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

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

Cover

Austin Organs, Inc.,
Hartford, Connecticut, has installed a new Antiphonal organ at Christ Church
Cathedral, Hartford. The cathedral dates from 1828, and was subsequently
supplied with successive organs by Erben, Hook & Hastings, and Skinner.
Austin #2417 was installed in the chancel in 1965. At that time, preparations
were made in the console for an Antiphonal division to be placed in the rear
gallery, but nothing occurred until 2000 when a move was started to fit a
Trumpet in the rear gallery. This idea grew into a plan for a complete
Antiphonal division somewhat larger than that envisaged in the console
preparations of 1965. Taking advantage of the reconstruction of the console
with solid-state mechanisms, drawstops were provided for a seven-stop division,
with a chamade 8' to be played from the Great, Positiv and Pedal.

Austin #2417 was typical of its times in following a
Germanic neo-classical line. Whatever the virtues of that style, it is arguable
that it is not entirely satisfactory for an Episcopal liturgy, particularly in
encouraging congregational singing. The new Antiphonal Diapason chorus is
therefore resolutely English traditional in style, and devoted solely to
congregational support. To this end a Pedal Bourdon 16' has been provided for
that firm foundation that is so assuring for hesitant congregations.

The two stops under the heading of Continuo, namely Stopped
Diapason 8' and Stopped Flute 4', are voiced not as part of the main chorus,
but for the accompaniment of small choral groups singing from the west gallery.
An arrangement has been made for a keyboard to be plugged in on the west
gallery for such occasions.

The Trompette en chamade is playable from the Great, Positiv
and Pedal. This stop is made from polished brass and fitted with flares and
speaks on 8 inches wg. The tone is decidedly different from most stops of this
name. The sound is round and focused, grand rather than aggressive, and nearer
Tuba in effect.

The casework of the new section is derived in form and
proportion from the Hook & Hastings organ of the 1860s, and is a fine and
ornamental addition to the cathedral furniture.

The Antiphonal division was taken into use on Christmas Day
2001.

--Austin Organs, Inc.

ANTIPHONAL               

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

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

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

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

CONTINUO

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

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

PEDAL

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

TROMPETTE EN CHAMADE

                                    Great

                                    Positiv

                                    Pedal

M. L. Bigelow & Co., Inc., American Fork, Utah, has built a new organ for All Souls' Episcopal Church, Oklahoma City, Oklahoma; this is the firm's Opus 26: 19 stops, 22 ranks. This instrument is the world's first tracker organ incorporating both dual stop action (mechanical and electrical) and "Either/Or" registration whereby many of the stops can be drawn on either manual. The solid state combination action provides eight levels of memory. The instrument is of quartered white oak and is located in a small gallery at the rear of the church's new chapel which seats ninety people. Some of the various challenges included very limited floor space and ceiling clearance, a round stained glass window to clear, and choir seating for 22. The solution was a low, wide case for the manual pipes, with the pedal pipes placed behind. The terraced key desk was fitted with a tempered glass music rack and was detached to permit choir seating directly in front of the case, and to facilitate conducting the choir from the organ bench. Manual keys span C1-a58 and are of bone and ebony. The AGO pedalboard has thirty notes. Temperament is Fisk I, which gives some variety of key colors, the key of F being the most solid sounding. Metal pipes are of various alloys ranging from 31% for most inside pipes to 75% tin for the façade. Wood pipes are of oak and maple. Wind is by a blower-fed wedge bellows which is weighted to supply 70mm pressure. Relatively light pressure and gentle voicing combine to create a sound that is not too hard on the choir's ears. The organist can deactivate wind stabilizers from the key desk to achieve flexible winding. Both the organist, Dr. Laura van der Windt, and the consultant, Dr. Gerald Frank, were actively involved in the tonal design and finishing of the instrument. The inaugural recital was played by David Higgs on 5 February 2000. Due to limited seating in the chapel, Dr. Higgs repeated the recital twice the following day.

--Michael Bigelow

Manual I/Manual II

                  8'
style='mso-tab-count:1'>             Præstant
(Man I/II)

                  8'
style='mso-tab-count:1'>             Chimney
Flute (Man I/II)

                  8'
style='mso-tab-count:1'>             Viola
da Gamba (Man I/II)

                  8'
style='mso-tab-count:1'>             Voix
céleste (Man II)

                  4'
style='mso-tab-count:1'>             Octave
(Man I/II)

                  4'
style='mso-tab-count:1'>             Conical
Flute (Man I/II)

                  2'
style='mso-tab-count:1'>             Octave
(Man I/II)

                  22⁄3'
style='mso-tab-count:1'>      Cornet (Man
I)/Nasard (Man II)

                                    Mixture
III-IV (Man I)/ II (Man II)

                  8'
style='mso-tab-count:1'>             Trumpet
(Man I/II)

                  8'
style='mso-tab-count:1'>             Clarinet
(Man I/II)

Pedal

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

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

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

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

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

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

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

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

Tremulant/Flexible Wind

Couplers: I/Ped, II/Ped, II/I

Zimbelstern

 

* Detached keydesk to facilitate directing choir from bench.
Lighted music shelf and pedal board. Glass music rack.

* Self-regulating, suspended mechanical key action. Keys of
bone and ebony.

* Mechanical stop action. Multi-level combination action
with 8 memories operates stops electrically. Pistons: 8 Generals, 6 Manual, 4
Pedal. Coupler stop knobs are duplicated as toe and thumb piston reversibles.

* Mechanically operated swell shades enclose most manual
stops.

* Crank-adjustable full-width organ bench.

