Cornel Zimmer Organ Builders, Inc., Denver, North Carolina
Media Presbyterian Church, Media, Pennsylvania

From the senior pastor
If one were to remove all that was sacred from the library of the great music of the Western world, one would be left with a very empty room. And while beautiful music certainly has merit in and of itself, that which is written sola gloria Dei has accompanied the faithful saying their prayers for nearly two millennia. The pipe organ has been at the center of this sacred enterprise for nearly half that time and is undergoing a kind of renaissance in our time. The Elizabeth Strine Memorial Organ is a wonderful instrument that represents the merging of the ancient mechanical art of organ construction with the new cutting edge of digital technology. This is an analogy of what Chesterton called the “romance of orthodoxy,” which is the timeless truth of the gospel heard anew in the language and thought world of every age. This beautiful instrument and renovated steeple are a renewed affirmation of a commitment to proclaim the good news of God’s reconciling work to this community and the world. It also says that we plan to continue saying our prayers at Media Presbyterian indefinitely.
This organ would not exist without the generous contribution of Walter Strine and his family in loving memory of their wife and mother, Elizabeth Strine. Elizabeth Margaret Sterling Strine faithfully served Media Presbyterian Church as organist for over 35 years. A Media High School and Philadelphia Conservatory of Music graduate, “Betty” was both an accomplished accompanist and a renowned piano and organ teacher who taught thousands of Delaware County students. A professional leader who helped to expand our area’s performing arts scene, she served as the first female president of the Media Community Concert Association and was later instrumental in developing the Media Theatre for the Performing Arts. Mrs. Strine died September 7, 2002 at the age of 94. The first question of the Shorter Catechism of the Westminster Confession of Faith asks “What is the chief end of man'” to which is answered: “Man’s chief end is to glorify God and to enjoy him forever.” May this organ be a tool by which this present and future congregations enjoy and glorify God as we move towards eternity.
—The Reverend William L. Borror

From the organ task team chair
Our former pipe organ was an instrument put together from several sources. It started life as a turn of the twentieth century orchestral transcription player for the Bock family mansion in Wyncote, Pennsylvania, built by the former Aeolian Company of Boston, Massachusetts. At that time, pipe organs were home entertainment systems for the wealthy. Although it had two manuals and pedals, it was never intended to be a church instrument. In the mid 1930s this instrument was acquired by Media Presbyterian Church and installed in the sanctuary’s front upper right hand chamber. The organ console was attached to the front wall beneath the chamber. To its side was seating for the choir. It served until about 1961, when the organ and choir were relocated to a larger space in the back gallery.
The relocated gallery organ was enlarged to three manuals by a local organ builder. A new console was fabricated by Austin Organs, Inc. of Hartford, Connecticut. Additional pipes and components from various unknown sources were incorporated into the instrument. Concurrently, a small Echo division consisting of five pipe ranks remained in the upper front chamber. Although this instrument served the church until February 2006, it was tonally deficient and incapable of creating a proper sound for worship and meditation. Three years ago, senior pastor Rev. William Borror requested that an organ task team be formed as part of the church capital campaign. The seven-person team assessed the former instrument’s condition and studied remediation alternatives. A busy two years followed, whereby the team considered the church’s musical requirements, studied proper organ design and tone, solicited proposals, and listened to and evaluated typical instruments by each builder. In an April 2006 presentation to the Session, the organ task team recommended that a new instrument be designed and built by Cornel Zimmer Organ Builders of Denver, North Carolina.
The new Zimmer organ, Opus 94, is a three-manual and pedal instrument comprising 96 stops, derived from 23 pipe ranks and 63 digital ranks. The solid walnut console controls five divisions: Great, Swell, Choir, Chancel and Pedal, and has 107 drawknobs, 21 tilting coupler tabs, tracker touch keyboards, an abundant multi-level combination capability to assist with stop registration, and full MIDI capability. The two-tone casework with walnut trim and gold accented pipes harmonizes with the sanctuary’s architectural themes. All new pipes were fabricated in the Zimmer shop or by Luc Ladurantaye of Canada. In addition, selected Aeolian pipe ranks from our former organ were refurbished, rescaled where applicable, and revoiced. The recycled pipes blend perfectly with the other new pipe ranks. All voicing and tonal finishing was done by the Zimmer staff.
The organ’s digital equipment was engineered by Walker Technical Company of Zionsville, Pennsylvania. Thanks to digital technology, we were able to acquire a more versatile organ than if we had adhered to an all-pipe instrument. Due to lack of space, an all-pipe instrument of this same specification would be impossible to install in the gallery.
The tonal orientation of our new organ is based on the American Classic design. Fundamentally, this instrument will allow the organist to perform music of all periods and play it in style. Due to the broad range of music performed in our church, the American Classic tonal design best fulfills our purposes. Upon examination of the stop specification, one can discover fully developed principal and flute choruses, an abundance of solo and chorus reed stops, and multiple celeste ranks. Also included are chimes, a harp and a zimbelstern. The twelve-stop chancel division is a self-contained organ designed to supplement the main gallery organ and provide accompaniment for small vocal ensembles. Hence, after 155 years of existence, Media Presbyterian Church now has an organ specifically designed for its sanctuary.
This new organ would not have happened had it not been for the very generous gift by Walter M. Strine, Sr. Given in memory of his wife, Elizabeth, longtime organist at Media Presbyterian Church and teacher of many piano students, this new instrument enables Media Presbyterian Church to enhance its worship and better serve the cultural community. We thank Cornel Zimmer and his highly talented staff for designing and building this fine organ. Their expertise and work ethic enabled the project to proceed very smoothly. We are grateful for this new relationship with the Zimmer organization.
Special thanks to the organ task team members who gave their time and skills to work with me and address the many questions and concerns that come with such a project: Martha Harriz, Harry Tully, Richard Zensen, Scott MacDonald, and Beth Kalemkarian. During the project, we mourned the loss of Don Harriz, team member and longtime choir member, who would have thoroughly rejoiced at the completion of this project. Additional thanks to the senior craftsmen who did a masterful job in preparing the back gallery to accommodate the new instrument. Special thanks to Michael Trinder, friend and organist colleague, who reviewed the specifications and contributed helpful suggestions. Thanks also to Art Kalemkarian, Jr. (BSEE) for his consultation on electrical and audio issues.
Finally, from my viewpoint as an organist, the installation of a new organ for our church was a very exciting and perhaps a once in a lifetime opportunity. It is an event in which I will always delight. I personally thank Rev. William Borror, the Media Presbyterian Church, and the Strine family for entrusting me to chair this project. May the end result bring glory to God both now and in the future.
—Arthur P. Kalemkarian, Sr.
Organ task team chairman
and curator of the Elizabeth M. Strine Memorial Organ

