'. Manual keys have
bone-covered naturals and ebony sharps. Console trim is cherry. The keyboards
are built into the case for the shortest possible tracker runs. All coupling is
by electric pull-downs, and the stop action uses electric solenoids. The
tracker action uses aluminum wires for short runs, and wood for long runs. The
structure of the organ uses solid walnut beams and piers. The Swell shutters
are a special design using floating sections to reduce sound transmission and
give a wide dynamic range.

Because of height limitations imposed on the new sanctuary
by local building codes, the organ is arranged in two-stories with the Positiv
and Grand Choir behind the lower section of the facade, and the Great and Swell
behind the upper. The Pedal is divided in the two outside towers. All pipes
have clear and open egress for sound through the facade. The Swell and Grand
Choir are separately expressive.

The organ is powered by a 2 HP blower. Manual wind pressures
range from 23/4" on the Positiv to 33/4" on the Horizontal Trumpet.
Most of the Pedal is on 33/4", but the Bourdon 32' is on dual-pressures.
The organist can individually change the speeds of the tremulants. There are no
electronic voices in the organ.

The tonal design is unabashed eclectic-American aimed at the
many demands of the busy music program at the church. A secondary goal was for
the broad needs of the organ literature. In a departure from normal tracker
styles in the Midwest, the organ has 8 ranks of strings, 4 ranks of harmonic
flutes, and a generous expressive and dramatic character. But these are not
obtained at the expense of classic needs, and the design starts with full
Principal choruses on Great, Positiv, and Pedal.

The voicing has been applied individually, avoiding rules or
restrictions. Some flues are unnicked, others are mildly nicked, and most
strings are extensively nicked. This freedom imparts great individuality to
each rank, and the ability to portray many different styles of music with
appropriateness.

The visual design, by Charles Hendrickson, was developed in
collaboration with architect Craig Rafferty, and the sculptor Paul Granlund who
designed and cast the bronze cross-shield in the organ's aedicule. The organ
emulates the visual style of the room without copying, but maintains its
profile as a pipe organ without being a slavish representation of the inner
pipe arrangements. Robert Mahoney was the acoustical consultant.

The church allowed Charles Hendrickson to design both the
organ and the musical materials (risers, railings) at the front of the
church--a dream situation of freedom and support for the organ builder. The
flexibility and musical success have been well received.

Janis Allen was Chair of the Organ Committee, and Roderick
Kettlewell supplied early design goals. Organ recitals have been performed by
Diana Lee Lucker, Lynne Davis, and Volodymyr Koshuba. Stephen Hamilton will
heard on February 7.

Shop foreman Eric Hendrickson and designer Andreas
Hendrickson assisted their father in the project.

--Charles Hendrickson

GREAT

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

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

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

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

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

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

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

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
VI

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

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

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

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

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

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

Chimes

POSITIV

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

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

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

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

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

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

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

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

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

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

Tremulant

Zimbelstern

GRAND CHOIR

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

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

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

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

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

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

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

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

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

11/7'
style='mso-tab-count:1'> Septieme

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

8'
style='mso-tab-count:1'> Cornet
V

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

Tremulant

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

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'> Clairon

Tremulant

PEDAL

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

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

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

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

16'
style='mso-tab-count:1'> Viole
(G.C.)

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

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

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

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

8'
style='mso-tab-count:1'> Viola
(G.C.)

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

2'
style='mso-tab-count:1'> Open
Flute (prep)

4'
style='mso-tab-count:1'> Mixture
VI

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

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

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

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

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

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

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

Couplers

Pos/Gt

Sw/Gt

G.C./Gt

Sw/Pos

G.C./Pos

Gt/Ped

Pos/Ped

Sw/Ped

G.C./Ped

New Organs

Cover

Hendrickson Organ Company,

St. Peter, Minnesota

Church of St. Peter,

St. Peter, Minnesota

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

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

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

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

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

--Charles Hendrickson

Hendrickson Organ Company

GREAT

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

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

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

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

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

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

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

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

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

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

Mixture
IV–VI

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

POSITIV

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

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

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

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

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

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

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

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

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

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

Tremulant

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

--Arthur E. Schlueter III

GREAT (unenclosed)

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

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

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

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

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

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

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

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

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

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

Tremolo

Gt
16-UO-4

Sw/Gt
16-8-4

SWELL (expressive)

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremolo

Sw
16-UO-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gt/Ped
8-4

Sw/Ped
8-4

GREAT (unenclosed)

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

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

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

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

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

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

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

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

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

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

Tremolo

Gt
16-UO-4

Sw/Gt
16-8-4

SWELL (expressive)

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremolo

Sw
16-UO-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gt/Ped
8-4

Sw/Ped
8-4

New Organs

Cover

Rieger-Kloss
Company, Krnov, Czech Republic

Government
Street Presbyterian Church, Mobile, Alabama

Members of the Government Street Presbyterian Church worked for several
years developing a plan for the renovation of their beautiful and historical
church in downtown Mobile. Among the many items that needed serious attention
was the pipe organ--the former organ was an Estey installed in 1905. It had
been renovated a number of times and had so many alterations that it could
hardly be credited back to its original builder. The one thing that had
remained constant was the organ pipe facade. After an in-depth study by a very
thorough organ committee, it was decided that the old organ had so many
problems that it would be better stewardship for the church to purchase a new
instrument. It was initially assumed that the new organ would occupy the same
space as the old organ. William Gray of the Rieger-Kloss Company entered onto
the scene rather late in the process and challenged the committee to look at
the total music ministry to develop a plan of how the organ, choir and
congregation could all relate musically together more effectively. The Estey
had occupied the entire center gallery, and the choir had to sit off to the far
side of the organ; there was no proper choir loft. Mr. Gray impressed on the
committee that if they were ever going to correct this problem, this was the
time to do so. In order to make room for a rear choir gallery, the organ was
located in three organ cases. The organ cases were located left and right of
the center gallery plus a very shallow division in the center, across the back
wall. This was not only a time to purchase a new organ but to develop workable
space for the music ministry of the church.