Joel H. Kuznik

Joel Kuznik has served as a college organist and professor, a church musician, a pastor, and as a business executive on Fifth Avenue, Wall Street, and at MetLife. After several years of retirement from business, he revived writing for professional journals, something he had done since his college days. After attending the Bachfest 2003 in Leipzig, he again began writing articles and reviews. With over 60 pieces in print ranging from reviews of concerts and festivals, travelogues, books on church music, concert hall organs, CDs and DVDs, he was recognized and named to the Music Critics Association of North America (MCANA) in May 2005. He is also a member of the American Bach Society and serves on the board of the Bach Vespers at Holy Trinity in New York City, where he has lived for 32 years. His organ teachers were Austin C. Lovelace, Frederick Swann, Ronald Arnatt, David Craighead, Jean Langlais, Marie-Madeleine Duruflé-Chevalier, and Anton Heiller. As a member of the AGO, he has served as dean of the Ft. Wayne chapter, on the executive board of the New York City chapter, and on the national financial board. He holds a BA summa cum laude from Concordia Sr. College (formerly at Ft. Wayne), a Min.Div and STM from Concordia Seminary, St. Louis, and an MM from the Eastman School of Music.

Mention Saxony to most organists, and they immediately think of the 18th century, Gottfried Silbermann and his catalogue of 31 extraordinary instruments, which are still being played.1 An amazing testimony! But today one hears more and more of Kristian Wegscheider, widely admired for his dynamic restorations of Silbermann organs as well as those of Hildebrandt, Schnitger and Ladegast—and whose reputation as a builder is so respected that he was considered for the new organs at St. Thomas, Leipzig and the Frauenkirche in Dresden.
Steven Dieck, president of C. B. Fisk, Inc., credits Wegscheider with being “very helpful in discovering the ‘secrets’ of Gottfried Silbermann and continues to be, not only for us, but also for any other organbuilder. There is no disputing that Kristian and his shop are the experts on the work of Gottfried Silbermann.”
Stefan Engels of Leipzig’s University of Music & Theatre notes that “Kristian Wegscheider is one of the leading organ builders of our time when it comes to the restoration of historic instruments from the 17th and 18th centuries. His knowledge of style, his talent for research, and his ability to relate to the distinct sounds of old organs is unique. It is a joy to experience this artist and his superb work.”
And, as Steve Dieck points out, Wegscheider has an international involvement and impact. “Once East Germany opened itself to the rest of the world, Kristian’s company became a member of the International Society of Organbuilders. Shortly after that, he helped to organize one of the ISO’s biennial congresses held in Dresden. He is currently second vice president of the ISO and again helped to organize the congress in September 2008, which began in Gdansk, Poland and worked its way by train and boat to Stralsund, Germany, where members of ISO visited significant organs.”2
“He continues to share his vast knowledge of the works of Gottfried Silbermann with his many organbuilding colleagues around the world. He has visited the U.S. many times, and was invited to collaborate with Fritz Noack in making a ‘Hildebrandt’ style organ for Christ the King Lutheran Church in Houston, Texas.”
And those who have been fortunate to hear Wegscheider’s restorations or new instruments would add, “This is a builder about whom Americans need to know more.”

Background
Kristian Wegscheider was born in 1954 in Ahrenshoop, a small resort town on the Baltic Coast of Northern Germany. After stints in the army and a year with a furniture-maker, he began his apprenticeship with the esteemed Jehmlich Dresden organbuilding firm, which dates back to 1808 and is associated with the restorations of the magnificent Silbermann cathedral organs in Dresden and Freiberg.
Kristian immediately took an immense interest in historic organs and worked on restorations in Berlin and Leipzig. He became head of Jehmlich’s restoration department and supervised restorations of the 1714 Silbermann in Freiberg’s Cathedral and the 1868 Lütkemüller organ at the Güstrower Cathedral.

Orgelwerkstatt Wegscheider Dresden
As Wegscheider writes for his firm’s website,3 the creation of his organ workshop in Dresden in 1989 coincided with the fall of the Wall and became possible with the parallel vehement political and social changes. These were indeed complicated times in the GDR, and the emergence of a new private company was no simple venture.
At the time it was not unusual in the GDR for restorations and even the repair of organs to be delayed up to 20 years. In 1987, that gave Wegscheider an idea, often treated perfunctorily and bureaucratically, to create his own workshop specializing in restorations and repair. He overcame numerous hurdles—among other things, getting a trade license and acquiring the space for engaging in a trade, and one couldn’t get one without the other.
In order to bridge the gap, Wegscheider worked for almost a year in the restoration workshop of the Museum of Musical Instruments at the University of Leipzig. With the assistance of friends and with some luck, however, the initial problems were overcome. That was all quickly forgotten, once work began in the spring of 1989 with the reconditioning of an old carpenter’s shop in Dresden’s Neustadt (“new city”).4 His first two coworkers were the organ builder and pipemaker Hartmut Schütz, who had also trained with Jehmlich, and his long-time friend and a carpenter, Matthias Weisbach. Requirements were completed in December of 1990, and Wegscheider was able to receive his certification as a master craftsman (“Meisterbrief”).
The workshop officially began operating June 1, 1989, and in September there was a big celebration with friends and colleagues. For this historic event, a narrow-gauge steam train was rented, and the area in front of the shop was transformed into an open-air theatre. When the borders opened that fall, a group of five made a week-long “discovery journey” into the “West” finally to hear and investigate for themselves organs they had often read and heard about, an adventure that just weeks before had seemed impossible.
During this week, the team was able to examine the old instruments of East Frisia (Ostfriesland, a costal region along the North Sea bordering the Netherlands to the west),5 which for them was like an “organbuilder’s paradise.” There they also inspected the shop of the famous Jürgen Ahrend, contacted the North German Organ Academy, and had discussions with organ experts, musicologists and organists. This all became invaluable in forming their own firm and served as the basis for artistic work. Additional “educational journeys” became a regular experience and took them to South Germany, Switzerland, Italy, and France. How exhilarating this must have been—the new freedom to explore and discover!

