New Organs

Greg Harrold, Los Angeles, California, has built a new 24-stop organ for the Kay/MacBird residence in Brentwood, California. This organ, the builder's Opus 14, features mechanical key and stop action. The 56-note manuals have bone naturals and ebony sharps. There are two interchangable 30-note pedalboards, one flat/parallel and one concave/ radiating. Wind pressure is 65mm from a single-fold wedge bellows and the organ is tuned in Kellner temperament. The case is of waxed spruce. The pipe shades were designed and carved by Dennis Rowland. The hall was built specially to house the organ, a piano and a harpsichord, as well as to provide a recital space for chamber music.

GREAT

8' Principal

8' Rohrflute

4' Octave

4' Spitzflute

22/3' Nasard

2' Octave

13/5' Tierce

III Mixture

8' Trumpet

8' Vox Humana

BRUST

8' Gedackt

4' Rohrflute

2' Waldflute

11/3' Quint

II Sesquialtera

8' Dulcian

PEDAL

16' Subbass

8' Principal

8' Violon

4' Octave

II Mixture

16' Posaune

8' Trumpet

8' Bassoon

II/I

I/P

II/P

Tremulant

Gerhard Hradetzky, Oberbergen, Austria, has built a new organ for St. Christopher's by-the-River, Gates Mills, Ohio. The organ comprises 15 stops, 18 ranks over two manuals and pedal; mechanical key and stop action; slider chest in classic style with leather-hinged pallets; one feeder bellows plus reservoir. Tuning is in unequal temperament. The installation is that of a "parapet organ," with the entire instrument built into the balcony railing. Alpine spruce is used for the case, the bellows and the 16' Subbass. Only wooden pegs are used in the construction. The organ rests on a solid steel frame that is connected to a support system extending to the basement of the church. The console is made of oak, with the outer surface not cut but planed by hand. Compass is 56/30. In addition to Gerhard Hradetzky, the workers included: Michael Prodinger, case design, carvings, technical structure; Franz Pazderka, case, windchest; Peter Winkler, console, key and stop action; Stefan Hradetzky, pipework, pre-voicing; Karl Unterweger, bellows, wind system, pipework, shop installation; Hans Waldbauer, gilding; Anja Liske, assistant, tonal finishing; and Günther Scholler & Ferdinand Collon, apprentices.

GREAT

8' Principal

8' Viola

4' Octav

4' Flauto dolce (Pos)

2' Super Octav

11/3' Quint

1' Mixtur III-IV

22/3' Duodec (from c)

13/5' Cornet (from c)

Pos/Gt

POSITIVE

8' Copl/Flauto

4' Flauto dolce (alternating w/Gt)

2' Flageolet

11/3' Flautino

8' Fagotto

PEDAL

16' Sub-bass

8' Octav-bass

8' Fagotto (alternating w/Pos)

Gt/Ped

Pos/Ped

Tremolo

Eight-bell Cymbal

In 1996, the Lutheran Theological Seminary in Gettysburg, Pennsylvania, contacted the Andover Organ Company to build a small organ to supplement its three-manual, 26-stop Andover opus 84, built in 1980. The seminary needed a portable organ for continuo and accompaniment. Jay Harold Zollner, organ designer for Andover, designed and built the portable organ. In the interests of cost effectiveness, he built two identical small organs. The twins are four-stop positiv organs, with a 54-note compass. The keyboard shifts one note for early music at A-415. The style is colonial Georgian, white with mahogany trim, to match the decor of the Church of the Abiding Presence at the seminary. The organs are equipped with casters and folding doors for moving, and measure 57 inches wide, 33 inches deep, and 50 inches high, with a blower built into the case.

The Gettysburg organ was installed in 1998 in a rückpostiv position near the larger opus 84 organ. The two organs are connected by an "Orgamat" system from Laukhuff, allowing the organist to play the small organ from the main console if desired. The orgamat, designed for tuning, sits on the keyboard of the small organ, and is activated by opto-electronic contacts on the chamade keyboard. In addition, the bottom 20 notes of the existing 16' Bourdon of the Pedal were relocated to new electric chests and extended to 32' pitch by adding 12 electronic notes to the bass.