A tracker action organ was very seriously considered for Government Street
Presbyterian Church. However, if a good space were created for the choir there
would be very long tracker runs to the organ cases which would greatly decrease
the effectiveness of the tracker action. It was also decided that it would be a
great advantage to have a movable console. After all the facts were weighed, it
was decided that slider chests with electric pull downs, along with a few unit
chests, would be most appropriate for this instrument.

The Rieger-Kloss Pipe Organ Company of Krnov, Czech Republic was selected to
build the new organ for Government Street Presbyterian Church in January of
2000. Rieger-Kloss is one of Europe's oldest builders of pipe organs,
incorporated in 1873; however, the Rieger brothers were building organs as
early as the 1840s. They are unique in the industry in that they have a College
of Organ Building, a four-year accredited degreed course. The school enrolls 12
students each year and if they all stay for the full four years, they have a maximum
of 48 students enrolled. The company works to keep the best and brightest of
these students and then they furnish many of the other major builders in Europe
with their young craftsmen.

Although Rieger-Kloss is one of the largest builders of pipe organs in the
world, it operates as a small company. Each organ is built by a team of Master
Organ Builders; in the case of Mobile, an 8-member team built this instrument.
They see the organ from its conception to its completion. They assemble the
organ in the Rieger-Kloss shop erecting room to check out all systems. Although
pipes are placed on the wind chest and played, they are only tuned; they are
not finally regulated and tonal finished until they arrive in their permanent
home.

Government Street Presbyterian Church, being a historical building, required
a lot of attention to architectural details of the room. Marcel Kolarz, the
Rieger-Kloss case designer, was brought over from Europe to study the room and
to design the organ cases developed around the master plan that
style="mso-spacerun: yes"> Mr. Gray had set forth for this room.
The cases reflect numerous architectural details from the building. For
instance, the columns in the organ case and the dental design that forms the
top moldings are all details of the existing room. The capitals at the top of
the columns and the lacy pipe shades were all hand carved by Petr Brodak and
come from details of the building. The organ cases and pipe shades are white
with gilded gold trim as is found in the existing room. All of the pipes seen in
the fa?ßade of the organ cases are speaking pipes, made of 70% tin and 30% lead,
highly polished natural metal; the mouths of the pipes are gilded gold.

The console is four manuals with pedals. The outside cabinet of the console
is white and the interior is walnut. The natural keys are highly polished bone
and the sharp keys are walnut. The pedalboard natural keys are made of white
rock maple and the sharps of walnut. The console is a state-of-the-art design
with a very elaborate computer system, having 200+ levels of memory. A
sequencer allows the organist to program the pistons in the order that he/she
plans to use them and the organ will automatically progress through the pistons
in the order programmed. This organ also has a playback system, with which the
organist can record on a computer disc and have the organ play back exactly the
performance. Three of the manuals plus the pedal division are traditional
divisions--the Great Organ, the Positiv Organ, the Swell Organ and the Pedal
Organ. In addition to this, the fourth manual (top keyboard) represents the
Grand Choir Resonance, an idea that comes from the French school of organ
building. The Grand Choir Resonance division manual plays the entire Pedal
division on the fourth manual, with each of the Pedal stops extended to play
the full 61 notes of the manual. This opens up many unique registration colors
and is most valuable in service playing, especially for accompanying hymns. It
is also gives a fabulous richness to the organ in playing French toccatas and
other literature where the pitch line is high on the keyboard. The horizontal
Trompette-en-Chamade can solo above the entire organ and also play fanfares.

The tonal finishing of the organ required a little more than six weeks.
Daniel Angerstein came to Mobile and
set all of the
"C"s for the different ranks of pipes, and Frantisek Kutalek and
Tomas Fafilek matched the notes in between to the "C"s. The room is
especially treble heavy but has a very weak response to the bass harmonics. As
a result, it posed a special challenge for the tonal finishers.

Other members of the Rieger-Kloss team who built the Government Street
Presbyterian Church organ were Zdenik Mican, David Vystrcil, Rostislav
Kohoutek, Tomas Kusak and Miraslav Mitura.

In addition to providing inspiring music for worship, the church is planning
a concert series; so far, they have sponsored Merrill Davis, John Weaver and
Fred Swann in concert. The resident organist, Terry Maddox, has played a
recital, and they have sponsored noonday recitals with local organists
style="mso-spacerun: yes"> during Lent. An International Organist
Festival is being projected for the near future.

The Rieger-Kloss organ at Government Street Presbyterian Church is designed
especially for their building and for the musical needs of this congregation.
It was designed architecturally to
look as if it were always a part of this lovely, historical building and it is
equally suited to the musical demands of the church. It is a high quality
instrument which, if well maintained, will be there as long as the building
stands and will meet the demands of musical growth of the congregation. May it
always bring great and inspirational music to those who hear its majestic
sounds.

--William Gray

GREAT (partially expressive) Manual II

16' Violoneprestant

8' Principal

8' Flute
Harmonique

8' Bourdon

8' Violincelle
(ext)

8' Erzahler
Celeste (II)

4' Octave

4' Spillflote

22/3' Quint

2' Super
Octave

2' Flute

22/3' Grand
Chorus (VI)

8' Trumpet

Tremulant

POSITIV (unenclosed) Manual I

8' Principal

8' Holzgedeckt

4' Octave

4' Flute

2' Principal

11/3' Larigot

1' Cymbel
(IV)

8' Klein
Trompete

8' Cromorne

Tremulant

Zimbelstern

16' Trompette-en-Chamade
(TC, Grand Choir Resonance)

8' Trompette-en-Chamade
(Grand Choir Resonance)

SWELL (expressive) Manual III

16' Bourdon
Bass (ext)

8' Viola
Pomposa

8' Viola
Celeste

8' Chimney
Flute

8' Flute
Celeste (II)

4' Prestant

4' Spire
Flute

22/3' Nazard

2' Principal

2' Blockflote

13/5' Tierce

11/3' Mixture
Minor (V)

16' Basson

8' Trompette

8' Hautbois

8' Vox
Humana

4' Clarion

Tremulant

16' Trompette-en-Chamade
(TC, Grand Choir)