Wegscheider: first projects
The first project was a new instrument for the Allstedt Castle Chapel in Mansfeld. The small organ was to complement the Baroque room and conform to old established models of classical organbuilding. The shop was to do something that had never been done in East Germany before—to make an instrument completely from wood, tin, lead, leather and brass without using plywood, aluminum, nitrate lacquer, plastic and prefabricated mechanisms.
Also, this instrument would reflect Wegscheider’s long-held interest in providing two temperaments that can be played interchangeably: meantone for Renaissance music and well-tempered for Baroque. The idea originated in Charles Fisk’s dual-temperament organ at California’s Stanford University (1984),6 but this was to be the first such instrument in Europe, with Wegscheider working to improve the result both technically and musically.7
This new organ for Allstedt was followed by a number of restorations in the states of Mecklenburg-Vorpommern, Saxony-Anhalt, Brandenburg and Thuringia, while at the same there developed partnership work in Saxony. Much of the work, now with seven co-workers, involved restoring damaged organs, some long unplayable due to water damage or wood worms. Other builders had refused to work on them or recommended replacements, but to Wegscheider these instruments were too valuable to be discarded. Congregations, in turn, were grateful for the efforts of their municipalities to preserve these organs.
Expansion
By 1993 it was clear that the company needed new, larger facilities. The company had expanded to ten employees, with only 400 square meters of workspace and with insufficient height to assemble instruments. Finally a carpenter’s workshop was found in Dresden–Hellerau in the old village center of Rähnitz. During the move, the firm continued to work on a restoration of the Silbermann for the Bremen Cathedral (I/8, 1734)8 and an identical copy of it for the Silbermann Museum in Frauenstein, so that the dedication of the new workshop in July 1994 could take place in a concert using both organs with the Dresden Baroque Orchestra.
After all this excitement, work continued routinely, but always with interesting projects. One was the extensive renovation of the Schulze organ, with the reconstruction of a 32′ Posaune in Markneukirchen, a town in Saxony known as a center for making musical instruments as well as its Museum of Musical Instruments. Another instance was building a new 20-rank organ inside an historic case in Steinwedel near Hannover, which demonstrated what a builder like Wegscheider with experience in historical models could do.

Langhennersdorf, Nikolaikirche
But the high point of this period was completing the renovation of the organ at St. Nicholas Church in Langhennersdorf, a beautiful village near Freiberg. This Opus 1 by Silbermann’s apprentice Zacharias Hildebrandt (1722) as his Meisterstück (masterpiece) was built to certify him as an organbuilder. It is a revelation to hear—exciting, vibrant, present, colorful, and commanding.
But all this came after some blood, sweat and tears. Begun in 1989–90 during the turbulent reunification of Germany, this was Wegscheider’s first big contract and was threatened by obstacles beyond his control. However, he remained determined and continued working piece by piece as the church, which was committed to the challenge, raised funds. What exuberance there must have been at rededication on Reformation Day, 1996!

Langhennersdorf Nikolaikirche9
1722 Zacharias Hildebrandt (II+P/21)
1989–1996 Kristian Wegscheider

Hauptwerk
8′ Principal
8′ Rohrflöte
8′ Quintadena
4′ Praestant
4′ Spitzflöte
3′ Quinta
2′ Octava
III Mixtur
II Cymbeln
III Cornett (from c1)

Oberwerk
8′ Gedackt
4′ Rohrflöte
3′ Nasat
2′ Principal
2′ Waldflöte
1′ Sifflöte
11⁄3′ Quinte
II Cymbeln

Pedal
16′ Sub-Baß
16′ Posanenbaß
8′ Trompete

Tremulant
Shove coupler II/I
Pedal coupler I/P
Manual compass C, D–c3
Pedal compass C, D–c1

Choir pitch: a = 468 Hz
Modified meantone

Dresden-Loschwitz church
The lessons learned in Langhennersdorf would prove helpful in designing the 1997 organ for a church in the outlying regions of Dresden-Loschwitz. The organ was conceived as a large one-manual and pedal instrument that would combine the typical stops of Silbermann with other 18th-century Saxon builders in one division, but some stops are also playable on a second manual. The building, virtually destroyed in the 1945 Blitz by an errant bomb, has been restored with spectacular but simple beauty. The church—with its historic altar rescued and restored from the Sophienkirche, where Bach played two recitals (1825 and 1731), and where his son Wilhelm Friedemann was organist (1733–1746)—has its organ sitting center stage in the second gallery.
The impact of this small instrument is remarkable and a joy to hear. Just a day after playing and listening to the impressive Silbermann-Hildebrandt (III/47, 1755) at Dresden’s Hofkirche and the imposing new Kern at the Frauenkirche (IV/67, 2006), the sound of this little organ in the suburb of Dresden-Loschwitz moved 45 American organists last September to spontaneous smiles of delight and satisfaction. The stunning immediacy of the sound combined with the brilliance of the ensemble and the colors of individual stops was a joy to hear.
And then listening to Wegscheider himself—on how Silbermann swept into this part of Germany with the fresh bold sounds of France and dominated organbuilding, on the speech and design of his pipework, and clarifying differences of temperament in the area—was an informative revelation. The man has a large presence, an expansive expression of speech, and in his eyes the gleam of an inspired creator, all reflected in his restorations and new designs.

Dresden-Loschwitz:
Loschwitz Church10
1997 Wegscheider II+P/20

Manual I
16′ Bordun
8′ Principal
8′ Gedackt
8′ Flauto traverso
8′ Viola di Gamba
4′ Octave
4′ Rohrflöte
4′ Flauto amabile
3′ Nasat
2′ Octave
2′ Flöte
13⁄5′ Tertia
1′ Flageolet
III Cornett (from g)
III Mixtur

Manual II (stops from I)
16′ Bordun
8′ Gedackt
8′ Flauto traverso
8′ Viola di Gamba
4′ Rohrflöte
4′ Flauto amabile
3′ Nasat
2′ Flöte
13⁄5′ Tertia

Pedal
16′ Bordun
8′ Octavbaß
8′ Violonbaß
4′ Octavbaß
16′ Posaune

Tremulant
Manual shove coupler
Pedal couplers I/P, II/P

Manual compass C–e3
Pedal compass C–e
Pitch: a = 440 Hz
Tuning: modified Valotti
Wind pressure: 70 mm

Houston, Christ the King Lutheran Church
Wegscheider has been involved in several “Bach organs.” The first was in collaboration with the Noack Organ Company at Christ Lutheran Church in Houston, where he served as co-designer.