Meanwhile, the second twin remained in the Andover shop, waiting for a home, traveling occasionally to nearby churches for special occasions. In the summer of 1998 the organ was purchased by Trinity Lutheran Church in Reading, Pennsylvania for its downstairs chapel, replacing a three-rank Wicks from the 1960s. The organ is also used as a continuo organ in the main sanctuary.

Andover Opus 110 and 110A

MANUAL

8' Gedeckt

4' Chimney Flute

2' Principal

11/3' Quinte

New Organs

Cover

Jaeckel Organs, Duluth,
Minnesota, has built a new organ for Trinity Ev. Lutheran Church, Richmond,
Virginia: 19 stops, 22 ranks, 1129 pipes. The firm's Opus #27 represents a
classical expression of organ building for a contemporary Lutheran church. The
strong historical emphasis placed on congregational singing in a Lutheran
church is this organ's primary foundation. Further, the rationale behind the
organ's design includes a historical bent towards central German
tonality--particularly the principal chorus--and the French tonality--notably
the treble reeds, the concept of the Swell division, and the Salizional,
Piccolo and Oboe placement in the Swell division.

Although the concepts come from various styles, it is
possible to blend them into one organ without the loss of integrity if the
builder understands where the concepts overlap. Having designed and built
highly stylized organs of various historic ideals, this builder believes that
the resulting amalgamation in this organ achieves integrity without compromise.
Instead of being simply an "eclectic" organ, this organ has the
ability to play a great variety of music without compromising the stylist
tonality, but, at the same time and because of its inherent integrity, can make
wonderful music of other styles as well, even though the tonal design does not
specifically take these into account.

The organ dedicatory recital was given by Richard Heschke in
November of 1994. Since then numerous artists, including Marilyn Keiser, Martin
Jean, and Richard McPherson, have presented recitals on the instrument.

--Greg Vick

Director of Music

Trinity Lutheran Church

HAUPTWERK (manual I) 56 notes

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

8'
style='mso-tab-count:1'> Prinzipal
(75% tin)

8'
style='mso-tab-count:1'> Spitzflöte
(12 pipes of wood, 44 pipes of 15% tin)

4'
style='mso-tab-count:1'> Oktav
(75% tin)

2'
style='mso-tab-count:1'> Oktav
(75% tin)

11/3'
style='mso-tab-count:1'> Mixtur IV-V
(75% tin)

8'
style='mso-tab-count:1'> Trompete
(50% tin resonators)

SCHWELLWERK (manual II) 56 notes

8'
style='mso-tab-count:1'> Salizional
(7 pipes from Rohrflöte, 49 pipes of 50% tin)

8'
style='mso-tab-count:1'> Rohrflöte
(18 pipes of wood*, 38 pipes of 15% tin)

4'
style='mso-tab-count:1'> Prinzipal
(50% tin)*

4'
style='mso-tab-count:1'> Blockflöte
(15% tin)

22/3'
style='mso-tab-count:1'> Cornet I-II
(15% tin)

2'
style='mso-tab-count:1'> Piccolo
(50% tin)

11/3'
style='mso-tab-count:1'> Quint (75%
tin)

8'
style='mso-tab-count:1'> Oboe
(50% tin resonators)

PEDAL 30 notes

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

8'
style='mso-tab-count:1'> Prinzipal
(24 pipes of 75% tin, 6 pipes from Gt)

16'
style='mso-tab-count:1'> Posaune
(15% tin resonators)

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

*pipes from previous organ at Trinity, which were rebuilt
and revoiced by Jaeckel, Inc. for new organ

Couplers

Hauptwerk to Pedal

Schwellwerk to Pedal

Schwellwerk to Hauptwerk

Features of the organ

Mechanical suspended key action

Solid state combination stop action with pistons and eight
levels of memory

75mm wind pressure from single wedge bellows

Werckmeister III temperament (well-tempered)