8' Trompette-en-Chamade
(Grand Choir)

GRAND CHOIR (unenclosed) Manual IV

16' Violoneprestant
(Great)

16' Bourdon

8' Principal

8' Bourdon

8' Violincelle
(Great)

4' Octave

4' Flute

2' Super
Octave

Mixture
(IV-VIII)

16' Trompetenbass

8' Trompete

4' Klarine
(ext)

Chimes

16' Trompette-en-Chamade
(TC)

8' Trompette-en-Chamade

PEDAL

32' Double
Open Wood (digital)

32' Contra
Bourdon

16' Open
Wood (digital)

16' Violoneprestant
(Great)

16' Subbass

16' Bourdon
Bass (Swell)

102/3' Rohrquinte
(Swell)

8' Octavebass

8' Gedacktflote

8' Violincelle
(Great)

4' Choral
Bass (ext Octavebass)

Mixture
(IV)

32' Contra
Fagott (ext)

16' Trompetenbass

16' Basson
(Swell)

8' Trompete

4' Klarine

8' Trompette-en-Chamade

4' Clairon-en-Chamade

Chimes
(Grand Choir)

Couplers

Gt/Ped
8

Sw/Pedal
8, 4

Pos/Ped
8, 4

Great
Unison Off

Sw/Gt
16, 8, 4

Pos/Gt
8

Grand
Ch/Gt 8

Gt/Grand
Ch 8

Pos/Grand
Ch 8

Sw/Grand
Ch 8

Sw
16-UO-4

Grand
Ch/Sw

Positiv
Unison Off

Gt/Pos
8

Sw/Pos
16, 8, 4

Grand
Ch/Pos 8

Cover photo by Matt Bechteler

Assistance with cover graphics: Matthias Minnig

Fabry Inc., Fox Lake, Illinois, has
installed a 1957 Schantz organ (two manuals, 13 ranks) at Prince of Peace
Catholic Church, Lake Villa, Illinois. The instrument was originally built for
Grace Christian Church in Kendallville, Indiana. The church decided to sell the
instrument rather than take it to their new sanctuary currently being built.
Fabry Inc. brought the two churches together to make their own purchase
agreement, and then dismantled, transported, and reinstalled the organ with
several improvements for Prince of Peace Catholic Church. Improvements include
a new blower, new solid state relay, new electric tremolos, new swell box
enclosure using original shade frames, new electric shade actions, refinished
bench and top of console, and new oak finish casework. Installation was
completed in May of 2002 and the dedidation was played on September 15 by Mr.
Ernie Hiltebrand and Mrs. Gina Buckley. Fabry Inc. would like to thank Mr.
Hiltebrand, director of music ministry, who handled the purchase and
coordinated the installation for the Rev. Richard Yanos, the pastor of Prince
of Peace Church. David G. Fabry and Joseph Poland reengineered, built all the new
casework, and tonally finished the instrument.

GREAT

8' Open
Diapason -- Rank 1

8' Bourdon--
Rank 2

8' Dulciana
-- Rank 3

8' Unda
Maris (TC) -- Rank 4

4' Octave
-- Rank 5

4' Hohlfloete
-- Rank 6

2' Fifteenth
(ext)

Chimes
style='mso-tab-count:1'> -- 25 bars

Tremolo

SWELL

16' Rohrgedeckt
-- Rank 7

8' Geigen
Diapason -- Rank 8

8' Rohrfloete
(ext)

8' Salicional
-- Rank 9

8' Voix
Celeste (TC) -- Rank 10

4' Geigen
Octave (ext)

4' Flute
Harmonic -- Rank 11

2 2/3' Nazard
(borrow)

2' Piccolo
(ext)

8' Oboe
-- Rank 12

4' Oboe
Clarion (ext)

Tremolo

PEDAL

16' Subbass
-- Rank 13

16' Rohrgedeckt
(Sw)

8' Bass
Flute (ext)

8' Rohrflute
(Sw)

4' Bass
Flute (ext)

4' Rohrflute
(Sw)

Couplers

Gt/Gt
16-UO-4

Sw/Sw
16-UO-4

Sw/Gt
16-8-4

Gt/Ped
8-4

Sw/Ped
8-4

Schneider Pipe Organs, Inc., of
Kenney, Illinois, has completed the first phase of a multi-stage renovation of
the 1922 Hinners organ in Zion Lutheran Church, Peoria, Illinois. The initial
phase consisted of rebuilding the console and rewiring the organ utilizing a
Matters microprocessor-based relay system with a fiber-optic link between the
console and the organ chamber. All wiring on the existing windchests was
replaced with new modern wiring. A new pedalboard to replace the existing one,
which was disintegrating due to years of heavy use, was also installed. At the
same time, new 120 volt AC wiring and magnetic starter for the existing organ
blower and a new DC rectifier were installed, as well as new fluorescent
lighting within the organ chamber and blower room. Service receptacles for
maintenance work were also added to the installation. Limited pneumatic repairs
were made to the existing electro-pneumatic windchests as a temporary measure,
as well as replacement of a number of badly damaged and crudely repaired treble
pipes of the Stopped Diapason rank.

Completion of this phase of the work was March, 2002. It was rededicated on
Reformation Sunday, October 27, 2002, in conjunction with and celebrating 10
years of the ordination of the incumbent pastor, The Rev. Steven Paul Tibbetts,
S.T.S. at Zion. The day-long celebration included a Festival Eucharist
(Reformation), potluck meal, organ rededication concert, and Vespers. In
between were displays of the 75th anniversary of the completion of the main
church building.

Anticipated future phases are to include complete removal of the existing
windchests and pipework of the instrument from the chamber space while it is
being replastered and repainted, and construction of all-new wind-chests with
electro-mechanical action and expansion chambers. Participants in the project
included W.C. Burkett, Nick Fry, Dan Schneider, Matt Schneider, Joan Schneider,
Richard Schneider.