Christ the King Lutheran Church, Houston
Builder: Noack Organ Company, 1995
Co-designer: Kristian Wegscheider II+P/30

Hauptwerk
16′ Bordun
8′ Principal
8′ Viola di Gamba
8′ Rohrflöte
4′ Octava
4′ Spitzflöte
22⁄3′ Quinta
2′ Octava
III Mixtur
II Cimbel
IIII Cornet
8′ Trompete
8′ Vox Humana

Oberwerk
8′ Gedackt
8′ Quintadena
4′ Principal
4′ Rohrflöte
22⁄3′ Nasat
2′ Octava
2′ Waldflöte
13⁄5′ Terz
11⁄3′ Quinta
1′ Sifflet
8′ Krummhorn

Pedal
16′ Principal Bass
16′ Subbass
8′ Octaven Bass
4′ Octava
16′ Posaunen
8′ Trompete

The organ at Christ the King Church follows the example of Hildebrandt, thus adding a Bach organ of a new dimension on the North American continent.
Fritz Noack and the Noack Organ Company were selected to design and build the organ. Noack is an American builder born and trained in Germany and uniquely situated to bridge the Saxon past and the Texan present. Kristian Wegscheider of Dresden, restorer of important Silbermann organs, accepted appointment as a design consultant; Reinhard Schaebitz of Dresden, voicer in the restorations, assisted in the voicing; and most of the metal pipes were built near Dresden in the workshop of Günter Lau. The result is a wonderful instrument which not surprisingly, but quite remarkably, evokes the look, feel, and sound of an 18th-century Saxon organ. One can imagine Bach’s walking in, sitting down without missing a beat and, as was his custom, pulling all of the stops to see whether or not the instrument has “good lungs.”
This Bach Organ possesses attributes commonly found in organs built today in historical style—tracker action; mechanical stop action; keys suspended below the pipe chests; a flexible wind supply provided by bellows; flat rather than radiating pedalboard; narrower, shorter manual keys; no pistons or combinations; and tuning in a historic temperament. The Saxon style imposes a series of additional design characteristics. The entire organ is housed in one case, rather than in compartments for each division according to the Werkprinzip; the case design and beautifully executed carvings employ 18th-century Saxon conventions; and the case is built of pine and painted (blue-green, red, and gold leaf). The Oberwerk to Hauptwerk coupler is activated by shoving the Oberwerk manual forward, and the Oberwerk does not couple to the Pedal. The pipe scalings are taken from Hildebrandt’s, and the principal pipes have a high tin content rather than lead.11

Stuttgart, Musikhochschule
Another “Bach organ” was built by Wegscheider for the Musikhochschule in Stuttgart, which has a large collection of historic prototypes. One can see an overview at <http://www.mh-stuttgart.de/studium/orgel/ueberblick/&gt;.

Stuttgart: State University of Music and Performing Arts
2006 Wegscheider
II+P/21

Hauptwerk
8′ Principal
8′ Rohrflöte
8′ Viola di Gamba
8′ Quintadena
4′ Octave
3′ Quinte
2′ Octave
2′ Terz (from 2′) [listed as 2′ but actually 13⁄5′]
III Mixtur
8′ Trompete

Positiv
8′ Gedackt
4′ Spitzflöte
4′ Flauto dolce
2′ Gemshorn
II Cymbal
8′ Vox Humana

Pedal
16′ Subbass
8′ Principalbass
4′ Octave
16′ Posaunebass
8′ Trompettenbass
Manual compass: C, D–d3
Pedal compass: C, D–f
Pitch: a1 = 466 Hz
Tuning: Modified Pythagorean

In the winter 2005–06 issue of Spektrum, Prof. Jürgen Essl writes:

In the fall of 2006 organ music of Bach will ring out. Then the long-anticipated “Bach organ” will supplement the university’s instrument collection. The Dresden organ builder, Kristian Wegscheider, received the commission to build an organ of 21 stops on two manuals and pedal according to 18th-century Thuringian and Saxon models. It is intended to be the ideal instrument for presenting Bach’s organ music with its choice of stops, its style of construction, its keyboard range, its speech and intonation.
Kristian Wegscheider is an undisputed expert in this area, and it would be hard to find a more first-class organ. Naturally there is no absolute “Bach Organ.” Johann Sebastian Bach, as is well known, played on many organs and was frequently active as consultant and examiner. The composition of the organ is therefore also no copy of an existing historical instrument, but an approximation of the Bach sound world in a variety of ways. The new organ is based on Bach’s expert opinion of existing instruments of similar 18th-century size, e.g., (Gottfried) Silbermann and Trost, on the compositional characteristics of his organ music, the restoration experience of the organbuilder and last but not least on the size of the room.12

Essl added in an e-mail to the author, “Indeed there were a large number of special problems for which Kristian had a good solution and fought hard to get the right results.”

Freiberg, Petrikirche
Another recent collaboration, this time with Jehmlich, was the restoration of Silbermann’s largest two-manual organ, at the Petrikirche in Freiberg, completed and rededicated in July 2007.13 It is an instrument with pizazz, brilliance, and clarity, while individual stops retain character and color. It also happens that the best CD that effectively reflects Wegscheider’s work is a recent release of a recording at the Petrikirche on the Syrius label, Johann Sebastian Bach, Vol. 4, with works from the early Weimar period played with verve, imagination, and excitement by Helga Schauerte (Syrius 141433, €22.00; <[email protected]>; the Organ Historical Society carries other recordings by Schauerte).