Solid mahogany wood case

AGO-style pedal keyboard

Cone tuning for treble pipes, soldered-on caps for
Rohrflöte

Natural keys of bone, sharps of grenadil

Hand-lettered porcelain stop knob faces

Adjustable bench

General tremulant

Mechanically-linked swell pedal

Console lights and mirror

Wind stabilizer on/off

The Bedient Organ Company, Roca, Nebraska, has built a new organ, opus 59, for St. Vincent de
Paul Parish, Omaha, Nebraska. The organ was designed to play the liturgy, lead
hymn singing, and for choral and solo accompaniments, in addition to the
standard organ literature. Tonally, the organ draws on German, French, and
American traditions. The lively acoustics of the church enhance the modest
number of stops. The façade is of oak. Key action is mechanical, with
trackers made of Alaskan yellow cedar. Stop action is electric. Keyboard
naturals are covered with moradillo, and accidentals are of maple. Pedal keys
are of oak, and accidentals capped with moradillo. Stop knobs are of cocobola.
The organ comprises 23 ranks, 18 stops, and 1,160 pipes. Metal pipes are of 2%
tin; wood pipes are made of poplar and mahogany. Open metal pipes are cone
tuned, and stopped metal pipes have soldered caps. Pipes in the facade have
mouths gilded with 23 karat gold leaf.

GREAT

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

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

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

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

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

Mixture
III-V

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

Sw/Gt

SWELL (Enclosed)

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

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

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

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

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

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

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

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

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

PEDAL

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

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

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

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

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

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

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

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

Gt/Ped

Sw/Ped

Tremulant

The Reuter Organ Company, Lawrence, Kansas, has completed the second phase of construction for
their Opus #2185 organ at St. Therese Catholic Church in Deephaven, Minnesota.
The original 9-stop instrument functioned for two years as a Great/Pedal organ.
The recent work included addition of the Swell division and one more Pedal
rank. The organ is placed on a three-tiered beamed platform suspended from
structural beams in the front of the sanctuary. Flamed copper pipes from the
Pedal Principal and Choral Bass form the facade. The moveable console has MIDI
capability controlled with a Matters computer system. Stephen Barnhart and J.R.
Neutel did the installation and voicing. Rob Glover is director of liturgical
music, Ray Ford is assistant organist, and Jeff Judge is assistant director.
Nearly a third of the money has been raised for the third and final phase.

GREAT

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

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

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

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

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

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

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

8'
style='mso-tab-count:1'> Trompette
en Chamade (prep)

8'
style='mso-tab-count:1'> Bombarde
(Choir, prep)

Chimes
(prep)

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CHOIR (prepared)

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

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

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

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

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

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

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

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

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

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

16'
style='mso-tab-count:1'> Trompette
en Chamade (Gt)

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

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

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

PEDAL

32'
style='mso-tab-count:1'> Violone
(prep)

32'
style='mso-tab-count:1'> Bourdon
(prep)

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

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

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

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

16'
style='mso-tab-count:1'> Erzahler
(Ch, prep)

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

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

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

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

32'
style='mso-tab-count:1'> Fagotto
(prep)

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

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

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

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

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

Gerhard Hradetzky,
Oberbergen, Austria, has built a new organ for St. Christopher's by-the-River,
Gates Mills, Ohio. The organ comprises 15 stops, 18 ranks over two manuals and
pedal; mechanical key and stop action; slider chest in classic style with
leather-hinged pallets; one feeder bellows plus reservoir. Tuning is in unequal
temperament. The installation is that of a "parapet organ," with the
entire instrument built into the balcony railing. Alpine spruce is used for the
case, the bellows and the 16' Subbass. Only wooden pegs are used in the
construction. The organ rests on a solid steel frame that is connected to a
support system extending to the basement of the church. The console is made of
oak, with the outer suface not cut but planed by hand. Compass is 56/30. In
addition to Gerhard Hradetzky, the workers included: Michael Prodinger, case
design, carvings, technical structure; Franz Pazderka, case, windchest; Peter
Winkler, console, key and stop action; Stefan Hradetzky, pipework, pre-voicing;
Karl Unterweger, bellows, wind system, pipework, shop installation; Hans
Waldbauer, gilding; Anja Liske, assistant, tonal finishing; and Günther
Scholler & Ferdinand Collon, apprentices.