GREAT

8' Principal

8' Rohr
Floete

4' Principal

4' Rohr
Floete (ext)

2' Spitz
Floete (ext)

11/3' Mixture
II (new)

8' Oboe
(Sw)

Gt
UO-4

Sw/Gt
16-8-4

SWELL

16' Z?§rtbass
(ext)

8' Geigen
Principal

8' Holzgedackt

8' Salicional

8' Vox
Celeste (49 pipes)

4' Geigen
Octave (ext)

4' Traverse
Floete (ext)

4' Violina
(ext)

22/3' Nazard
(ext)

2' Principal
(ext)

13/5' Terz
(ext)

16' Basson
(ext, new L/2 basses)

8' Oboe

4' Schalmey
(ext)

Tremolo

Sw
16-UO-4

PEDAL

32' Acoustic
Bass (resultant, Zartbass)

16' Grand
Bourdon

16' Zartbass
(Sw)

8' Principalbass
(Gt)

8' Bourdon
(ext)

8' Gedackt
(Sw)

4' Choralbass
(ext Gt)

4' Gedackt
(Sw)

16' Basson
(Sw)

8' Oboe
(Sw)

4' Schalmey
(Sw)

Gt/Ped

Sw/Ped

New Organs

First Baptist Church, Ocala, Florida

The Wicks Organ Co., Highland, Illinois, Opus 6382

In 1992, First Baptist Church of Ocala, Florida began a process of rebirth after a fire claimed all they had: furnishings, libraries, a concert grand piano, a Skinner pipe organ, choir robes, hymnals and Bibles. The congregation built a new 2,800-seat facility, which is one of the largest churches in Ocala. The final step of their rebuilding process was bringing a pipe organ into the new building.

David Kocsis, Wicks Area Sales Director writes:

Among the unique features of this project, the organ was to be a gift from a non-member--but one whose daughter and son-in-law were members. Secondly, the church provided a single sheet outlining their requirements for this instrument. The organ was to be a "supplemental" instrument, used mostly to enhance the 25-piece orchestra and 180-voice choir. It would also, upon occasion, be used as a recital instrument. They wanted an instrument of the "American Classic" school with the following characteristics incorporated: four-manual drawknob console; multiple Principal choruses; plentiful and opulent strings; a variety of flute choruses and solo stops; reeds to complement the overall instrument and offer solo opportunities; a Pedal division that offers strong, solid underpinning with at least two 32’ stops; a Trompette-en-Chamade of polished copper with flared bells; exposed pipework across entire chamber area (52 ft.) to eliminate existing latticework and grillwork; preparation on console for Chimes and Zimbelstern; MIDI capability.

Our proposal was for an instrument of 74 pipe ranks over five divisions with an additional four 32-foot computer-generated stops in the Pedal division, using the Walker Paradox system. The plan also called for (at the direction of the church) preparations for an 11-rank Solo division, and a 9-rank Antiphonal division.

We decided early on that Daniel Angerstein would tonally finish the instrument. Although First Baptist, Ocala was not a bad room, the irregular shape and carpeting did not make it acoustically live, either. Our factory-trained technician in Florida, Mr. Robert Campbell, would handle the installation.

The specification for the instrument was a joint venture design involving Area Director David Kocsis, his associate Herb Ridgely, and voicer Dan Angerstein. After the contract was signed in late November, 1998, the three members of the design team met at the church to study the acoustics, room layout, chamber space, etc., so that detailed design work could begin. On the drive back to Atlanta, the pipe scales for the organ were discussed and finalized. The entire organ would be on 5" wind pressure with the notable exception of the Trompette-en-Chamade, which was to be on 10" wind pressure, and the Choir division English Tuba on 12". In order to "ring" the room, the Great 8' Principal would be built to a 40 scale, and the Great 8' Montre a 42 scale. One of the features of the design is the placement of the lowest pipes of the Pedal 16' Open Wood in the organ facade, stained to match the rest of the woodwork in the sanctuary. This placement allows the most profound of 16-foot foundation tone immediate access to the room. Of particular interest in the Walker system designed for this organ is that the computer-generated harp in the Choir can also be used with the Tremulant, providing a vibraharp sound.

There are several ancillary console controls that enhance ease of playing such a massive console, and also add facility to the instrument. These include: Pedal, Solo and Swell Melody couplers to the Great, all Swells to Swell, all Mixtures Off, all 32's Off, All Reeds Off, and All Celestes Off. To allow maximum visibility and eye contact between the organist and the minister of music, all inter-manual couplers were placed in the stop jambs, rather than on a coupler rail. This resulted in a console somewhat wider than normal (slightly over 8 feet). There are eight divisional pistons and 15 General pistons with 32 levels of memory. A 13-position transposer is included. The main body of the casework is painted semi-gloss off white, again matching the main color in the sanctuary. The whole idea was to give the impression that the building and the organ had been conceived as an integral whole.

The first of two truckloads of pipe organ arrived in Ocala on March 22, 2000, and the second truck arrived on April 12. Installation was completed on June 3 and voicing of the instrument in the room began on June 5. The logistical problems associated with installing a large pipe organ are many. The crew faced a 52-foot facade that begins 12' above the top choir riser and extends upward to accommodate full length 16-foot metal Principals and full length 16-foot Open Wood pipes. Bob Campbell's crew had scaffolding from floor to ceiling that would cover one of the four sections, and it took a considerable amount of careful planning to insure that all work was completed on one bay before tearing down the scaffolding and moving it to the next location.

From the beginning of the installation, the entire organ facade was covered every Sunday during church services so that the completed installation could be unveiled at one time. This occasion occurred on Sunday, June 4, 2000. The Sanctuary was dimly lit, and at the appropriate time, the entire organ facade was lit by a battery of specially placed lighting. This was only the prelude--the organ was heard for the first time by the congregation on July 2.

We at Wicks thank the committee and staff of first Baptist Church of Ocala for placing their trust in us to build an instrument according to their wishes. In particular, we would like to thank Dr. Ed Johnson, Sr. Pastor; Mr. Terry Williams, Minister of Music; and Mr. Larry Kerner, Chair of the Organ Committee. The entire congregation placed its confidence in us from the outset, and was extremely helpful from the beginning of the detailed design process through the installation. Several members of the church also volunteered their time and talents to help with the installation, especially with fitting and trimming of the facade to accommodate slight building irregularities. This really was a "team" effort, and everyone should be very proud of the results.