Freiberg: Petrikirche
1735 Silbermann
1959, 1993/94 Jehmlich Brothers
2006–07 Wegscheider, together with Jehmlich Orgelbau
II+P/32

Hauptwerk
16′ Principal
8′ Octav Principal
8′ Viol di Gamba
8′ Rohr-Flöte
4′ Octava
4′ Spitz-Flöte
3′ Qvinta
2′ Octava
2′ Tertia (from 2′) [listed as 2′ but actually 13⁄5′]
IV Cornet (from c1)
IV Mixtur
III Cymbel
8′ Trompette
16′ Fachott

Oberwerk
16′ Qvinta dena
8′ Principal
8′ Gedackts
8′ Qvinta dena
4′ Octava
4′ Rohr-Flöte
3′ Nassat
2′ Octava
11⁄3′ Qvinta
1′ Sufflöt
Sechst Qvint Altra (4⁄5′, 13⁄5′ from c1)
III Mixtur
8′ Vox humana

Pedal
32′ Groß-Untersatz
16′ Principal Bass
8′ Octaven Bass
16′ Posaune
8′ Trompete
Tremulant
Manual compass: C, D–c3
Pedal compass: C, D–c1
Manual coupler II/I
Pedal coupler P/I
Tuning: 462.5 Hz
Temperament: Neidhardt II
(for a small city), 1732

In summary, restorations include organs by:
Gottfried Silbermann
Niederschöna, 1715/1993, I/14
Bremen Cathedral, 1734/1994, I/8
Jacobikirche, Freiberg, 1717/1995/2006, II/20
Reinhardtsgrimma, 1731/1997, II/20
Tiefenau, 1725/1997, I/9
Dresden Cathedral, 1755/2002, III/47, jointly with Jehmlich Orgelbau
Petrikirche, Freiberg, 1735/2007, II/32, jointly with Jehmlich Orgelbau

Zacharias Hildebrandt
Langhennersdorf, 1722/1996, II/21

Friedrich Ladegast
Biederitz, 1868/1997, II/12
Hohenmölsen, 1851/1998, II/24
Merseburg Cathedral, 1855/1866/2003, IV, 84, joint with Eule/Bautzen and Scheffler, Frankfurt/Oder
Pomssen Wehrkirche, 1671/2000/2007, 1/13

Wegscheider’s firm has built to date thirty new organs including:
Silbermann Museum, Frauenstein, copy of Bremen positive, 1994, I/8
Güstrow Cathedral, 1996, I/15 registers with bass drums, bells, cymbelstern, 2 cuckoos, drum, nightingale
Dresden–Loschwitz, 1996, II/20
Bremen Cathedral, 2002, I/8
Cologne–Michaelshoven, 2003, II/ 28 (in the style of Silbermann/Hildebrandt)
Stuttgart, Musikhochschule, 2006/2007, II/21, Bach Organ
Sacrow-Potsdam, Heilandskirche, 2008/ 2009, II/17 registers
Current work includes:
Fritzsche-Treutmann-Organ in Harbke (restoration in cooperation with Dutschke-Orgelbau), completed 12/07 and dedicated 5/08
Altarpositiv, Kreuzkirche in Dresden, dedicated 5/08
Stellwagen Organ in Stralsund St. Marien (1659).

 

Martin Pasi and Associates of Roy, Washington, has recently
completed an organ of 33 stops for St. Augustine Catholic Church in Spokane,
Washington. Installation of the firm’s Opus 11 followed a major
renovation of the church that substantially enlivened the acoustics of the tall
cruciform structure. Built with mechanical key and electric stop action, the
organ features a detached console, allowing flexibility in the placement of
choir and instrumentalists. The sound, while room filling, is rich and gentle on
the ear. Principal sound is quite vocal in quality and a joy to sing with, due
largely to the 97% lead content of these (and most other flue) stops. A wide
array of solo colors is available, most notably the reeds: Oboe (really
Basson-Hautbois), French Trompette, German Trumpet, 4’ Pedal reed and a
delightful German style Vox Humana. Finally there is a full-length 32’
reed in the Pedal, a rarity in an instrument of this size.

The instrument speaks directly into the room from its
gallery installation. Reverberation time is almost four seconds when empty,
less but still lively as the building fills. Response to Opus 11 has been
uniformly enthusiastic from both the parish and the musical community: in
October parishoners enjoyed an “Organ Loft Open House”; the organ
was used in the AGO Region IX convention last July; and the dedicatory recital
on All Saints evening was played to a full church by Christopher Herrick. This
month will feature “The Art of Fugue” performed by James David
Christie as part of the Spokane Bach Festival. In May a concert by parish
singers and instrumentalists will feature a Handel organ concerto and the
Vivaldi Magnificat. Craig Cramer will play a recital next October. Organ
Committee members included Edward Schaefer, Rev. Paul Vevik, Janice Newell,
Charlotte Lamp, and Ken Dunlap. The Pasi staff included Markus Morscher,
windchests, case, design and installation; Michael Korchonnoff, key action,
pedalboard, wind system, installation; Emanuel Denzler, reed pipes, wind
system, stop action, installation, voicing; Martin Pasi, design, carvings,
installation, voicing, project supervisor.

–James M. Tevenan

Organist and Director of Music

St. Augustine Parish

 

GREAT

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

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

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

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

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

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

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

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

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

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

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

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

SWELL

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

                  8’
style='mso-tab-count:1'>             Celeste
t.c.

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

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

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

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

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

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

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

                  16’
style='mso-tab-count:1'>          Fagotto

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

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

PEDAL

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

                  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'>             Choralbass

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

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

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

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

 

The Praestant 16’, Octave 8’, and Trumpet 8’
in the Pedal are transmissions from the Great

One manual coupler, two pedal couplers

Electric stop action with solid state combination action

Detached console

Mechanical action, self-compensating for seasonal changes

Tremulant

Fabry Pipe Organs, Fox Lake, Illinois, has completed a
project for the First Presbyterian Church of Harvard, Illinois. The
congregation recently built a new sanctuary, and Fabry moved and re-engineered
the church’s organ for the new location. Changes included a new Swell
chamber enclosure with room for future additions; new blower unit; rebuilt all
offset chestwork; repaired numerous ranks of pipes; built new offset chestwork
as required; totally re-wired all chestwork; solid state combination action
with multiple memories; solid state coupler relay; solid state chamber relay;
electric tremolos; total rebuild of all console equipment; new rectifier; solid
state shade action; new chime action and relay. The console is installed on a
moveable platform and is prepared for MIDI; 16 ranks, electro-pneumatic and
electric valve action. Crew leaders for the project were David Gustav Fabry and
Joseph W. Poland. Eustice Klein and Gladys Munks serve as organists of the
church.