GREAT

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

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

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

4'
style='mso-tab-count:1'> Flauto
dolce (Pos)

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

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

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

22/3'
style='mso-tab-count:1'> Duodec
(from c)

13/5'
style='mso-tab-count:1'> Cornet
(from c)

Pos/Gt

POSITIVE

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

4'
style='mso-tab-count:1'> Flauto
dolce (alternating w/Gt)

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

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

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

PEDAL

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

8'
style='mso-tab-count:1'> Octav-bass

8'
style='mso-tab-count:1'> Fagotto
(alternating w/Pos)

Gt/Ped

Pos/Ped

Tremolo

Eight-bell
Cymbal

Orgues Létourneau Limitée
style='font-weight:normal'>, of St-Hyacinthe, Québec, has completed a new
organ for St. Ann's Catholic Church in Washington, DC. The firm's Opus 62
features electric slider windchests and offers a full complement of couplers
and two expressive divisions to provide greater flexibility. The casework is
made of solid red oak and displays pipes of the 16' Montre from the
Pédale and Grand Orgue divisions in the left and right facades,
respectively; the central tower showcases the five largest pipes of the
Pédale Flûte 16'. The new 3-manual drawknob console offers a
64-level solid-state combination action. The consultant, Dr. Haig Mardirosian,
performed the dedication recital on Sunday, May 2, 1999. John Piunno chaired
St. Ann's organ committee. The church's pastor is the Rev. Msgr. William J.
Awalt; the director of music is Robert N. Bright; and the assistant organist is
Darryl Podunovac.

GRAND ORGUE

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

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

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

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

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

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

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

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

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

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

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

8'
style='mso-tab-count:1'> Trompette
de fête (Pos)

RÉCIT (expressive)

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

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

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

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

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

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

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

2'
style='mso-tab-count:1'> Flûte
ouverte

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

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

16'
style='mso-tab-count:1'> Trompette
harmonique

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

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

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

Tremulant

POSITIF (expressive)

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

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

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

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

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

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

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

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

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

Tremulant

PÉDALE

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

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

16'
style='mso-tab-count:1'> Flûte

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

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

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

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

51/3'
style='mso-tab-count:1'> Fourniture
IV

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

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

16'
style='mso-tab-count:1'> Trompette
(Réc)

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

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

8'
style='mso-tab-count:1'> Trompette
de fête (Pos)

New Organs

Cover

Lauck Pipe Organ Company, Otsego, Michigan

Trinity Christian College, Palos Heights,
Illinois

Trinity Christian College is a four-year liberal arts college founded in
1959 and located in Palos Heights, Illinois, a suburb 25 miles southwest of
Chicago. It is dedicated to providing students with a quality higher education
in the Reformed Christian tradition. The college has grown extensively in
recent years with many new buildings erected. In 2001, the college dedicated a
new 1,200-seat auditorium: The Martin and Janet Ozinga Chapel. The chapel is
also the home of the college's music department with faculty offices, rehearsal
rooms, a recital hall, a music computer lab, and practice rooms. An organ for
the auditorium was envisioned from the building's conception.

Under the chairmanship of music department chair Helen Van Wyck, a committee
was formed to choose a builder for the organ. Paula Pugh Romanaux was selected
as the consultant to work with the committee. After visiting several of our organs,
Lauck Pipe Organ Company was chosen to build the organ. Working with the
builder, the committee decided that the instrument would be located at the back
of the stage and would occupy the central position. The committee felt that an
organ with a detached console would prove more flexible, especially when used
with orchestra and to accompany small ensembles.

Several designs for the organ case were prepared ranging from traditional to
contemporary, the latter being chosen. The proportions of the case are generous
in order to fill the expansive rear wall of the stage area. The façade
consists of the 16' Principal, 8' Pedal Octave and the 8' Great Diapason,
with pipes of polished tin. The
casework is arranged so that the Pedal division occupies the center and two
outer towers. Between the left and center tower is the Great Principal chorus
with the Choir division above. Between the right and center towers are the
Great flutes and reed with the Swell division above. A shallow case with
expression shades capable of a full range of motion allow for excellent egress
of sound. The emblem at the top of the center tower is the college's logo done
in relief and gilded.