The dedication of the new IV/74 instrument at the First Baptist Church of Ocala, FL will be held on Sunday, September 24, 2000, featuring John Weaver, organ chair at The Curtis Institute of Music in Philadelphia and The Julliard School of Music in New York City.

{C}

GREAT

1. 16' Montre

2. 16' Bourdon

3. 8' Principal

4. 8' Montre (from #1)

5. 8' Flute Couverte

6. 8' Flute Harmonique

7. 4' Octave

8. 8' Gemshorn

9. 4' Nachthorn

10. 22/3' Twelfth

11. 2' Fifteenth

12. 2' Hohlflute (from #6)

13. 13/5' Seventeenth

14. IV-V Fourniture

15. IV Cymbale

16. 16' Kontra Trompete (from #17)

17. 8' Trompete

18. 8' Trompete en Chamade (10≤ w.p.)

19. Tremulant (Flutes)

20. Chimes [D]

21. Zimbelstern

22. Pedal Bass Coupler to Great

23. Swell Melody Coupler to Great

24. Solo Melody Coupler to Great

25. MIDI on Great

{C}

SWELL (Enclosed)

26. 16' Bourdon Doux

27. 8' Geigen Principal

28. 8' Rohrflute (from #26)

29. 8' Viola Pomposa

30. 8' Viola Celeste

31. 8' Flauto Dolce

32. 8' Dolce Celeste TC

33. 4' Prestant

34. 4' Flauto Traverso

35. 22/3' Nazard

36. 2' Quarte de Nazard

37. 13/5' Tierce

38. IV-V Plein Jeu

39. III-IV Cymbale

40. 16' Contre Trompette

41. 8' Trompette

42. 8' Oboe

43. 8' Vox Humana

44. 4' Clairon (from #40)

45. 8' English Tuba (Ch)

46. 8' Trompette en Chamade (Gt)

47. Tremulant

48. MIDI On Swell

{C}

CHOIR (Enclosed)

49. 16' Gemshorn [D]

50. 8' English Diapason

51. 8' Flute Ouverte

52. 8' Gemshorn

53. 8' Gemshorn Celeste TC

54. 4' Principal

55. 4' Koppelflute

56. 2' Principal

57. 11/3' Larigot

58. 1' Principal (from #56)

59. II Sesquialtera

60. IV-V Scharf

61. 16' Dulzian (from #62)

62. 8' Cromorne

63. 4' Rohr Schalmei

64. 16' English Tuba TC (from #65)

65. 8' English Tuba (12≤ w.p.)

66. 8' Trompette en Chamade (Gt)

67. 8' Harp [D]

68. 4' Harp Celesta [D]

69. Tremulant

70. MIDI On Choir

{C}

SOLO (Enclosed)

15 Prepared Stops

71. 16' Trompette en Chamade TC (Gt)

72. 8' Trompette en Chamade (Gt)

73. 4' Trompette en Chamade (Gt)

74. 16' English Tuba TC (Ch)

75. 8' English Tuba (Ch)

76. 4' English Tuba (Ch)

77. MIDI On Solo

{C}

ANTIPHONAL (Floating)

12 Prepared Stops

{C}

ANTIPHONAL PEDAL

1 Prepared Stop

{C}

PEDAL

78. 32' Contra Principal [D]

79. 32' Contra Bourdon [D]

80. 16' Open Wood

81. 16' Bourdon

82. 16' Principal

83. 16' Montre (Gt)

84. 16' Bourdon Doux (Sw)

85. 16' Gemshorn (Ch)

86. 8' Octave

87. 8' Major Bass (from #80)

88. 8' Bourdon (from #81)

89. 8' Viola (Sw)

90. 8' Open Flute (Ch)

91. 62/5' Gross Terz (Gt)

92. 51/3' Gross Quinte (Gt)

93. 4' Choral Bass

94. 4' Cantus Flute

95. 2' Flute (from #94)

96. IV Grave Mixture

97. IV Acuta

98. 32' Contra Bombarde [D]

99. 32' Contra Fagotto [D]

100. 32' Cornet des Bombardes IV

101. 16' Bombarde

102. 16' Contre Trompette (Sw)

103. 16' Kontra Trompete (Gt)

104. 16' Dulzian (Ch)

105. 8' Trompette

106. 8' Trompete (Gt)

107. 8' Oboe (Sw)

108. 4' Bombarde Clarion (from #101)

109. 4' Oboe (Sw)

110. 4' Schalmei (Ch)

111. 8' Trompette en Chamade (Gt)

112. 8' English Tuba (Ch)

113. Chimes (Gt)

{C}

[D] = Digital Ranks

{C}

Couplers

Sw/Gt 16 8 4

Ch/Gt 16 8 4

So/Gt 16 8 4

Ant on Gt

So/Sw 16 8 4

Ant on Sw

Sw/Ch 16 8 4

So/Ch 16 8 4

Ant on Ch

Ant on So

Gt 16 UO

Sw 16 UO 4

Ch 16 UO 4

So 16 UO 4

Ant UO 4

Gt/Ped 8 4

Sw/Ped 8 4

Ch/Ped 8 4

So/Ped 8 4

Ant/Ped 8

{C}

Charles M. Ruggles, Conifer, Colorado, has built a new organ for The Randolph Church, Randolph, New Hampshire. The organ is designed on classic models typical of instruments found in New England and European churches; two manuals and pedal, mechanical action. Its structural and tonal characteristics make it suitable for the needs of The Randolph Church--for service playing, accompanying congregational singing, and playing a wide segment of standard organ literature. The case features cherry wood frame, redwood panels, and walnut trim. The Rohrflöte 8 and Octave 2 are common between the two manuals; the Bourdon 16 is an extension of the Bourdon 8. Manual compass 56 notes, pedal compass 30 notes; standard AGO pedalboard. Couplers, operated by foot levers, include Great to Pedal, Swell to Pedal, and Swell to Great.