From the organbuilder
It is indeed a thrilling opportunity for an organ builder to work in a warm and inviting space, especially one with the historical significance of Media Presbyterian Church. From the beginning of the project, honoring the architecture of the church was of great importance. The organ was to be primarily an instrument to support the many musical needs of a vibrant congregation, but would also be required to serve as a solo instrument. All of this needed to be accomplished while not overwhelming the choir, which shares the gallery space with the organ. With these requirements in mind, we set out to design an organ with a broad dynamic range, capable of appropriately interpreting a wide variety of musical styles.
Considering the organ’s location, it was important to achieve an audible balance to lead the congregation and to fill the sanctuary without overwhelming the choir. Fortunately, the sanctuary’s acoustics work in the organ’s favor, and the sound projects well from the balcony with normal relaxed voicing. The new casework and pipe façades, designed and built by our company, spread the Great, Swell, Choir and Pedal divisions over three locations in the choir gallery. This spreading of sound sources creates a broader spatial projection of the organ’s resources, and yet the blend heard in the sanctuary is quite pleasing.
The organ has a broad tonal palette of contrasting yet compatible choruses and solo voices. Moderate pipe scales in the Great and Pedal principal choruses react well with the room’s acoustics to provide a solid foundation for congregational singing. Along with the new Great and Pedal principal choruses, the Swell contains six ranks of Aeolian pipework from the previous organ. These diapasons, flutes and strings work well in the accompaniment role of the Swell. The Choir division is of great importance as it is centered directly behind the choir. It has a wealth of accompaniment stops, including several sets of soft celestial stops and a complete principal chorus. Also found in the Choir division is the Tuba, a powerful reed voice that lends itself to solo lines as a crowning reed over full organ.
The Chancel organ provides another visual and spatial aspect to the organ’s presence. It can support choirs that may perform in the chancel area, reinforce the quieter registrations of the main organ for congregational singing with sound sources at two locations in the sanctuary, and lend itself to music that employs echo or antiphonal effects. The Festival Trumpet found in the Chancel division is an appropriate foil to the Tuba found in the Choir, and is extremely flexible as it is under expression with the other stops of the Chancel organ.
We chose to retain several stops from the previous organ that were quite beautiful and would blend well with the new organ. Tonal director Jim Twyne and his assistant, Sheldon Kargis, voiced these pipes, as well as the new pipes built by our own pipe maker, Tommy Linder, and Luc Ladurantaye of Canada. The stunning casework and console were designed by Cornel Zimmer and built by master cabinetmaker George Zong with assistance from David Caldwell. Eric Molenaar completed the wiring of the console and windchests with assistance from Nathan Bryson.
Cornel Zimmer Organ Builders is deeply grateful to Media Presbyterian Church and the Strine family for the opportunity to build a new instrument for this wonderful setting. It is our sincere hope that it will serve this congregation for many generations and will stand as a testament to the glory of God.
—Nathan Bryson, project manager, and Jim Twyne, tonal director
Cornel Zimmer Organ Builders, Inc., Denver, North Carolina

GREAT (Unenclosed, Manual II)
16' Gemshorn*
8' Principal 61 pipes
8' English Diapason (Choir)
8' Harmonic Flute*
8' Bourdon 61 pipes
8' Gamba*
8' Gemshorn*
8' Gemshorn Celeste*
4' Octave 61 pipes
4' Prestant (Choir)
4' Flute Ouverte 61 pipes
2  2/3' Twelfth*
2' Fifteenth 61 pipes
1 1/3' Mixture IV 244 pipes
16' Posaune*
8' Festival Trumpet* (non-coupling)
8' Tuba (Choir) (non-coupling)
8' Trumpet*
8' Cromorne* (enclosed with Choir)
Chimes*
Tremulant

SWELL (Expressive, Manual III)
16' Lieblich Gedeckt*
8' Geigen Diapason 61 pipes+
8' Rohrflute 61 pipes
8' Viola 61 pipes+
8' Viola Celeste 61 pipes+
8' Still Gedeckt 61 pipes+
8' Flute Celeste 61 pipes+
4' Principal 61 pipes+
4' Flute Triangulaire*
22'3' Quint*
2' Octavin 61 pipes
13'5' Terz*
2' Plein Jeu IV 244 pipes
16' Basson*
8' Festival Trumpet (Great) (non-coupling)
8' Tuba (Choir)
8' Trompette*
8' Hautbois*
4' Clairon*
Tremulant
Swell to Swell 16'
Swell Unison Off
Swell to Swell 4'

CHOIR (Expressive, Manual I)
16' Dulciana*
8' English Diapason*
8' Gedeckt*
8' Concert Flute*
8' Dulciana*
8' Unda Maris*
8' Erzahler*
8' Erzahler Celeste*
4' Prestant*
4' Koppelflute*
2 2/3' Nazard*
2' Blockflute*
1 3/5' Tierce*
1 1/3' Larigot*
1' Sifflute*
1' Scharff III*
16' Corno di Bassetto*
8' Festival Trumpet (Gt) (non-coupling)
8' Tuba* (non-coupling)
8' Petite Trompette*
8' English Horn*
4' Musette*
Tremulant
Choir to Choir 16'
Choir Unison Off
Choir to Choir 4'
Harp*

CHANCEL (Expressive, floating)
8' Cor de Nuit*
8' Dolcan*
8' Dolcan Celeste*
4' Spitz Principal*
4' Flauto d’Amore*
4' Unda Maris II*
2' Flautino*
8' Flugelhorn*
8' Vox Humana*
Tremulant

CHANCEL PEDAL
16' Bourdon*
8' Bourdon*

PEDAL
32' Contra Bourdon*
32' Contra Violone*
16' Principal*
16' Violone 32 pipes
16' Bourdon*
16' Gemshorn (Great)
16' Lieblich Gedeckt (Swell)
16' Dulciana (Choir)
8' Octave Principal 32 pipes
8' Lieblich Flute (Swell)
8' Gemshorn (Great)
8' Rohr Bourdon*
4' Choral Bass 12 pipes
4' Doppel Flute*
2 2/3' Rauschpfeife II*
32' Contra Basson*
16' Posaune*
16' Basson (Swell)
8' Trumpet (Great)
8' Festival Trumpet (Great)
8' Tuba (Choir)
4' Rohr Schalmei*
4' Clairon*
Chimes (Great)

*Stops by Walker Technical Co.
+Aeolian pipework

 

Cornel Zimmer Organ Builders, Denver, North Carolina

North Decatur Presbyterian Church, Decatur, Georgia

At the corner of Medlock Road and Scott Boulevard stands a unique structure prompting more than just a few passersby to take a second glance. The congregation of the church is also unique in many ways, yet with a story reminiscent of countless other congregations throughout the country.
When the present sanctuary was built, an electronic organ was purchased with the dream of installing a grand pipe organ in the not-too-distant future. In the same vein as a host of other congregations, money needed for a pipe organ was diverted to other, more pressing needs. When its fiftieth anniversary drew near, however, the members of North Decatur found the impetus they needed to fulfill their long-awaited dream for a pipe organ, thanks to a successful “Play Your Part” fund-raising campaign.

To replace the aging electronic organ, the church chose Cornel Zimmer Organ Builders of Denver, North Carolina to build and place an all-new pipe/digital organ in the rear gallery of their sanctuary. Placed high on the axis of the church and speaking directly down the nave, the organ enjoys prime placement. In preparation for the organ, the congregation removed all of the carpet in the balcony and much of the carpet in the nave and chancel. In place of the carpet, hard surface flooring was added, affording the organ even greater tonal egress. Heat buildup in the peak of the church, an unfortunate side effect of the unique architecture, was alleviated with a new exhaust system, drawing the hot air away from the organ.

Given the budget and space limitations of the church, Cornel Zimmer Organbuilders set about designing an organ that would serve many roles, including accompanying congregational singing, choral accompaniment, and use as a recital instrument. A three-manual specification was designed with foundation pipe ranks in the Swell, Great and Pedal.

The façade is taken from the Pedal 16' and 8' principals, with the Great division located above the swell box. The Great division includes a number of full-length 8¢ stops giving the organ a rich, singing foundation. The First Open Diapason is a broad scale, while the Second Open Diapason is of lesser scale and volume, yet it still provides the foundation necessary to be used with the upperwork of the principal chorus. Also on the Great is an 8' Flute Harmonique, playing dual roles as a foundation and a solo stop.