Over the past 30 years, we have built many French-terraced consoles with
curved terraces, but Marilyn Mulder, the school's organ instructor, suggested a
console based on a design she saw at Chicago's Orchestra Hall. From her
photograph, we designed and built a console with straight, oblique terraces.
The woodwork is of cherry to match other furnishings in the chapel. The
terraces, keycheeks, manual and pedal sharps, and drawknobs are all of
rosewood. The manual naturals are of bone. Peterson supplied the MIDI system
and combination action. Lauck manufactured the coupler and relay systems, as
well as the electric expression servos.

The room, alas, suffers from insufficient reflection of sound. As we worked
with the acoustician and architect, the organ committee and I realized we would
not be able to have all of our requests granted; the acoustician was more
interested in absorbing rather than reflecting sound. The architect and
building committee did agree that the expansive drywall ceiling would be well
supported and made up of a double layer glued together so as to not absorb the
lower frequencies. Preliminary acoustical tests of the room proved that we
needed a lot of sound to fill it. The organ had to be scaled very boldly, with
variable scales and higher cut-ups being freely employed. In addition, generous
wind pressures, especially in the reeds, would be used. Our tonal concept was
to establish well-developed Principal choruses in each division, colorful and
contrasting flute choruses, and chorus reeds that bind together well. This goal
was achieved and supplemented by colorful solo reeds and strings with character
and variety.

The Great is based on a 16' Principal. The 8' extension of the Principal can
be used as a second Diapason and creates a rich fond d'orgue with the open and
stopped flutes. Mutations provide for a Great Principal Cornet. To ensure a
bold, full pedal, the 16' Diapason is really a 16' open wood located in the
central tower of the case. The Great 16' Principal is also available in the
Pedal for use in lighter textures, while the 8' Octave and 4' Choralbass are
independent. The Trumpet-en-Chamade is made of tin and is voiced on 10 inches
of wind pressure using domed parallel shallots. The Pedal Trombone unit is also
voiced with domed parallel shallots on 8 inches of wind pressure. The Swell
reeds are on 6 inches of wind with the Bassoon/Oboe having tapered shallots and
the Trumpet/Clarion parallel shallots. The Swell Gamba and Gamba Celeste are
slotted with rollers throughout. It is a well-developed string tone with good
strength and carrying power; however, the expression boxes and shades are
heavily built and can make the strings evaporate when desired. The Swell also
has a Flute Celeste, which is built as a Ludwigtone; basically, two wood pipes
built with a common middle wall on one foot. The Choir Viola and Viola Celeste
are of about equal power to the Swell strings but are not slotted and are of a
broader tone quality. They are voiced to work together perfectly yet retain
their individual colors.

The Lauck employees that built Opus 55 include: Craig Manor, console design
and construction, wood pipes; Ken Reed, pipemaker, office manager; Ben Aldrich,
design, windchests, foreman; Bob Dykstra, windchests, wood pipes, casework;
Dick Slider, windchests, lower casework; Dan Staley, circuit board
manufacturing, wiring; Jim Lauck, design, voicing, tonal finishing; Jonathan
Tuuk; tonal finishing.

--Jim Lauck

Lauck Opus 55, 2002

3 manuals, 46 ranks, electric action

GREAT

16' Principal (61 pipes)

8' Diapason (61 pipes)

8' Principal (12 pipes)

8' Rohrflute (61 pipes)

8' Flute Harmonique (61 pipes)

4' Octave (61 pipes)

4' Principal (12 pipes)

4' Flute Octaviante (12 pipes)

22/3' Quint (61 pipes)

2' Superoctave (61 pipes)

13/5' Tierce (61 pipes)

IV Fourniture (244 pipes)

8' Trumpet (61 pipes)

8' Trumpet-en-Chamade (61 pipes)

Great
to Great 4

Swell
to Great 16-8-4

Choir
to Great 16-8-4

Zimbelstern

SWELL

16' Bourdon (12 pipes)

8' Bourdon (61 pipes)

8' Gamba (61 pipes)

8' Gamba Celeste (49 pipes)

8' Flute Celeste (49 pipes)

4' Principal (61 pipes)

4' Spitzflute (61 pipes)