{C}

GREAT

8' Principal

8' Rohrflöte

4' Octave

2' Octave

Mixture

Sesquialtera II (from middle c)

SWELL

8' Rohrflöte

8' Gamba (tenor C)

4' Flute

2' Octave

8' Dulcian

PEDAL

16' Bourdon

8' Bourdon

{C}

B. Rule & Company, New Market, Tennessee, has rebuilt and installed a Hook & Hastings organ for Covenant Baptist Church, Houston, Texas. Built by Hook & Hastings in 1893 for First Baptist Church of Georgetown, Kentucky, the organ was removed from this church in 1963. It was owned for many years by David Bottom, of Lexington, Kentucky, who set it up in several different locations before carefully putting it in storage several years ago. B. Rule recommended the organ to Covenant Baptist Church, who bought it from David Bottom. Compass: 58/27.

B. Rule & Co. rebuilt the organ, including a complete rebuild of the chests and bellows and re-covering the manual keys with bone. The hand-pumping mechanism was also restored. Two changes were made: the Dulciana was replaced with a 2' Fifteenth, and the Oboe was extended to full compass from its previous tenor C status.

The small new sanctuary has a concrete floor and live acoustics, creating an environment which encourages congregational singing. The acoustical consultant was Charles Boner. The organist of the church is Carl McAliley, who played a joint dedication recital with Bruce Power on March 4.

{C}

GREAT

8' Open Diapason

8' Melodia

4' Octave

2' Fifteenth

SWELL

8' Stopped Diapason

8' Viola (1-12 from St. Diap)

4' Harmonic Flute

8' Oboe

PEDAL

16' Bourdon

Accessories

Sw/Gt

Gt/Ped

Sw/Ped

Sw/Gt Octaves

Tremolo

Blower Signal

New Organs

Quimby Pipe Organs, Inc.,

Warrensburg, Missouri

SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California

Opus 46

SkyRose Chapel, in the Rose Hills Memorial Park, Whittier,
California, is located on a hill overlooking Los Angeles and the San Gabriel
and Sycamore Valleys. SkyRose Chapel is situated within beautifully landscaped
gardens that also do duty as a cemetery--SkyRose Chapel is the largest funeral
chapel in the world. Renowned architects Fay Jones and Maurice Jennings designed
SkyRose Chapel to be built of oak, Oregon redwood, bouquet canyon stone,
Douglas fir, and glass in a contemporary A-frame style that is at home in the
hills which the afternoon sun turns a vibrant rose color. SkyRose Chapel has
become popular as an attractive venue for weddings as well as for funerals.

The installation of a pipe organ in SkyRose Chapel had
always been the dream of Dennis Poulsen, Chairman of the Board of Rose Hills
Memorial Park. This dream was researched and brought to fruition by Mr. Poulsen
and Bruce Lazenby, Vice President of Engineering of Rose Hills Memorial Park.

The Rose Hills Foundation selected Quimby Pipe Organs, Inc.,
to build the pipe organ for the strikingly lovely SkyRose Chapel. The Quimby
pipe organ, Opus 46, has 65 ranks together with harp and chimes spread over
four manuals and pedal. The distinctly American design is eclectic in
conception and enables the instrument to perform a wide range of service and
organ literature. Messrs. Poulsen and Lazenby requested Michael Quimby, Tonal
Director, to design a tonal specification that would handle the diverse musical
demands required for funeral services, weddings, and recitals.

The instrument contains an unusually high proportion of
celeste ranks, and also a very high proportion of color reeds. The reeds in the
Solo division include several historic Skinner and Aeolian-Skinner ranks--the
Tuba Mirabilis (1924), French Horn (1946), English Horn (1946) and Corno di
Bassetto (1946). These ranks are included in the pipe organ on their original
windchest and reservoir. Also noteworthy are the 1924 Deagan "Class
A" Chimes and the restored 1929 Skinner Harp, both on their original
restored electro-pneumatic actions.

The electric blowers winding the organ amount to a total of
eleven and one-half horsepower, supplying wind at pressures ranging from
4" for the Choir division to 15" for the Tuba Mirabilis. There are
fourteen reservoirs and four schwimmers. The main chests, built by Quimby Pipe
Organs, Inc., are slider windchests built to the original Blackinton design
fitted with electro-pneumatic pallets. The Swell, Choir and Solo divisions have
68-note chests, providing additional topnotes for use with the octave couplers.
Electro-pneumatic unit chests are used for the offsets and extended ranks.

Quimby Pipe Organs' Opus 46 is located in an elevated
gallery near the rear of SkyRose Chapel. The visual presentation of the pipe
organ is of oak casework containing thirty-eight zinc façade pipes with
gold-colored mouths drawn from the Pedal 32' Principal and Great 16' Violone
ranks that are placed on platforms of escalating heights above the floor of the
gallery as well as nine oak pipes positioned along the side of the case. The
longest façade pipe, approximately 26' in length, is low G of the 32' Principal. The wood pipes along the side of the case are part of the Pedal 16' Bourdon rank. The Pedal 32' Posaune is full length, and is located behind the exposed wood pipes.

Quimby Pipe Organs' woodworkers constructed the case and
console in their workshop. Quimby Pipe Organs' designer and woodworkers
designed the oak organ case and console in consultation with Fay Jones and
Maurice Jennings in order to ensure an appearance in harmony with the
architecture of the Chapel. Harris Precision Products, Inc., of Whittier,
California, manufactured the console components and shipped them across the
country to Warrensburg where Quimby's woodworkers installed them in the
console. The console was then shipped back with the organ to Whittier! The
instrument is controlled by a multiplex relay with MIDI, including full
playback capability, and a combination action with 99 memory levels.
style="mso-spacerun: yes"> There are eight pistons to each
division and eighteen general pistons, together with three ensemble pistons,
three programmable Crescendo settings, and numerous reversibles.

Members of Quimby Pipe Organs, Inc., who made significant
contributions to the construction of the SkyRose instrument included Doug
Christie, Chris Emerson, Charles Ford, Johanna Harrington, Eric Johnson, Kevin
Kissinger, Brad McGuffey, Michael Miller, Gary Olden, Michael Quimby, Wayne
Shirk, Stan Sparrowhawk, Elizabeth Viscusi, and Randy Watkins.