The Swell division contains a principal chorus as well as many other stops useful for accompanying the sizable choir that co-inhabits the rear gallery with the organ. The Choir division comprises digital stops and is at home with the main organ. The organist is also given the option of playing the Choir division antiphonally through an independent audio system in the front transept of the church. This option proves very useful for accompanying congregational singing, as well as allowing for a myriad of dialogue effects with the main organ. Given the importance of these tasks, the Choir division was designed to be a sizable, yet complete division incorporating a principal chorus with mixture, mutations, reeds and celestes.
Of special note are the many colorful reeds incorporated into all the divisions of this organ. Chorus reeds speaking 16' 8' and 4'' pitch are found in the Great, Swell and Pedal, complementing the flue choruses and numerous color reeds found in the Choir division. The diversity of reed stops available to the organist allows for a dramatic layering effect. Two solo reeds are also incorporated: the Tuba speaking from the main organ in the balcony and the Festival Trumpet speaking from high in the chancel archway. Two 32' reeds prove useful in both accompanying and solo works. The Contre Basson is enclosed with the Swell division, giving it greater flexibility.

The windchests of this organ utilize individual electro-pneumatic note actions, affording greater versatility in pipe layout as well as borrowing stops into the Pedal. In diatonic arrangements, the C and C# sides of adjacent stops can be reversed to promote greater tuning stability. Wooden windtrunks and ample reservoirs assure a steady wind supply even under the greatest demands.
This versatile organ is voiced to fill the room with rich sound, which envelops the congregation, allowing it to sing with complete freedom. Whether people are seated in the nave, gallery or chancel, the organ is never overpowering.

The organ incorporates all new pipework from Cornel Zimmer Organ Builders’ pipemaker, Tommy Linder, as well as pipework from A.R. Schopp’s Sons, Inc. in Alliance, Ohio and Luc Ladurantaye Tuyautier Inc. of Lac Saguay, Quebec, Canada. George Zong and David Caldwell built the console and casework, incorporating special accents found throughout the room, and Eric Molenaar oversaw the wiring of the organ. Marty Lemons matched the finish for the new organ precisely with the finish found on the existing woodwork in the room. Jim Twyne oversaw the tonal finishing of the organ with assistance from Mike Rathke and Nathan Bryson. Cornel and Anne Zimmer designed the organ and oversaw the management of the project. A special thanks is also in order to both David Bothwell and organist/choirmaster Jamie Shiell of North Decatur Presbyterian Church for their valuable input on this project.

—Nathan Bryson, with input from Cornel Zimmer and Jim Twyne

GREAT (Unenclosed, Manual II)

16' Double Diapason (WTC)

8' Open Diapason (61 pipes)

8' Second Diapason (WTC)

8' Bourdon (61 pipes)

8' Harmonic Flute (61 pipes)

4' Octave (61 pipes)

4' Spitzflöte (WTC)

22/3' Twelfth (WTC)

2' Super Octave (61 pipes)

13/5' Seventeenth (WTC)

11/3' Mixture IV (244 pipes)

16' Bombarde (WTC)

8' Trumpet (WTC)

8' French Horn (Choir)

8' Festival Trumpet (WTC) (non-coupling)

8' Tuba Mirabilis (Choir)

4' Clarion (WTC)

Tremulant

Chimes (WTC)

SWELL (Expressive, Manual III)

16' Lieblich Gedeckt (WTC)

8' Diapason (61 pipes)

8' Rohrflöte (61 pipes)

8' Viole de Gambe (61 pipes)

8' Voix Celeste (WTC)

8' Flute Celeste II (WTC)

4' Prestant (61 pipes)

4' Triangle Flute (WTC)

2' Waldflöte (61 pipes)

2' Plein Jeu IV (WTC)

16' Double Trumpet (WTC)

8' Trompette (61 pipes)

8' Oboe (WTC)

8' Festival Trumpet (non-coupling)

8' Vox Humana (WTC)

4' Clairon (WTC)

Tremulant

Zimbelstern (WTC)

Swell to Swell 16'

Swell Unison Off

Swell to Swell 4'

CHOIR (Expressive, Manual I)

16' Gemshorn (WTC)

8' Principal (WTC)

8' Holzgedeckt (WTC)

8' Gemshorn (WTC)

8' Gemshorn Celeste (WTC)

8' Erzahler Celeste II (WTC)

4' Octave (WTC)

4' Koppelflöte (WTC)

22/3 ' Nazard (WTC)

2' Superoctave (WTC)

2' Piccolo (WTC)

13/5' Tierce (WTC)

1' Scharff III (WTC)

16' Basset Horn (WTC)

8' Petite Trompette (WTC)

8' English Horn (WTC)

8' French Horn (WTC)

8' Cromorne (WTC)

8' Festival Trumpet (non-coupling)

8' Tuba Mirabilis (WTC)

Harp (WTC)

Tremulant

Choir to Choir 16'

Choir Unison Off

Choir to Choir 4'

PEDAL (Unenclosed)

32' Contra Bourdon (WTC)

16' Principal (32 pipes)

16' Subbass (WTC)

16' Double Diapason (Great)

16' Lieblich Gedeckt (Swell)

16' Gemshorn (Choir)

8' Octave (32 pipes)

8' Bass Flute (WTC)

8' Lieblich Gedeckt (Swell)

4' Choral Bass (12 pipes)

4' Triangle Flute (Swell)

4' Harmonic Flute (Great)

22/3' Mixture IV (WTC)

32' Contre Bombarde (WTC)

32' Contre Basson (WTC)

16' Trombone (WTC)

16' Bombarde (Great)

16' Double Trumpet (Swell)

8' Trumpet (WTC)

4' Clarion (WTC)

4' Bassett Horn (Choir)

WTC = Walker Technical Co. digital voices

Total ranks: 73

Pipe ranks: 17

Digital ranks: 56

Cover feature

Cornel Zimmer Organ Builders, Denver, North Carolina

Aldersgate United Methodist Church, Wilmington, Delaware

Like the vast array of Möller instruments spread
throughout the country, Möller opus 9745 served its congregation admirably
and capably for more than three decades. After years of faithful service,
however, mechanical problems plagued the organ of Aldersgate United Methodist
Church in Wilmington, Delaware. Mechanical failures and ciphers made
accompanying a service challenging at best. yes"> 

The original organ installed in January of 1963 comprised 29
ranks across three manuals, but lacked adequate tonal resources to fill the
large cubic volume of the sanctuary. Fortunately, placement of the organ,
speaking directly down the center axis of the sanctuary, allowed for proper
tonal egress into the nave. 

In the spring of 2002, the congregation, led by its organist
of 20 years, Brad Winters, chose Cornel Zimmer Organbuilders to complete the
rebuilding of the instrument as their opus 80. The work envisioned by the
church covered several principal areas including rebuilding/refurbishing the
existing pitman chests, releathering all reservoirs, rescaling and revoicing
existing pipework, making additions to the organ to fill in tonal gaps in the
specification, and providing a new four-manual console to control the organ.

Work began on the organ in the summer of 2004 with the
removal of all pipework and the dismantling of the winding system. Pipework was
transported back to Denver, North Carolina to be revoiced and rescaled by tonal
director Jim Twyne. When rescaling or repairs were necessary, pipemaker Tommy
Linder provided the needed pipework. Reservoirs were also transported back to
the shop to be releathered. Leather in the windchests was replaced or treated
as needed to ensure superior performance for many more decades.
style="mso-spacerun: yes"> 

While the organ was absent from the sanctuary, the
congregation implemented the suggestions of the organbuilder to improve the
acoustics. High-pile carpet covered the entire chancel area, greatly hampering
the sound of both the organ and the choir. The carpet was removed and porcelain
tile flooring was installed, providing a notable improvement in sound
projection.