2' Blockflute (12 pipes)

V Mixture (293 pipes)

16' Bassoon (61 pipes)

8' Trumpet (61 pipes)

8' Oboe (12 pipes)

4' Clarion (12 pipes)

Tremulant

Swell to Swell 16-UO-4

CHOIR

8' Gedeckt (61 pipes)

8' Viola (61 pipes)

8' Viola Celeste (49 pipes)

4' Principal (61 pipes)

4' Koppelflute (61 pipes)

22/3' Nazard (61 pipes)

2' Octave (61 pipes)

2' Flautino (12 pipes)

13/5' Tierce (61 pipes)

11/3' Larigot (5 pipes)

III Scharff (183 pipes)

8' Cromorne (61 pipes)

8' Trumpet-en-Chamade (Gt)

Tremulant

Choir to Choir 16-UO-4

Swell to Choir 16-8-4

PEDAL

32' Sub Bourdon (electronic ext)

16' Diapason (open wood) (32 pipes)

16' Principal (Great)

16' Subbass (32 pipes)

16' Bourdon (Swell)

8' Octave (32 pipes)

8' Principal (Great)

8' Bass Flute (12 pipes)

4' Choralbass (32 pipes)

II Rauschquint (64 pipes)

II Mixture (24 pipes)

32' Contra Bassoon (electronic ext)

16' Trombone (32 pipes)

16' Bassoon (Swell)

8' Trumpet (12 pipes)

4' Clarion (12 pipes)

4' Cromorne (Choir)

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Lauck Pipe Organ Company

92 - 24th Street

Otsego, MI 49078-9633

Telephone: 269/694-4500

Fax: 269/694-4401

<[email protected]>

Cover photo by Richard Lanenga

Paul Fritts and Co., Tacoma,
Washington, has built a new organ for Vassar College, Poughkeepsie, New York.
The mechanical-action pipe organ is installed in the 500-seat Mary Anna Fox
Martel Recital Hall of the Belle Skinner Music Building. It contains 34 stops
distributed over two manuals (Hauptwerk and Positiv) and Pedal.

The tonal design reflects both the North and Middle German schools of
organbuilding from the first half of the eighteenth century. North German
features include fully independent manual and pedal divisions with
well-developed upper work; a full spectrum of mutation stops (two on double
draws); and seven reed stops, 20% of the registers. Middle German building is
represented by a variety of six manual 8' flue stops; the “gravity”
of 16' stops in each manual division and four 16' pedal stops; a Tierce rank
which can be added to the Hauptwerk Mixture; and the inclusion of the Positiv
division in the main case, rather than positioned to the rear of the player.

The northern features pay homage to the seventeenth-century style of Arp
Schnitger and the middle German school points more to the pre-Romantic
eighteenth-century styles of Wender, Trost, Hildebrandt and others. The new
Vassar organ is well-suited for music of J. S. Bach with its cosmopolitan
mixture of northern, middle, and southern European traits. Other literature
from the sixteenth-century through the works of Mendelssohn will also sound to
advantage.

The new organ is placed centrally in a gallery nine feet above the stage
floor in the front of the hall. The case has a bright burgundy enamel finish.
Gold leaf highlights the gray painted pipe shades. The case and many internal
parts are crafted from popular.
Many other woods were chosen for their various properties, including
mahogany, oak, maple, ebony, redwood and sugar pine.

Along with the new organ came alterations to the organ gallery and stage
area significantly improving acoustics, and a climate control system for the
recital hall. The Marian and Speros Martel Foundation Inc. donated funds
covering both the organ and hall improvements. Glenn D. White recommended
acoustical improvements, and Richard Turlington designed architectural plans
for the room. Frances D. Fergusson, President of Vassar College, initiated the
project. George B. Stauffer was consultant.

To inaugurate the new instrument, Merellyn Gallagher, James David Christie,
and Joan Lippincott played solo recitals in February and March 2003.