 

GREAT

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

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

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

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

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

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

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

                                    Chimes

SWELL

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

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

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

                  8’
style='mso-tab-count:1'>             Aeoline

                  4’
style='mso-tab-count:1'>             Quinte

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

PEDAL

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

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

                  16’
style='mso-tab-count:1'>          Lieblich
Gedeckt (dual pressure)

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

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

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

 

Cover

Paul Fritts & Company, Tacoma, Washington

Princeton Theological Seminary, Princeton, New Jersey

 

On February 2, 2001, the new Joe R. Engle pipe organ, Opus
20 of Paul Fritts & Co., Organ Builders, Tacoma, Washington, for Miller
Chapel at Princeton Theological Seminary was dedicated with festivities which
included a dedication service and dedicatory recital, followed by a three-day
colloquium (sponsored by the seminary) featuring a variety of worship services,
recitals, lectures and panels on topics related to the organ in both historic
and contemporary worship.

David Dahl talks with Paul Fritts about the new organ.

 

David Dahl: After
you were selected to build the new organ for Miller Chapel, how did you arrive
at the concept we see and hear now at the seminary?

Paul Fritts: I
listened carefully to the musical needs for the chapel as expressed by Martin
Tel (organist and C. F. Seabrook Director of Music at the seminary) and the
members of the organ committee (chaired by James F. Kay, Associate Professor of
Homiletics and Liturgics at the seminary). They desired an organ with a strong
identity which would serve the daily worship of seminarians, as well as musical
concerts involving choir, soloists, and various instruments. Martin Tel stated:
"This is a very important instrument; seminarians need to be exposed to
and ‘moved' by an instrument of exceptional merit, such that in their
later work as clergy they would be encouraged to seek similar quality."

 

Dahl: In order to
reach consensus on the scope of the instrument, were there limitations which
you needed to consider?

Fritts: Limitations
can be both an asset and a drawback; they are a fact of life. If we try to
eliminate limitations everything gets watered down. For Miller Chapel it was
decided that the "identity" would be an organ known to be historically
successful with congregational singing and a large body of liturgical organ
repertoire. This identity was to be a blend of related North and Central German
and Dutch concepts common to the late 17th and early 18th century, in which a
large secondary division would serve as both an Oberwerk and Swell as companion
to the Great and Pedal.

 

Dahl: Would you say
that the concept is more "historically inspired" than a copy of some
form of an old organ?

Fritts: Definitely! I
worked to build this organ with an integrity based on historic models, but in
the end it represents what I think will work and sound best at this point in
time. It is a modern instrument.

 

Dahl: Would you
comment on how you arrived at the type of casework and architectural style we
see here at Princeton?

Fritts: Miller
Chapel is quite similar to Kilworth Chapel at the University of Puget Sound,
Tacoma, Washington, where ten years ago we built an organ with a case design
similar to organs in 18th-century central Germany"such as those built by
builders like Gottfried Silbermann and Hildebrandt. This concept works well
there, and I thought that, with the same height restrictions coupled with a
fair amount of depth, a similar casework and internal arrangement of the
divisions would be successful at Princeton. We also talked about the organs of
the early American organ builder, David Tannenberg, who built instruments in
Lutheran, Moravian and Reformed churches in the Mid-Atlantic region. Many of
his organs found their place in the meeting-house style of building, where he
most often used an 18th-century style case design. This building style is not
unlike Miller Chapel.

Placing the organ front and center was a decision reached
after exploring the possibility of the rear balcony. A good deal of remodeling
was done to provide more width to the front of the chapel, so that the organ
could stand on the floor at the front, with its presence clearly "in the
room." The remodeling, taking into account prior and current values for
worship and music, also provided a flexible open space in front of the organ
case, which during the colloquium following the dedication was the place for a
very effective modern dance program with organ music of Bach and Eben.

I wanted a rather spacious case inside for the pipes, like
Central German organs of Bach's time, which represents a change for me from
some of the previous organs I've built in the more traditionally confined cases
of North German style organs. This spaciousness would particularly ensure the
effectiveness of the Swell division.

 

Dahl: Could you
speak a bit more about your approach to building the Swell division, which,
with 14 independent registers, is rather substantial?

Fritts: Yes, it is a
rather large division. Some people have asked why there are not three manuals
with an organ of 39 stops and some 60 ranks. Quite simply there was not enough
height to do that, and I believe that a Swell should be on the large size in
order to be effective. We decided that both the Great and the Swell should have
principal choruses based on the 8' level. To make the Swell effective, there
are shutters on three sides of the Swell, which is positioned above the Great
with rather free egress to the room. These shutters close tightly to make even
a fairly large ensemble rather quiet; yet when open fully, the effect is
similar to that of an Oberwerk. The Swell contains three reeds, of which the
Hautbois 8' is closely modeled after Cavaillé-Coll"an exception to
the Germanic roots of the organ, but nevertheless one which blends well within
the total ensemble.

 

Dahl: I see that
your mixture registers are IV-VI ranks, or V-VII ranks. Are there up to six or
seven different pitches in these mixtures?

Fritts: The mixtures
normally have but four pitches; in the treble some of the pitches are doubled
with a second set of pipes. This helps achieve better tuning and focusing in
the ensemble. Multiple unisons do not increase loudness much at all. The Swell
Mixtur V-VII has an optional Tierce rank which may be added or left out.

 

Dahl: Getting back
to some of the limitations we spoke of earlier, I notice that you did not limit
the stop action to mechanical action, but you "piggybacked" an
electric stop-action with solid-state combination and memory system. Would you
comment on that decision?