While the acoustics improved dramatically, congregants had
always experienced difficulty in hearing the organ in the rear of the lengthy
sanctuary. To overcome this difficulty, a floating antiphonal division,
complete with festival trumpet and pedal division was added at the rear of the
nave. A broad range of echo and dialogue effects may be achieved using this
division. 

In the main organ pipe ranks were largely straight ranks.
The pipework was in good condition and capable of being revoiced, refined and
in some cases rescaled to reach its maximum potential for the room. Principal
choruses were added in the Swell and Choir divisions as were color stops not
provided for in the original specification. The Great principal chorus was
reinforced with new voices at 16’, 8’ and 2’ pitch, and a chorus
trumpet, absent from the original organ, was also added. The pedal division was
expanded greatly to provide the organ with a full foundation. A fourth manual
was added to play a new Solo division to further increase the tonal palette
available to the organist. In divisions where pipework could not be added,
Walker digital voices were used for their superior sound and flexibility in
voicing.

Eric Molenaar and Nathan Bryson of the electrical department
wired the new console and supervised and assisted in the rewiring of the
existing windchests. Pipework was returned and the windchests rewired in September
of 2004. At the same time, the winding system was rebuilt, silencing the many
leaks that had developed over the life of the organ. Master cabinetmaker George
Zong constructed a new console of mahogany, which was finished to match the
existing woodwork in the church by our finishing expert, Marty Lemons. Existing
artistic elements found in the church were incorporated into the panels of the
console as well as the music desk. The console was delivered in early November.
Jim Twyne and assistant Nathan Bryson completed final voicing on site, enabling
the church to use the organ for Advent and Christmas. yes"> 

The completed organ consists of five manual and two pedal
divisions. A full array of couplers and over one hundred levels of memory
afford the organist unlimited flexibility in registration. The organ was
dedicated in an afternoon service on January 30, 2005, and Stefan Engels played
the inaugural recital on April 10.

--Nathan Bryson with contribution from Cornel Zimmer
and Jim Twyne

GREAT

Unenclosed, Manual II

16’          Sub
Principal (WTC)

8’             Diapason
(WTC)

8’             Violone*

8’             Bourdon*

8’             Gemshorn*

4’             Octave*

4’             Spitzflute
(WTC)

2’             Superoctave
(WTC)

2’             Grave
Mixture II*

1’             Fourniture
III*

8’             Trumpet
(WTC)

8’             Tuba
Mirabilis (Solo)

8’             Harmonic
Trumpet (Solo)

                   Chimes
(WTC)

                   Antiphonal
on Great

SWELL

Expressive, Manual III

16’          Rohrgedeckt*

8’             Geigen
Principal (WTC)

8’             Salicional*

8’             Voix
Celeste*

8’             Flute
Celeste II (WTC)

8’             Rohrflute*
(ext)

4’             Prestant
(WTC)

4’             Nachthorn*

22/3’      Quint
(WTC)

2’             Principal
(WTC)

2’             Waldflute
(WTC)

13/5’      Terz
(WTC)

1’             Plein
Jeu III*

16’          Contra
Trompette (WTC)

8’             Trompette*

8’             Oboe*

8’             Vox
Humana (WTC)

4’             Clairon
(WTC)

8’             Tuba
Mirabilis (Solo)

8’             Harmonic
Trumpet (Solo)

                   Tremulant

                   Swell
to Swell 16’

                   Swell
Unison Off

                   Swell
to Swell 4’

                   Antiphonal
on Swell

CHOIR

Expressive, Manual I

16’          Dulciana
(WTC)

8’             English
Diapason (WTC)

8’             Gedeckt*

8’             Viola
Pomposa (WTC)

8’             Viola
Pomposa Celeste (WTC)

8’             Erzahler*

8’             Erzahler
Celeste*

4’             Principal
(WTC)

4’             Koppelflute*

22/3’      Nazard*

2’             Blockflute*

13/5’      Tierce*

2’             Choral
Mixture IV (WTC)

16’          Fagotto
(WTC)

8’             Clarinet
(WTC)

8’             Krumhorn*

8’             Tuba
Mirabilis (Solo)

8’             Harmonic
Trumpet (Solo)

                   Tremulant

                   Harp
(WTC)

                   Zimbelstern
(WTC)

                   Choir
to Choir 16’

                   Choir
Unison Off

                   Choir
to Choir 4’

                   Antiphonal
on Choir

SOLO

Expressive, Manual IV

8’             Harmonic
Flute (WTC)

8’             Cello
(WTC)

8’             Cello
Celeste (WTC)

8’             English
Horn (WTC)

8’             French
Horn (WTC)

8’             Orchestral
Oboe (WTC)

8’             Tuba
Mirabilis (WTC)

8’             Harmonic
Trumpet (WTC)

                   Tremulant

                   Solo
to Solo 16’

                   Solo
Unison Off

                   Solo
to Solo 4’

                   Antiphonal
on Solo

ANTIPHONAL

Expressive, Floating

16’          Violone
(WTC)

8’             Principal
(WTC)

8’             Bourdon
(WTC)

8’             Gemshorn
(WTC)

8’             Dolce
Celeste II (WTC)

4’             Octave
(WTC)

4’             Hohlflute
(WTC)

2’             Spitzflute
(WTC)

11/3’      Mixture
IV (WTC)

8’             Cornopean
(WTC)

8’             Festival
Trumpet (WTC)

                   Tremulant

                   Antiphonal
to Antiphonal 16’

                   Antiphonal
Unison Off

                   Antiphonal
to Antiphonal 4’

ANTIPHONAL PEDAL

Unenclosed

16’          Violone
(Antiphonal)

16’          Bourdon
(WTC)

8’             Principal
(Ant)

8’             Gedeckt
(Ant)

4’             Choral
Bass (WTC)

16’          Posaune
(Ant)

8’             Cornopean
(Ant)

PEDAL

Unenclosed

32’          Contra
Prestant (WTC)

32’          Contra
Violone (WTC)

32’          Contre
Bourdon (WTC)

16’          Open
Wood (WTC)

16’          Contrebasse*

16’          Bourdon*

16’          Sub
Principal (Great)

16’          Rohrgedeckt
(Swell)

16’          Dulciana
(Choir)

8’             Octave*
(ext)

8’             Bourdon*
(ext)

8’             Gemshorn
(WTC)

51/3’      Quint*

4’             Choralbass*
(ext)

4’             Flute*
(ext)

22/3’      Rauschpfeife
II*

2’             Nachthorn
(WTC)

11/3’      Mixture
II (WTC)

32’          Contra
Posaune (WTC)

32’          Contre
Basson (WTC)

16’          Posaune
(WTC)

16’          Contre
Trompette (Swell)*

16’          Basson
(WTC)

16’          Fagotto
(Choir)

8’             Tuba
Mirabilis (Solo)

8’             Harmonic
Trumpet (Solo)

8’             Trumpet
(WTC)

4’             Rohrschalmei
(WTC)

WTC = Walker Technical Co. digital voices

* Existing pipes revoiced

Total stops: 84

Total ranks: 98

Pipe ranks: 29

Digital voices: 60

Builders/voicers on this project

Nathan Bryson

David Caldwell

Marty Lemons

Thomas Linder

Eric Molenaar

Jim Twyne

Anne Zimmer

Cornel Zimmer

George Zong

Cover

Buzard Pipe
Organ Builders, Champaign, Illinois

Opus 29,
completed November, 2003

All Saints
Episcopal Church, Atlanta, Georgia

Some years ago I was contacted about a new organ for All Saints Episcopal
Church by the assistant organist, Jefferson McConnaughey. We seemed to be
speaking the same language concerning how we thought organs should sound, and I
was eager to meet him, music directors Ray and Elizabeth Chenault, and to visit
the church. Our conversations were put on hold while the parish called a new
rector and undertook other projects. At the time we were blessed with
commissions to build the organ at St. Paul's Episcopal Cathedral, Oklahoma
City, and large instruments for Glenview Community Church (III/71) and Holy
Family Catholic Church of Rockford, Illinois (III/56).