HAUPTWERK

16' Principal

8' Octava

8' Rohrflöte

8' Viol di Gamba

4' Octava

4' Spitzflöte

Nasat/Cornet II*

2' Superoctava

Mixture Tierce

Mixture IV–VI

16' Trompet

8' Trompet

POSITIVE

8' Geigenprincipal

8' Gedackt

8' Quintadena

4' Octava

4' Rohrflöte

2' Octava

2' Gemshorn

11/3' Quinte

Quint/Sesquialtara II*

Mixture IV–V

16' Fagotto

8' Dulcian

PEDAL

16' Principal**

16' Violon

16' Subbass

8' Octava***

8' Bourdon***

4' Octava

Mixture V–VII

16' Posaune

8' Trompet

4' Trompet

* Double draw

** Bottom octave transmission from Hauptwerk

*** Extension

Couplers

Positiv
to Hauptwerk

Hauptwerk
to Pedal

Positiv
to Pedal

Manual/Pedal compass: 56/30, flat pedalboard

Burnished tin front pipes

Solid wood casework with pipe shades carved by Judy Fritts

Suspended key action

Mechanical stop action

Variable tremulant

Three bellows fitted with pedals for foot pumping

Wind stabilizer

Pitch: A 440

Temperament: Kellner

Wind pressure: 74 mm. (ca. 3≤)

Fabry Pipe Organs, Inc., of Fox
Lake, Illinois, has completed the 5-rank antiphonal division added to the
original Möller organ in Faith Evangelical Lutheran Church, Homewood,
Illinois.

Fabry Inc. installed the original M.P. Möller instrument (2 manuals, 19
ranks) in 1980 in the rear balcony of the sanctuary and has been maintaining
the organ since that time. The console was prepared for an antiphonal division.
On many occasions while tuning the instrument, the organist, Mrs. Phyllis
Silhan, would always say, “I hope I get to see this instrument completed
before I retire.” Twenty-two years later, the church elected to add the
antiphonal division.

The new antiphonal division was installed in October of 2002. The original
specification for this division--8' Gedeckt, 4' Gemshorn, 2' Flautino, II
Mixture--was changed to 8' Gedeckt, 4' Octave, 4' Harmonic Flute, 2' Fifteenth,
and 8' Oboe. A new solid-state relay was provided that is totally prepared for
the addition of a small antiphonal console.

Fabry Inc. would like to thank the organist, Mrs. Phyllis Silhan, and
Reverend Dr. Timothy Knaff, who coordinated the entire project. David G. Fabry
built all the chestwork and new casework. Crew leader Joseph Poland handled the
installation.

GREAT

8' Principal

8' Bourdon

4' Octave

2' Super Octave

IV Fourniture

8' Trompette (Sw)

SWELL

8' Rohrflote

8' Viola

8' Viola Celeste

4' Spitz Principal

4' Rohrflote (ext)

2' Hohlflote

III Scharf

8' Trompette

ANTIPHONAL (new division)

8' Gedeckt

4' Octave

4' Harmonic Flute

2' Fifteenth

8' Oboe

PEDAL

16' Contra Bass

16' Rohr Bourdon (ext)

8' Principal (Gt)

8' Rohrflote (Sw)

4' Nachthorn

16' Bombarde (ext)

4' Clarion (Sw)

COUPLERS

Gt
& Sw to Ped 8

Sw
to Gt 16-8-4

Gt
4

Sw
16-UO-4

Antiph
to Ped 8

Antiph
to Gt 8

Antiph
to Sw 8

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

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

MANUAL I

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

8'
Rohrflöte (18 wood, 38 of 15% tin)

4'
Octave (15% tin)

2'
Mixtur III (15% tin)

MANUAL II

8'
Gedackt (wood)

4'
Holzflöte (wood)

2'
Principal (15% tin)

PEDAL

16'
Subbass (12 wood, 18 from Rohrflöte)

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

GREAT

16'
Bourdon

8'
Principal

8'
Stopped Diapason

4'
Octave

4'
Chimney Flute

2'
Fifteenth

IV
Mixture

III
Cornet

8'
Trumpet

Zimbelstern

SWELL

8'
Violin Diapason

8'
Celeste

8'
Gedeckt

4'
Principal Flute

22/3'
Nazard

2'
Octavin

III
Mixture

16'
Faggot

8'
Trompette

8'
Hautboy

Tremolo

PEDAL

16'
Subbass

16'
Bourdon (Gt)