Fritts: With a
straight mechanical stop action there is little or no chance of failure to use
the organ. However, we all agreed that with the size of the instrument and the
variety of purposes for which it would be used, it would be good to have a
state-of-the-art combination system. We installed a 99-level solid state memory
system, in which each memory level has 20 general pistons. A
"sequencer" is also provided, permitting the organist to advance from
one general to the next by the use of one lever located to the right of the
Swell pedal.

 

Dahl: The organ is
tuned in the well-tempered system known as "Kellner." Would you speak
about this choice for Miller Chapel?

Fritts: This is
quite an amazing solution to the challenge of temperament and tuning. All keys
are playable, and each has a slightly different personality. The major thirds
of the most commonly used keys (especially for hymn singing, and a majority of
repertoire) are more in tune than with equal temperament. However, even in the
more remote keys the Kellner temperament works well. We advocate this
temperament for nearly all of our instruments.

 

Dahl: The colloquium
in February (2001) offered a "test" for the flexibility and
capacities of the organ?

Fritts: It certainly
did. The opening dedication service as well as the variety of worship services
throughout the symposium included robust singing from the assembly, for which
the organ rose to the occasion with color and variety. One especially
interesting moment was the singing of a hymn in an African-American gospel
style. Here the organ took on a character not heard before and which worked
remarkably well. Recital pieces during the symposium not only included expected
works from the Baroque era, but also from the 19th and 20th centuries. While
the organ is Germanic in roots and personality, there is also sufficient
eclectic broadening to permit credible performance of music from all periods.

 

Dahl: How did the
organ work with the choirs which sang during the colloquium, and during the
morning seminary worship services?

Fritts: The
dedicatory recital included the Seminary Choir singing the Benjamin Britten
Rejoice in the Lamb, for chorus, soloists and organ. This was a good test for a
wide dynamic range, quick color changes and blend with voices. The Westminster
Choir of Westminister Choir College also presented an evening concert which
included the C. V. Stanford Magnificat & Nunc Dimittis in C, which required
the organ to work like an English cathedral organ. Here the Swell division
responded well to the demands of a wide dynamic range.

 

Dahl: Is there
anything you would do differently if you built this same organ again?

Fritts: Even if I
tried to make this identical organ again, with the same drawings, materials,
scaling and voicing, it would turn out somewhat differently. In any handcrafted
instrument, every crafted piece depends on so many variables at the time it is
crafted, adding up to a particular result at a particular time. Yes, there are
a few things I might "tweak" about pipe scaling and the action design
were I to go around again with this organ, but fundamentally, I am quite
pleased with the results we got at Princeton. We did not know how the room
would be after its remodeling nor how the room would "receive" the
organ. Happily the acoustical results exceeded my expectations for a room of
its size and shape insofar as it works with the tonal properties of the organ.
It fills the room easily with a "full yet relaxed presence." With
each instrument we build we try to improve in some way, although on occasion we
might regret a small decision here or there. If the ideal result for a given
organ might be compared to the "search for the Holy Grail," we will
probably never reach the ultimate goal, but hopefully with each instrument we
do get a little closer to it.

 

Postscript: The Paul
Fritts & Co. Organ Builders shop is located in a semi-rural part of Tacoma,
Washington. A total of seven craftsmen make up the work force. Paul's sister
Judy Fritts designs and carves pipe shades for the organs. Nearly every
component of each organ is made locally in the shop, including the casting of
metal for pipes, key actions, casework and wooden parts of the organ. Future
contracted organs will be installed at Vassar College, Poughkeepsie, New York;
Thompson Chapel of St. Mark's Cathedral, Seattle, Washington; and in a new
organ/ choral hall at the University of Notre Dame, South Bend,
Indiana."DPD

 

David P. Dahl is professor of organ emeritus at Pacific
Lutheran University.

 

From the Seminary organist:

The installation of the new organ in Miller Chapel was
conceived as part of a larger project"the renovation and re-dedication of
Miller Chapel. The plans for a new organ were thus able to evolve over a
prolonged period of theological and liturgical reflection. The committee's
primary objective was to come to an understanding of the functions of an organ
in this seminary community.

Princeton Theological Seminary is an institution of the
Presbyterian Church (USA). The primary liturgical function of an organ in a
seminary rooted in the Reformed tradition can be stated simply: the organ must
first and foremost undergird and encourage congregational singing. The
functions of the organ as accompaniment to choral singing and as an instrument
for organ literature are clearly ancillary. Our operating conviction was that
if all due attention were  given to
the primary function of the instrument, with design aspects supporting the role
of the choir, the function of the organ as a performing instrument for
literature would also fall into place.

And thus the form of the Miller Chapel organ is heavily bent
toward the sound of the congregation's voice. The organ stands in the same room
as the singers. The disposition allows for a wide range of accompanying
possibilities. The concern for supporting congregational song is borne out in
the two full principal choruses and in the presence of two distinct mixtures on
the Great division. It was recognized that mixtures designed for contrapuntal
literature have a different make-up than those designed primarily for the full
plenums needed for homophonic playing (e.g., the accompaniment of a vigorous
hymn). It is notable that in the Reformed Churches of the Netherlands many organs
were built (or rebuilt as the case may be) primarily for the accompaniment of
robust singing. These organs tend to have mixtures which markedly favor
homophonic textures"mixtures which may also obscure contrapuntal lines. On
the Miller Chapel organ the Great Scharff represents the mixture particularly
suited for homophonic accompaniment. The possibility of adding the Tierce rank
to the Swell Mixture accomplishes some of the same effect.

In the end, it was our desire to present to the seminary
community an instrument of consummate beauty and integrity which would inspire
a striving for excellence in the broader church which the seminary serves. We
saw in Paul Fritts a craftsman who builds upon the native strengths of the
organ. We sought to give him freedom to flesh out in an instrument the
functions we would call forth from the organ.