A few years went by, and I was invited to visit the church. Judging from the
size of the instrument under discussion, I expected to enter a huge space.
Instead, the church was more modest than vast, the acoustic more understated
than generous. At first blush, it seemed that 40 stops could have adequately
met their needs. But, no real lady ever gives up all her secrets at once, and
so I patiently looked and listened.

I listened to their former instrument while walking around the room, and
observed the acoustical phenomena under which the musicians had been laboring
for so long. The organ, although installed in the chancel in relatively close
proximity to the congregation, diminished drastically in volume in the nave. I
concluded that a part of the organ had to be installed in the body of the
church, to support singing and "pull" the sound out of the main part
of the organ installed in the chancel. Additionally, sound generated in the
nave lost its energy quickly; sound simply didn't travel well without becoming
garbled.

The musicians wanted to be able to properly register an organ to
"text-paint" Anglican Chant, choral anthems and ceremonial music in
the Anglican musical tradition. They needed a wide variety of accompanimental
tone colors at every dynamic level so that the organ could always support the
singers, even at pianissimo volume levels. It was equally important that the
organ musically render the great body of organ literature, even that of the
French Baroque school, of which Mr. McConnaughey seemed quite fond. And, the
Chenaults are duo organists; the literature which has been (and has yet to be)
commissioned for them had to be accommodated. This requires a large organ, as
coloristic stops outside the component voices for the essential choruses had to
be included and integrated into the design. Fortunately, these stops were never
in competition for space or funding, nor were our classic concepts of the
hierarchical scaling of divisions within the instrument ever compromised. Some
specific organs were studied: The Temple Church, London; King's College,
Cambridge; and St. Paul's Cathedral, London.

There is a beautiful chapel behind the Epistle side choir stalls, at 90
degrees to the axis of the church, which also serves as an overflow room on
Sundays. Worshippers there were relegated to viewing services on a small
closed-circuit TV, and could not participate in the hymn-singing because, being
outside the body of the church, they couldn't hear the organ. If the new organ
were to address and meet all the musical and acoustical requirements of the
church, then the chapel also needed to have some pipes in it, so that those
seated there could feel a part of the worshiping community.

All of these requirements were brought to bear upon a single instrument. Yes,
I agreed, this instrument has to be large--very large. Even if the room seats
only 550 souls, the musical and physical requirements dictated an organ of a
size which one might initially think out of proportion.

The position and installation of the new Main Organ was relatively
straightforward. The Great, Swell, Choir, Tuba, and Pedal would have to be
installed in the chancel, in an enlarged version of their existing chamber,
plus spaces created by cantilevering steel platforms into the chancel space on
both Epistle and Gospel sides.

The antiphonal division, a romantic Solo Organ including a Diapason Chorus
which mirrors the Great, had to be installed in the nave. But there was no
floor space for cases, no desire to see columns, and windows everywhere, many
of them signed by Louis Comfort Tiffany. By clever engineering of the diatonic
windchest layouts (which we had first used at St. Paul's Cathedral in Oklahoma
City) we were able to tuck the Solo Organ cases up in the rafters of the church
above the narthex, on either side of a central great window. By creative use of
perspective, we were able to engineer the location of the supporting steel
platforms so that they wouldn't block the view of the Tiffany windows in the
side aisles, yet give us sufficient height for the pipes inside the cases.

As conversations concerning the tonal design took shape, Ray, Elizabeth, and
Jeff fell in love with our tonal style which, while embracing eclecticism, has
its own unique personality. They visited both our large organs, and Jeff
actually played Sunday services on our Opus 7 organ at The Chapel of St. John
the Divine in my wife Linda's stead. The All Saints organ is a very logical
outgrowth of our style as practiced in our smaller organs, and as our two
larger organs have led us. The humble beginnings of Opus 7 at the Chapel, in
which we made 29 stops into a cathedral organ, can be seen all over this much
larger organ. Well-informed national and historical inspirations are
distributed throughout, so that the whole is at unity with itself. No German
Hauptwerk, French Récit or English Chair Organs for us. For example the
Great includes the mature English practice of 8' First & Second Open
Diapasons, married nicely to the French Fonds d'Orgue. A voluptuous Full English
Swell has continental fire by virtue of the authentic (but modified) French
reed battery, but the lyrical soft solo reed is a plaintive English Oboe. No
quirky nomenclature either. Although rooted in 19th-century English practice of
"Diapason, Principal, Twelfth, Fifteenth," etc., the stops in our
organs are what they say they are. If the Swell reed is spelled
"Trompette," you can be assured that you will hear a Trumpet with
French shallots and pipe construction.

The Great is based upon a 16' Double Open Diapason of tin which stands
proudly in the Gospel side case along with the rest of the division. A complete
Diapason chorus through Mixture, flutes at 8' & 4', and a Viola da Gamba
make up the flue work, and the reeds are Trombas, brought up to the manuals from
the Pedal Trombone. The Mixture breaks at octaves, rather than at fifth
intervals. In this way, one doesn't hear alternating unison and fifths playing
as the top rank, and the breaks are virtually unheard.

The Great also incorporates an harmonic corroborating stop which was more at
home in English and American concert organs of the early part of the last
century. Our four-rank Harmonic Mixture has in it a unison, a quint, a tierce,
and a flat-seventh. These are all the harmonics present in Tromba class reeds,
which are on the Great at 8' and 4' pitches. We originally included the
Harmonic Mixture as a way to prevent the dark Trombas from covering the
brightness of the mixture work in full organ, but have found that when used
sans Trombas, the ancient flavor of 18th-century Dutch organs is perceived in
an uncanny way. One could even imagine the wind to be unsteady--but of course
it's not!

The Solo has a Diapason Chorus nearly mirroring the Great, and despite its
distance from the Main Organ, it can exactly balance the Great Plenum in
certain contexts. The Solo contains a pair of E. M. Skinner-inspired Gambas,
the celesting rank in the case across the church from its unison pair. Now
that's a Celeste! The Flügel Horn, while a lyrical romantic solo reed, has
just enough harmonic interest to function beautifully as a chorus reed. The
Bassett Horn is certainly at home playing obbligato parts in Elgar, but has
just enough Cromorne in it to play Daquin with a French nose in the air.

One can use the Choir in a classic context, as a Positiv when a lighter foil
to the Great is desired. But this division is the real choral accompanying
workhorse. It's one of the most elegant, light, but profound Choir divisions we
have created. The Choir features a flute chorus from 16' up, and a proper
Diapason chorus complete with a four-rank quint mixture, a fifth interval
higher than the Great. But the luxurious feature in this day and age is our
Dulciana Chorus, which includes a three-rank mixture in which the 4' enters
early on at tenor C. Our Dulcianas are truly small Diapasons, and there is
nothing like the effect of accompanying voices with Diapason color, but at such
a soft volume. The Dulciana Mixture has many uses in coloring and painting
texts, 90% of which I would never have envisioned. Our Cornopeans are
small-scaled, but fundamental Trumpets as the original prototypes were, not the
horn-like Cornopeans one would otherwise love to hate. The Clarinet is truly of
English style, and the English Horn is orchestral in color with enough body to
be the foundation of the Choir reed battery, yet enough jazz in the color to
differentiate itself from the more fundamental Swell English Oboe.