8'
Principalbass

8'
Flutebass (ext)

4'
Choralbass (ext)

16'
Trombone

8'
Tromba (ext)

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

GREAT

16'
Bourdon*

8'
Principal

8'
Chimney Flute*

8'
Salicional*

4'
Octave

4'
Cone Flute*

22/3'
Twelfth*

2'
Fifteenth

13/5'
Seventeenth*

11/3'
Mixture IV

8'
Trumpet

Chimes

Bell
Star

Sw/Gt

SWELL

8'
Viol Principal

8'
Wood Flute

8'
Celeste

8'
Gentle Flute

4'
Fugara

4'
Harmonic Flute

2'
Octavin

16'
Bassoon

8'
Cornopean

8'
English Horn

PEDAL

16'
Subbass

16'
Bourdon (Gt)

8'
Principal (Gt)

8'
Cello

8'
Chimney Flute (Gt)

4'
Octave Bass

16'
Trombone

8'
Trumpet (Gt)

Gt/Ped

Sw/Ped

Tremulant

*Great stops enclosed in the Swell box with Swell stops

New Organs

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

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

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

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

GREAT

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

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

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

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

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

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

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

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

Cymbalstern

Gt
16-UO-4

Sw
16-8-4

SWELL

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Sw
16-UO-4

PEDAL

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

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

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

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

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

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

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

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

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

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

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

Gt
8-4

Sw
8-4

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

MANUAL I

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

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

MANUAL II

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

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

PEDAL

I/Ped

II/Ped

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

GREAT

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

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

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

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

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

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

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

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

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

Chimes

Zimbelstern

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremolo

CHOIR

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

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

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

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

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

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

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

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

Tremolo

FANFARE (prep)

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

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

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

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

--John-Paul Buzard

GREAT

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

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

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

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

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

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

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

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

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

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

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

Tremulant

Cymbalstern

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

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

SWELL "A"

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

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

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

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

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

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

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

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

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

Tremulant

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

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

SWELL "B"

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

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

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

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

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

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

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

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

Tremulant

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

* denotes old pipework

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

GREAT

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

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

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

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

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

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

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

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

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

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

Tremulant

Chimes

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

Tremulant

CHOIR (prep)

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

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

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

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

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

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

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

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

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

Tremulant

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

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GREAT

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

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

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

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

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

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

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

IIIMixture

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

13/5' Tierce

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

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

Tremulant

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

PEDAL

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

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

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

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

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

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

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

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

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

GREAT

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

Tremolo

SOLO (enclosed with Swell)

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

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

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

Tremolo

ANTIPHONAL (prep)

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

MANUAL I or II

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

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

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

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

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

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

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

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

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

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

Chimes

PEDAL

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

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

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

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

Accessories

Tremulant

16' Contra-Bassoon reversible

I/Ped reversible

II/Ped reversible

II/I reversible

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

Analysis

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

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

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

D Gemshorn 8' 85 pipes, enclosed, variable scale

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

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

G Trumpet 16' prepared

GREAT

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

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

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

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

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

PEDAL

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

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

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

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

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

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

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

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

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

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

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

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

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

MIDI

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

New Organs

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

GREAT

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

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

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

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

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

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

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

CONTINUO

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

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

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

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

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

Zimbelstern
(prep)

PEDAL

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

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

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

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

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

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

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

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

GREAT

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

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

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

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

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

Mixture
II-III

CHOIR

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

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

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

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

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

PEDAL

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

Gt/Ped

Ch/Ped

Ch/Gt

Tremulant

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

POSITIV (prep)

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

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

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

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

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

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

MIDI

Zimbelstern

HAUPTWERK

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

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

8'
style='mso-tab-count:1'> Rohrflöte

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

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

2'
style='mso-tab-count:1'> Waldflöte

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

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

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

SCHWELLWERK

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

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

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

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

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

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

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

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

Tremulant

PEDAL

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

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

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

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

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

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

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

MIDI
(prep)

New Organs

Andover Opus 110 and 110A

Related Content

New Organs

Cover

New Organs

Cover

New Organs

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

New Organs

Current Issue