Paul, in his interview with David Dahl, recognizes that
there are inherent benefits in the limitations one encounters as one goes about
one's art. I fully concur. The organ as it was proposed and eventually built by
Paul Fritts has broad capabilities, and also recognizable limitations. It is
incapable of fulfilling all the instrumental musical requirements of daily
worship at Miller Chapel. Such a statement is not only prudent but, once
acknowledged, also liberating. The organ does not need to "do it
all." The seminary community represents many indigenous traditions beyond
the Western tradition in which the organ originally blossomed. The presence of
this instrument instructs all of us to pursue other musical traditions with the
same authenticity and integrity, whether this means the employment of piano,
conga drums, bamboo flute or Hammond organ. Conversely, we are free to build
and use the pipe organ according its native strengths.

The Miller Chapel organ project is thus not a regression to
some rigorously pure Reformed dogma of worship music. (Indeed, such a proposal
would eliminate the construction of an organ at all!) Rather, this project is
an attempt to build upon the strengths of a developing and living Reformed
tradition. It is an attempt to build on the native strengths of the pipe organ
as a liturgical instrument in a thoroughly modern and enlivening way. Now that
the instrument is in its place, it will be the calling of generations of
organists to have the wisdom and grace to discern when this instrument is and
when it is not the most appropriate means for leading the people's prayer and
praise. In such a context this installation can be understood to be a
progression. May it be so.

"Martin Tel

C. F. Seabrook Director of Music

 

Paul Fritts & Company Organ Builders: Greg Bahnsen,
Robyn Ellis, Ricky Frith, Jon Hamelton, Jacob Nelson, Michael Phelau, Andreas
Schonger, Peter Tomter, Judy Fritts (carver)

James Kay, Chair of Miller Chapel Renovation Committee and
Organ Committee

The organ was made possible by a generation by Mr. Joe R.
Engle, for whom the instrument is named.

For more in depth articles about the chapel renovation and
the Joe R. Engle organ, see The Princeton Seminary Bulletin, Vol. XXII No. 1
(New Series), 2001.

The Joe R. Engle Organ

GREAT

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

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

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

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

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

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

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

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

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

                                    Mixtur
IV-VI

                                    Scharff
III-V

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

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

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

SWELL

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

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

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

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

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

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

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

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

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

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

                                    Mixtur
IV-VI

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

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

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

PEDAL

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

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

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

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

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

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

                                    Mixtur
VI-VIII

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

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

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

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

*Transmissions from other pedal stops

Couplers

                                    Swell
to Great

                                    Great
to Pedal

                                    Swell
to Pedal

 

Compass: 56/30

Features: Burnished tin front pipes, suspended key action,
mechanical stop action with pre-set system by Solid State Logic Ltd., variable
tremulant, wind stabilizer, Tierce (1 rank for Swell Mixture), Cimbelstern,
Vogelgesang, manual wind supply option, Kellner temperament

 

Robert G. Dial, Organbuilders, Springfield, Illinois, has rebuilt the organ at Grace United
Methodist Church, St. Louis, Missouri. The organ was built by M. P. Möller
in 1952, Opus 8353. The project included releathering and rewiring the entire
instrument, as well as the addition of five new ranks. The original console has
been rebuilt with new keyboards, drawknobs, couplers, tilting tablets, and
terraces, as well as a Solid State Logic combination action and multiplex
switching system. Although some ranks were repositioned within the instrument,
all the original pipework was retained. On February 11, 2001, the organ was
rededicated during the morning worship service. The rededication recital was
played later that day by John Walker. Kathleen Bolduan is the church's director
of music.

 

GREAT

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

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

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

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

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

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

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

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

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

                                    Fourniture
III

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

                                    Chimes

                                    Gt
16-UO-4

                                    Zimbelstern*

SWELL

                  16'
style='mso-tab-count:1'>          Flute
Conique

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

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

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

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

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

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

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

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

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

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

                                    Plein
Jeu III

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

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

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

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

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

                                    Tremolo

                                    Sw
16-UO-4

CHOIR

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

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

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

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

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

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

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

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

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

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

                  4'
style='mso-tab-count:1'>             Erzahler
Celeste

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

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

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

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

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

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

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

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

                                    Tremolo

                                    Ch
16-UO-4

BOMBARDE

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

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

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

                                    Harmonics
IV

                                    Bombarde
4'

PEDAL

                  32'
style='mso-tab-count:1'>          Contre
Violone

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

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

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

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

                  16'
style='mso-tab-count:1'>          Flute
Conique

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

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

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

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

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

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

                  51⁄3'
style='mso-tab-count:1'>      Quinte

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

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

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

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

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

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

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

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

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

 

                                    Transposer

                                    All
Swells to Swell

                                    Great/Choir
Transfer

                                    Tower
Chimes

 

* New stops

** New Gt Violone ext

+ Former Ch Keraulophon

++ Moved from Gt

+++ Moved from Sw

 

Andover Organ Company,
Methuen, Massachusetts, has rebuilt the Hook & Hastings Opus 2117 organ at
the Community Church of Jackson, New Hampshire. The organ was built in 1906
with two manuals and seven stops. In 1965 Andover revoiced the Great, replaced
the Swell 8' Viola with a 2' Principal, and replaced the 4' Harmonic Flute with
a 4' Rohrflute.

Another builder made some unworkable changes in the late
1970s. The Swell 4' Rohrflute was moved to the Great and converted into an 8'
Flute. It took the place of the Great 8' Dolce, resulting in no string stop on
the organ. The Dolce was cut in half and moved to the Swell as a 4' Flute.

In January 2001, Andover returned the 4' Rohrflute to the
Swell. A used Dolce installed on the Great now provides a soft stop for accompaniment.
Pipes were voiced, regulated, and tuned. In addition, Andover releathered the
pallets, and installed new pull-down wires and neoprene links on the manual key
action to cure a problem with ciphers. Table and slider holes were enlarged to
provide adequate wind for stable tuning. Chests were shimmed to provide proper
clearance for sliders and eliminate wind noise and leakage.

GREAT

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

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

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

                                    Sw/Gt

SWELL

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

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

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

PEDAL

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

                                    Gt/Ped

                                    Sw/Ped