Dr. Frederick Hohman presented the pipe organ to the public
in the dedicatory recital of the SkyRose organ on Saturday, September 20th,
1997.

--Quimby Pipe Organs, Inc.

GREAT (unenclosed)

16'
style='mso-tab-count:1'> Violone
(1-14 façade)

8'
style='mso-tab-count:1'> Diapason
(1-7 from Ped Principal)

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

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

8'
style='mso-tab-count:1'> Harmonic
Flute (1-12 from 8' Bdn)

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

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

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

22⁄3'
style='mso-tab-count:1'> Quint

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

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

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

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

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

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

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

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

Tremolo

Chimes
(Solo)

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

Tower
Chimes (prepared for)

MIDI
on Great

SWELL (enclosed)

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

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

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

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

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

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

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

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

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

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

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

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

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

13⁄5'
style='mso-tab-count:1'> Tierce

2'
style='mso-tab-count:1'> Plein
Jeu IV (2' rank from Octave)

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

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

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

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

8'
style='mso-tab-count:1'> Vox
Mystique (Vox Humana, box closed)

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

Tremolo

Chimes
(Solo)

MIDI
on Swell

CHOIR (enclosed)

16'
style='mso-tab-count:1'> Silver
Flute (1-12 digital)

8'
style='mso-tab-count:1'> Flauto
Mirabilis (Solo)

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

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

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

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

8'
style='mso-tab-count:1'> Melodia
(1-12 from Rohr Flute)

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

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

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

4'
style='mso-tab-count:1'> Orchestral
Flute (Solo)

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

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

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

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

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

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

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

Tremolo

Chimes
(Solo)

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

4'
style='mso-tab-count:1'> Celesta
(Solo)

MIDI
on Choir

SOLO (enclosed)

16'
style='mso-tab-count:1'> Contra
Gamba (1-12 digital)

8'
style='mso-tab-count:1'> Flauto
Mirabilis

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

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

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

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

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

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

8'
style='mso-tab-count:1'> Corno
di Bassetto

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

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

Tremolo

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

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

Tower
Chimes (prepared for)

Chimes
(20 tubes)

MIDI
on Solo

PEDAL (unenclosed)

32'
style='mso-tab-count:1'> Sub
Principal (1-7 digital, 8-31 façade)

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

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

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

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

16'
style='mso-tab-count:1'> Gamba
(Solo)

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

16'
style='mso-tab-count:1'> Silver
Flute (Choir)

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

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

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

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

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

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

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

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

32'
style='mso-tab-count:1'> Contra
Posaune (full length, ext Great Trumpet)

32'
style='mso-tab-count:1'> Contra
Basson (1-12 digital, ext Swell Hautbois)

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

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

16'
style='mso-tab-count:1'> Hautbois
(Swell)

16'
style='mso-tab-count:1'> Cromorne
(Choir)

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

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

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

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

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

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

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

Chimes
(Solo)

MIDI
on Pedal

Lively-Fulcher Organbuilders, Alexandria, Virginia

St. Olaf Catholic Church,
Minneapolis, Minnesota

In 1997, Fr. John Forliti, Pastor of St. Olaf Church,
appointed Dr. Merritt Nequette and a parish committee to lead an organ project
at the church. The committee enlisted the services of Jonathan Biggers as organ
consultant. After a thorough study, Lively-Fulcher Organbuilders of Alexandria,
Virginia was chosen to build the new instrument which was installed and
completed in July, 2001.

The organ was inaugurated in a series of concerts in 2002
beginning with a service of blessing by Archbishop Harry J. Flynn, Archbishop
of St. Paul and Minneapolis, and organ recital performed by Dr. Lynn Trapp,
director of worship and music, organist, at St. Olaf Church, on February 9,
2002. A hymn text by Delores
Dufner, OSB was commissioned for the occasion.

The series of inaugural concerts featured a recital and
masterclass by Swiss organist, Guy Bovet; a program of organ and contemporary
music with Twin Cities artists; Pipedreams Live hosted by Michael Barone of
Minnesota Public Radio and performers of the Liturgical Organists Consortium;
field days for elementary students to learn about the king of instruments; and
an organ and orchestra concert with Jonathan Biggers, organist, and the Kenwood
Chamber Orchestra, orchestra in residence at St. Olaf Church, conducted by Ken
Freed. This concert included the premiere of a commissioned work for organ and
orchestra composed by Richard Proulx.

The instrument has 61 stops and 67 ranks (49 independent
registers) playable over five divisions, Grand Orgue, Récit Expressif,
Positif Expressif, Bombarde and Pédale. The manual and pedal key actions
make use of electric slider windchests and the stop action is electric, complete
with state of the art combination action, 256 levels of memory and a sequencer.
The wind supply is regulated by a traditional bellows system linked to the wind
chests by wooden wind lines. The console is built in a low profile, curved jamb
configuration to enhance the organist's ability to follow the liturgy and
conduct the choir. The console has natural keys covered in bone and sharp keys
of solid ebony. The internal layout of the divisions within the organ case
places the Positif Expressif centrally in the lower middle of the case and the
Grand Orgue above that with the Récit Expressif behind the Grand Orgue.
The Bombarde reeds are located in the Positif box and the Pédale
division is divided on either side of the manuals and behind the 16-foot pedal towers
in the case. Wood pipes were made in the organbuilders' workshop and metal
pipes were made to their specifications in Germany.

The casework, constructed of African mahogany, takes its
inspiration from the contemporary architecture of the room and has simple
Scandinavian design elements yet a firm traditional layout. The façade
pipes are made of 72% tin and include pipes from the Grand Orgue Montre 16',
Montre 8' and Pédale Montre 8'. The organ is completely housed within
its own freestanding casework and because of the deep gallery around three
sides of the room is positioned at the front center of the church. A
Cymbelstern stop is provided on the instrument and the church's tower bells can
be played from the Récit keyboard.