The Chapel Organ includes a small-scaled Diapason Chorus at 8' and 4' to
lead the hymn-singing, and an 8' Aeoline and Vox Angelica. These very, very
soft string-toned stops allow the worshippers there to feel connected, and also
provide a powerfully effective pianissimo "wrap-around" effect as the
softest sounds concluding a smooth decrescendo. These little strings can just
be barely heard in the nave as the expression box closes on the Solo Flute
Cœlestis. When they play alone, they are literally in another room, off in
the distance.

In the All Saints organ, the Great, Swell, Choir, Solo, and a portion of the
Pedal divisions play upon 4 inches of wind pressure. The Trombones and Trombas
play upon 7 inches of wind, the Solo Festival Trumpets on 6 inches, and the
Major Tuba plays upon 20 inches of wind. The Tuba is housed in its own
expression box, and the organist can easily select which expression shoe may be
used to operate the Tuba's expression (or whether it is to remain open) by a
simple rotary switch. We aim to expand the color and dynamic range of the pipe
organ, while keeping the console controls simple and straightforward.

Before I was selected as their builder, Ray, Elizabeth, and Jeff charged me
to design the perfect instrument for all their requirements, and they would
undertake the responsibility of presenting this plan to the organ committee to
get their reaction, and see if the instrument would have to suffer at the hands
of "value engineers." Although my past experience made me somewhat
timid about presenting such a large (expensive) instrument as part of a
selection competition, we arrived at the specification of 63 straight speaking
stops, 87 ranks of pipes (5229 pipes overall), in five free-standing cases
throughout their church.

I will never forget the evening of a crucial organ committee meeting when I
received an excited telephone call from Ray. The musicians presented the
proposal and the room fell silent. People on the committee asked questions to
the effect: "Now, do all three of you musicians agree on this builder? Do
all three of you agree with each other in every respect to this instrument?"
When the answer was an emphatic yes, a committee member said: "How many
times do musicians agree with each other about anything, let alone every of the
many thousands of details in this organ's design!? This is what we need for All
Saints, and we need John-Paul to build it for us." A member of the
committee, Sarah Kennedy, later wrote a check for the entire project, in loving
memory and in honor of her family, The Kenans.

The organs' visual designs were developed during August and September of
2001. The first draft of the Chapel Organ's design was revised to be more in
keeping with the modern nature of the chapel (and less like King's College,
Cambridge). The Main Organ and the Solo Organs were built according to my first
pen-and-ink renderings.

All of my design drawings are executed by hand. The discipline of cleaning
the drafting table and truing the parallel bars and 90-degree instruments
contributes to clearing my mind of everything except what I need to think about
for the organ on the blank piece of paper.

It is always my goal to design organ cases which appear as though they had
always been in the church. The All Saints cases use shapes and colors found
throughout the room, and mirror the restrained nature of the Victorian Gothic
design. But the cases become vivid, exciting, and dramatic by incorporation of
the fabulous red enamel and gold leaf adorning the church's clerestory. The
inclusion of the red gave me license to add contracting pieces of red-stained
Honduras mahogany in the stained white oak cases. The soaring nature of the
Solo Organs, as their lines ascend while moving toward the great window, seemed
to cry out for heraldic angels, announcing the Great Day of Judgment on
gold-leafed trumpets. Thanks to parishioner David Foerster for making these
possible.

All of us will remember exactly where we were on 9/11. I was at the drafting
table finishing the designs for the Main Organ cases. I had penciled the
drawing the day before and was preparing to ink the drawing when I heard the
news reports. My entire staff came up to the drafting room and we all went to
the conference area where a small television showed us the horrors unfold as
the second airliner smashed into the second building. As we heard a large
airplane overhead, being sent to land at our local airport, I was asked if we
were going to close for the day. I said, no. We had to go about our task of
making beautiful things, especially in light of the ugliness that visited
itself on our country that day. If we wanted to take time off individually to
mourn our country's losses, go with my blessing, but the doors would remain
open and I would continue to draw a beautiful pair of pipe organ cases.

I set to cleaning out my India ink pens, and put on a CD of The English
Anthem II from St. Paul's Cathedral,
London.

Oh Lord, look down from heaven, and behold the habitation
of Thy holiness and of Thy glory: Where is Thy zeal and Thy strength? Thy
mercies towards me, are they restrained?

My deepest thanks to the musicians at All Saints Church, everyone on the
organ committee, Greg Kellison, chairman; Paul Elliott, the rector; David
Foerster, and Sarah Kennedy for selecting me and my firm for this tremendous
commission.

My overwhelming gratitude goes to the members of my staff whose hard work
and dedication made such an excellent instrument so sublime: Charles Eames,
executive vice president, general manager and chief engineer; Brian K. Davis,
associate tonal director; Keith Williams, service department director; Shayne
Tippett, shop manager; Jay Salmon, office manager; Evan Rench, pipe maker,
voicer; Steve Downes, tonal assistant; C. Robert Leach, cabinetmaker; Stuart
Martin, cabinetmaker; Kenneth McCabe, winding systems; Ray Wiggs, consoles,
windchests; Robert Ference, service technician; Stuart Weber, service
technician; Jonathan Borchardt, service technician; JoAnne Hutchcraft Rench,
receptionist.

--John-Paul Buzard

GREAT (4-inch wind pressure)

Manual II - unenclosed pipework

16' Double Open Diapason

8' First Open Diapason

8' Second Open Diapason (ext 16')

8' Viola da Gamba

8' Harmonic Flute

8' Bourdon

4' Principal

4' Spire Flute

22/3' Twelfth

2' Fifteenth

2' Fourniture V

13/5' Harmonic Mixture IV

16' Double Trumpet

8' Trombas (ext Ped)

4' Clarion (ext Ped)

Tremulant

Chimes

8' Major Tuba (20" wind)

8' Tuba Solo (melody coupler)

8' Fanfare Trumpets (Solo)

SWELL (4-inch wind pressure)

Manual III - enclosed and expressive

8' Open Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste

4' Principal

4' Harmonic Flute

22/3' Nazard

2' Flageolet

13/5' Tierce

22/3' Full Mixture V

16' Bassoon

8' Trompette

8' Oboe

8' Vox Humana

4' Clarion (ext 16')

Tremulant

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHOIR (4-inch wind pressure)

Manual I - enclosed and expressive

16' Lieblich Gedeckt (wood)

8' English Open Diapason

8' Flûte à Bibéron

8' Gedeckt Flute (ext 16')

8' Dulciana

8' Unda Maris

4' Principal

4' Koppel Flute

2' Recorder

2' Mixture III–IV (Dulcianas)

11/3' Fourniture IV

Sesquialtera II (22/3' & 13/5')

16' English Horn

8' Cornopean

8' Clarinet

Tremulant

Cymbalstern (14 bells)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

Harp (digital)

Celesta (digital)

ANTIPHONAL SOLO (4- & 51/2-inch wind)

Manual IV - in twin cases over the narthex (expressive)

8' Open Diapason

8' Viola da Gamba

8' Gamba Celeste (CC)

8' Melodia

8' Flute Cœlestis II (Ludwigtone)

4' Principal

4' Flûte d'Amour

2' Doublette

11/3' Mixture IV

8' Flügel Horn

8' Corno di Bassetto

Tremulant

Cymbalstern (8 bells)

Chimes (Gt)

8' Fanfare Trumpets

8' Major Tuba (Gt)

Harp (digital)

Celesta (digital)

PEDAL (various wind pressures)

32' Double Open Diapason (digital)

32' Subbass (digital)

32' Lieblich Gedeckt (Ch, digital)

16' First Open Diapason

16' Second Open Diapason (Gt)

16' Bourdon

16' Lieblich Gedeckt (Ch)

8' Principal

8' Bass Flute (ext 16' Bourdon)

8' Gedeckt Flute (ext 16' Lieblich)

4' Choral Bass

4' Open Flute (ext 16' Bourdon)

22/3' Mixture IV

32' Contra Trombone (wood)

16' Trombone (wood, ext 32')

16' Double Trumpet (Gt)

16' Bassoon (Sw)

8' Trumpet (ext 16')

4' Clarion (Sw)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHAPEL (4-inch wind, floating)

8' Open Diapason

8' Aeoline

8' Vox Angelica (tc)

4' Principal

Chapel on Great

Chapel on Swell

Chapel on Choir

Chapel on Solo

Chapel on Pedal

Intraddivisional couplers

Gt/Gt 16-UO-4

Sw/Sw 16-UO-4

Ch/Ch 16-UO-4

Solo/Solo 16-UO-4

Interdivisional couplers

Gt/Ped 8, 4

Sw/Ped 8, 4

Ch/Ped 8, 4

Solo/Ped 8, 4

Sw/Gt 16, 8, 4

Ch/Gt 16, 8, 4

Solo/Gt 16, 8, 4

Sw/Ch 16, 8, 4

Solo/Ch 16, 8, 4

Pedal Stops to Divisional Pistons

The Wicks Organ Company, Highland,
Illinois has built a new organ for the Barrington United Methodist Church,
Barrington, Illinois. In 1999 the church building was destroyed by fire. Their
losses included a 41-rank Möller pipe organ, which had been rebuilt as
recently as 1988. As planning for their new building began, the search for a
new pipe organ started. The church’s demands for their new organ were
that it had to be a great congregational organ, but also able to perform for
recitals as well. The sanctuary was to be a top-notch performance facility as
well as a place of worship. The church desired an organ of 3 manuals and 5
divisions, including an antiphonal. Each division was to have a principal
chorus, and the foundations of the Great organ were to be exposed.

The church committee heard many styles of instruments built by Wicks over
the last seven decades. This included, a North German neo-Baroque style
instrument, a symphonic organ scaled and designed by Henry V. Willis, an
American Classic, and an Aeolian instrument from the 1920s that had been
rebuilt by the Wicks Organ Company in conjunction with Mr. Madison Lindsey. The
service playing abilities of each instrument were demonstrated to the
committee, and they identified and found themselves drawn to the
English/symphonic style of the rebuilt Aeolian instrument. The organ committee
chose Wicks over several other builders after hearing several new Wicks
installations and the company ‘s recent success in exactly this style of
instrument.

The completed organ is described as an English service organ with orchestral
capabilities. The instrument is able to not only provide a seamless crescendo
from ppp to fff, but can do it with flair. In addition to service music, the
organ is able to perform every possible type of organ literature from the
Renaissance to the present. It is also able to realize orchestral
transcriptions with great skill, thanks to the presence of many orchestral solo
stops in each division, blending choruses, and 2-inch thick beveled and overlapping
felted shades. The completed organ consists of 24 ranks of pipes and 25 digital
voices. The Wicks design team pre-engineered space to accommodate real pipe
ranks to replace these voices. The Swell is on 7 inches of wind, the Pedal 10
inches; the Choir and Great are on 6 inches, with the exception of the
Clarinet, English Horn, and Tuba in the choir, which are all on 10 inches.

The solo reeds of this organ are of a unique style, derived from the
Willis/Wicks style reeds used in many Wicks organs over the decades, married to
the traditional ideas of Skinner solo reeds. The end results were clear,
smooth, stops of unique color and great versatility throughout the compass. The
greatest asset to the organ is the lively acoustical environment of the sanctuary.
The collaboration of the building committee, acousticians Kirkegaard &
Associates of Chicago, and the Wicks Organ Company have resulted in a
beautiful, successful combination of organ and room.

The console is drawknob style with 45-degree side jambs, a glass music rack,
and P&S keys with ivory resin naturals and ebony sharps. The drawknobs are
made of polished hardwood. Made of red oak, the interior is very light and the
exterior is stained to match the woodwork of the chancel furnishings. The console
features a tilt tab that allows the digital Tuba and Festival Trumpet to
emanate from the antiphonal division located in the rear of the church instead
of their native divisions. The console also has a Manual I/II transfer for
French literature.

Installation of Opus 6412 began in August of 2003, and an initial tonal
finishing and adjustment of digital voices took place in early September. After
the church’s dedication, Wicks tonal director Dr. William Hamner and reed
voicer Greg Caldwell completed an entire tonal finishing.

--Brent Johnson

Great (exposed)

16’ Violone*

8’ First Open Diapason

8’ Second Open Diapason

8’ Violoncello

8’ Harmonic Flute (Ch)

4’ Principal

4’ Flute Octaviante

2’ Fifteenth

IV Full Mixture

8’ Chorus Tuba (Ch)

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Chimes* (Ant)

Swell (expressive)

16’ Minor Bourdon*

8’ Open Diapason

8’ Stopped Diapason*

8’ Viola*

8’ Viola Celeste*

8’ Flauto Dolce*

8’ Flute Celeste*

4’ Octave Diapason

4’ Triangular Flute*

22/3’ Nazard*

2’ Recorder*

13/5’ Tierce*

IV Plein Jeu

16’ Waldhorn*

8’ Cornopean

8’ Oboe*

4’ Clarion

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Tremolo

Choir (expressive)

8’ Geigen (1-12*)

8’ Concert Flute

8’ Dolcan*

8’ Dolcan Celeste*

4’ Octave Geigen

4’ Transverse Flute

2’ Harmonic Piccolo

16’ Bass Clarinet

8’ Clarinet

8’ English Horn

8’ French Horn*

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

8’ Chorus Tuba

Tremolo

Harp*

Antiphonal (unenclosed - floating) (prepared)

8’ Festival Trumpet*

8’ Tuba Mirabilis*

Chimes*

Antiphonal Pedal (prepared)

Pedal

32’ Contre Bourdon*

16’ Open Wood

16’ Major Bourdon

16’ Violone* (Gt)

16’ Minor Bourdon* (Sw)

8’ Principal

8’ Flute

8’ Stopped Flute

4’ Octave

4’ Harmonic Flute (Gt)

32’ Ophicleide*

16’ Trombone (1–12*)

16’ Waldhorn (Sw)

8’ Tromba

8’ Trumpet (Sw)

4’ Oboe (Sw)

7-bell zimbelstern

*= Digital Voices

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

Cover

An organ built by J.L. van den Heuvel
style='font-weight:normal'>, Dordrecht, the Netherlands, has been installed at
the Church of the Holy Apostles, New York, NY. Originally installed at Castle
Shiloah, Fairview, TX, it was relocated by the Organ Clearing House, and
revoiced by Rosales Organ Builders. When a fire destroyed the Church of the
Holy Apostles in 1990, it also destoyed the church's Casavant organ. The parish
entered into an agreement with Rosales Organ Builders for a new instrument. As
the restoration of the building consumed available funds, it became apparent
that the congregation could no longer afford the new organ. In an effort to
make the best use of monies available, Rosales agreed to explore alternatives.
In 1991, Joseph and Marla Mooibroek of Fairview, TX, commissioned J.L. van den Heuvel
to build an organ for their home. The organ was installed in Castle Shiloah in
1994. In 1996 the Mooibroeks decided to sell their residence and organ. Manuel
Rosales examined the organ and notified Holy Apostles about its availability.
The Organ Clearing House, Alan Laufman, executive director, moved the organ to
its new home. After the two-month reassembly, Manuel Rosales revoiced the organ
for its new environment. The organ is housed in a Dutch Baroque-style case with
detailed sculpture and carvings. Tonally it is in early French romantic style.
The Organ Clearing House staff, Alan Laufman, executive director, included
Amory Atkin, Terence Atkin, William Dixon, Whitney Flecher, George Gibson,
Richard Hamar, Scott Huntington, and Joshua Wood. Manuel Rosales was assisted
by Peter Batchelder, Timothy Fink, and Scot Huntington. Donald Joyce is music
director of the church. Compass is 61/32. The nave of the church is used each
day for one of the parish's outreach programs--the Holy Apostles Soup Kitchen, which
serves over 1,000 meals per day. Photo by Amy Reichman.