The design of the pipe shades for the instrument is tied to
the rich traditions associated with St. Olaf. They are made of basswood with
patterns of dragons, eagles and serpents which are found in the Book of Kells.
These designs are slightly earlier than King Olaf's time, but they are strong
Scandinavian symbols from the period. The cross piercing the crown is based on
an 8th-century piece made for St. Rupert. The crown motif was specifically
chosen to represent St. Olaf and the crosses and crowns are covered with
24-carat gold leaf.

The tonal inspiration for the instrument is firmly based in
19th-century France but is designed and voiced with a broad literature base in
mind. The Tutti is robust to support large choirs, orchestra, and the singing
of a capacity crowd of worshipers. The organ has a wide variety of soft colors
as well. The broad foundation tone of the 8-foot stops and thick-walled
expressiveness of the Récit and Positif boxes ensure the accompanimental
versatility necessary for the performance of choral and solo literature. The
warm yet clear broadly scaled principal chorus work, blended with the mutations
and reed colors associated with Clicquot and Cavaillé-Coll, make for a
versatile medium for the main body of the organ literature. The voicing and
blending of individual stops coupled with the color requirements of French,
German and English literature allow the convincing performance of a wide range
of literature. This instrument is not meant as a copy of any one style nor is
it intended to be a collection of styles trying to do everything, but rather is
intended to be a modern instrument of the 21st century speaking with its own
voice.

--Lynn Trapp

GRAND ORGUE

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

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Quinte

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

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

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

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

Tremulant

Octaves
graves

Récit
sur G.O.

Positif
sur G.O.

Bombarde
sur G.O.

POSITIF EXPRESSIF

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

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

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

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

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

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

22⁄3'
style='mso-tab-count:1'> Nazard

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

2'
style='mso-tab-count:1'> Quarte
de nazard

13⁄5'
style='mso-tab-count:1'> Tierce

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

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

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

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

Tremulant

Octaves
graves

Récit
sur Positif

Bombarde
sur Positif

Positif
unison off

RÉCIT EXPRESSIF

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

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

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

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

8'
style='mso-tab-count:1'> Cor
de nuit

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

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

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

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

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

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

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

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

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

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

Tremulant

Octaves
graves

BOMBARDE (floating)

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

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

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

8'
style='mso-tab-count:1'> Cornet
V (tg)

PÉDALE

32'
style='mso-tab-count:1'> Contre
soubasse (electronic)

16'
style='mso-tab-count:1'> Grosse
flûte

16'
style='mso-tab-count:1'> Montre
(G.O.)

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

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

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

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

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

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

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

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

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

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

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

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

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

Tirasse
Bombarde

Tirasse
G.O.

Tirasse
Positif

Tirasse
Récit

G.O./Positif manual transfer

Chimes sur G.O.

Tower Bells sur Récit

Cymbelstern

Pedal & Manual pistons coupled

Sequencer

Weston Harris and Thomas J. McDonough, Organ Crafters of
Los Angeles, have completed a
three-manual, 38-rank organ at St. Augustine By-the-Sea Episcopal Church, Santa
Monica, California. The organ
incorporates elements from the church's previous organ built in 1967 by Abbott
and Sieker Organ Builders as well as the historic Möller/Estey organ at
Bridges Hall of Music, Pomona College (recently replaced by Fisk Opus 117).
Other pipework was donated from the private collection of Mr. Joseph Horning, a
prominent Los Angeles organist and organ consultant who died in 2000.

The church is located at the popular Third Street Promenade
at Santa Monica Beach Pier. The organ enjoys a high gallery placement in an
extraordinary acoustical setting. Given this exceptional location, the new
organ's tonal style is based largely on the 1948 Aeolian-Skinner organ of the
Salt Lake City Tabernacle, where Mr. Harris studied organ performance and
apprenticed in organbuilding. The voices are gentle, and choruses finely
layered.

The previous organ (see photo) was installed in 1967 as a
temporary instrument for the new church following the arson burning of the
church's historic 1867 building. The new organ case forms the Positiv Organ
featuring pipes from the Bridges Hall of Music (front tower pipes) and wood
Holzgedeckt pipes. The flute pipes were obtained from a burnt-out church in
nearby Venice, California. They were barely rescued--being quickly pulled from
their windchest just as the wrecking ball was knocking through the chamber
walls. The fire scarring on the pipes provides an extraordinary antique patina
for the new organ case design.

--Weston Harris

GREAT (enclosed)

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

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

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

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

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

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

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

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

Mixture
IV

Cymbale
III

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

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

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

Tremulant

Gt/Gt
16-4

SWELL (enclosed)

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

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

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

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

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

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

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

11⁄3'
style='mso-tab-count:1'> Mixture III

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

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

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

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

Tremulant

Sw/Sw
16-UO-4

POSITIV (unenclosed)

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

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

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

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

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

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

8'
style='mso-tab-count:1'> Mounted
Cornet IV (TG)

Pos/Pos

Pos/Gt

Tower
Bells (8 Whitehall bells)

STATE TRUMPET (unenclosed)

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

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

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

Trumpet
to Gt

Trumpet
to Sw

Trumpet
to Pos

PEDAL (enclosed in Great)

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

32'
style='mso-tab-count:1'> Dolce
Gedeckt*

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

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

16'
style='mso-tab-count:1'> Lieblich
Gedeckt (1-12 ext)*

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

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

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

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

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

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

16'
style='mso-tab-count:1'> Posaune
(1-12 extension Gt Trumpet)

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

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

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

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

Full interdivisional couplers

*indicates unification

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

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

Related Content

New Organs

Hendrickson Organ Company,

New Organs

Cover

GREAT (partially expressive) Manual II

POSITIV (unenclosed) Manual I

SWELL (expressive) Manual III

GRAND CHOIR (unenclosed) Manual IV

PEDAL

Couplers

GREAT

SWELL

PEDAL

Couplers

GREAT

SWELL

PEDAL

New Organs

The Wicks Organ Co., Highland, Illinois, Opus 6382

New Organs

Quimby Pipe Organs, Inc.,

Lively-Fulcher Organbuilders, Alexandria, Virginia

GRAND ORGUE

POSITIF EXPRESSIF

RÉCIT EXPRESSIF

PÉDALE

New Organs

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

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