GRAND ORGUE

16' Bourdon

8' Montre

8' Flûte a cheminée

8' Flûte harmonique

4' Prestant

2' Doublette

 Plein Jeu III-V

 Cornet IV (MC)

8' Trompette

 Tremblant

Pos/G.O.

Réc/G.O.

RÉCIT

8' Flûte traversière

8' Viole de Gambe

8' Voix céleste

4' Flûte Octaviante

2' Octavin

8' Basson-Hautbois

8' Voix Humaine

Tremulant

POSITIF

8' Bourdon

8' Salicional

8' Unda Maris

4' Flûte à fuseau

22/3' Nasard

2' Flageolet

13/5' Tierce

1' Piccolo

8' Clarinette

8' Trumpet Royal (horizontal)

   Tremulant

  Chimes

  Zimbelstern

  Réc/Pos

PÉDAL

32' Bourdon (electronic)

16' Soubasse (1-24 G.O.)

8' Flûte

8' Violoncelle

16' Basson

4' Chalumeau

  G.O./Péd

  Pos/Péd

  Réc/Péd

Bond Organ Builders, Inc., Portland, OR, has completed the restoration of the organ at St. Mary's
Cathedral of the Immaculate Conception, also in Portland. The organ was
originally built in 1904 by the Los Angeles Art Organ Co., opus 42, under the
direction of Murray M. Harris, for Holy Cross Catholic Church in San Francisco.
It was severely damaged in the 1906 earthquake. Falling debris largely
destroyed the Great and Choir divisions; the original Fleming windchests for
these divisions were replaced by new chests of the Spencer design. Repairs were
carried out by a local firm using new pipes, windchests, and other parts
supplied by Murray Harris. Some original stops survived, notably the Great 16'
and 8' Diapasons, most of the 4'Octave, and the Doppel Flute, as well as the
Choir Melodia. The Great Second Open Diapason was added at this time, and the
Choir tremolo deleted. By the 1980s, the organ was in need of a complete
restoration; nevertheless, it was heard at the 1988 OHS convention. The church
was damaged again by the Loma Prieta earthquake of 1989, and the parish closed
at that time. In 1995, the Archdiocese of Portland acquired the organ.
Disassembly and removal from Holy Cross Church began in September, 1995.
Smaller internal parts were carried by hand down a narrow staircase from the
balcony. Windchests, pedal pipes, reservoir, etc., were too large to handle in
this manner. A crane was erected outside the church, a hole was broken in the
roof just large enough to allow the crane hook to pass into the building, and
the large parts were lowered to the floor.

Restoration began with a thorough cleaning. All parts of the
original patented electro-pneumatic action were retained and restored,
including releathering. All pipes were washed and voiced for the new room.
Damaged pipes were repaired, missing pipes replaced. Front casework and console
were well preserved; it was necessary only to clean and repair scratches. Side
casework was re-engineered to provide access to the mechanism inside and
strengthened. The console mechanism was retained in its entirety, including 10
combination pedals. Stenciling on the facade pipes was copied, the pipes
stripped, and new paint applied using the original design. After much
deliberation, it was decided to add Mixtures to the Great and Swell, as well as
a Pedal 16'  Trombone. The
additions were carried out after study of extant mixtures and trombones built
by Murray Harris. 41 ranks, 37 stops.

GREAT

16' Double Open Diapason

8' Open Diapason

8' Open Diapason (2nd)

8' Viola da Gamba

8' Viola d'Amour

8' Doppel Flute

4' Octave

22/3 Octave Quinte

2' Super Octave

Mixture III-IV*

8' Trumpet

SWELL

16' Bourdon

8' Violin Diapason

8' Viol d'Orchestre

8' Aeoline

8' Voix Celeste

8' Stopped Diapason

4' Fugara

4' Harmonic Flute

2' Flautina

                        Cornet
IV*

8' Oboe

8' Vox Humana

                        Tremolo

CHOIR

8' Geigen Principal

8' Dulciana

8' Melodia

4' Violina

4' Flute d'Amour

2' Harmonic Piccolo

8' Clarinet

PEDAL

32' Resultant*

16' Open Diapason (wood)

16' Bourdon

16' Lieblich Gedeckt (Sw)

8' Violoncello

8' Flute Stop'd

16' Trombone*

*additions by Bond

Berghaus Organ Company, Inc., Bellwood, IL, has built a new organ for Trinity Lutheran Church,
Faribault, MN. The new organ comprises 23 ranks (1,263 pipes) on two manuals
and pedal. Slider windchests are used for the Great, Swell, and Pedal
divisions, with an all-electric action windchest for the Trompete stop. The
movable oak console has keyboards of maple naturals and rosewood sharps. Stops
and couplers are controlled by tilting tablets placed above the top keyboard.
Preparations have been made for future installation of MIDI. The Swell division
is located in wooden chambers to the left and under expression. Great division
is to the right of the Swell, and the Pedal is housed in a chamber behind the
Great.

GREAT

8' Principal

8' Rohrfloete

4' Octave

4' Spillfloete

22/3' Nasat

2' Hohlfloete

13/5' Terz

IV Mixtur

8' Trompete

                        Tremulant

                        Chimes

                        Zimbelstern
(prep)

SWELL

8' Gedackt

8' Viola

8' Celeste

4' Spitzfloete

2' Principal

11/3' Quinte

III Scharf-Zimbel (prep)

8' Schalmei

Tremulant

8' Trompete

PEDAL

16' Subbass

8' Offenbass

4' Choralbass

II Rauschquinte (prep)

16' Still Posaune

8' Trompete

4' Trompete

Temple Organs, St.
Joseph, MO, has rebuilt the 1968/1986 Wicks organ at West Hills Presbyterian
Church, Omaha, NE. All original pipework was retained in new casework of oak
trim over birch panels, painted to match the church walls. A new 3-manual
console includes an Artisan control system, with preparation for future digital
additions. The Principal, Octave, and Subbass form the facade. The low octave
of the 16' Trumpet, by Killinger, was added as a donation by one of the
church's organists, Dr. Ted Holyoke. Music director is Dwaine Price.

Analysis

16' Subbass (44 pipes)

16' Gedeckt (97)

8' Principal (61)

8' Geigen (73)

8' Gemshorn (61)

8' Gemshorn Celeste (77)

8' Bourdon (73)

4' Octave (73)

22/3' Twelfth (61)

16' Trompette (85)

8' Oboe (61)

                        Chimes
(25 tubes)

GREAT

8' Principal

8' Bourdon

8' Gemshorn

4' Octave

22/3' Twelfth

2' Fifteenth

Mixture III

8' Trompette

Chimes

Couplers

SWELL

16' Gedeckt

8' Geigen Principal

8' Rohrgedeckt

8' Gemshorn

8' Gemshorn Celeste

4' Prestant

4' Bourdon

22/3' Quinte

2' Blockflöte

13/5' Tierce

Scharf III

16' Trompette

8' Trompette

8' Oboe

4' Clarion

Tremulant

Couplers

CHOIR

Digital preparation

10 knobs

Couplers

PEDAL

16' Subbass

16' Lieblich Gedeckt

8' Principal

8' Pedalflöte

4' Choralbass

4' Rohrflöte

2' Super Octave

Mixture III

16' Trompette

8' Trompette

8' Fagotto

4' Clarion