New Organs

Goulding & Wood, Inc., Indianapolis, Indiana

Second Presbyterian Church, Roanoke, Virginia, Opus 43 (2005)

From the builder

Each church that undertakes an organ project seems able to find a unique method of tackling the monumental task, and as organ builders we are always amazed at the panoply of approaches. Second Presbyterian Church of Roanoke followed a path that took more time than most, but in the end the entire congregation became fully invested in the instrument. Notable in the process were the organ selection committee chair Joe Duckwall, fund-raising committee chair Linda Star, parish administrator Phil Boggs, property committee member Whitney Markley, and of course the staff musicians Jeff and Marianne Sandborg.

Second Presbyterian Church has a long and developed tradition of great choral singing, and the design of the organ grew from the concerns specific to choral accompaniment. As with all Goulding & Wood organs, the human voice provided a paradigm for the tonal style: individual stops have an immediate, singing quality, and ensembles support voices by giving a firm foundation of pitch. To accomplish this, voicing is incisive, and the sustained tone develops generous fundamental. Harsh attacks or treble-heavy ensembles both obscure the pitch and wear thin on the ear. The power of the organ resides in the 16¢ and 8¢ pitch stops, with the upperwork adding clarity and sparkle to the foundation. Another hallmark of a good accompanimental instrument is a wide variety of colors. To this end, we take great care that no two stopped flutes or trumpets sound identical. Throughout the organ we have maximized the spectrum of color and volume in order to give the organist the greatest number of musical resources for the creative shading of hymns, solo repertoire, and accompaniments.

Each division uses Goulding & Wood’s unique design of slider-and-pallet windchest. This action assists in achieving our goal of warm, gentle speech through the use of pneumatic action to pull the pallets that furnish air to the common key channels. The electric key action allows for remote key action and a movable console. This flexibility in arranging the console position is particularly useful when accommodating a variety of musical forces, from an organist conducting from the console to large choir with instruments and separate conductor.

The organ is arranged in twin chambers on either side of the chancel with cases containing pipes from the Great 8' Principal and Pedal 8' Octave in the display. New tone openings were cut into the walls facing the nave, allowing the organ to also speak directly to the congregation through the nave façades. Casework is of stained white oak with quatrefoil fences topping the pipe towers and sassafras roses lining the pipe feet. The console, also with casework of white oak, includes a decorative wood music rack, bone and ebony keys, and walnut drawstop jambs.

Since installation, the organ has been featured in several events, including a dedicatory recital by Carole Terry to a capacity crowd. We have greatly appreciated the opportunity to contribute to the rich cultural and musical life of Roanoke, and we look forward to continuing our relationship with the good people of Second Presbyterian Church.

—Jason Overall

From the organist

In 1999, we at Second Presbyterian Church in Roanoke, Virginia, began to explore the possibility of purchasing a new organ to replace the 25-rank Moeller that had served the congregation since 1952. After consultation with some colleagues in Charlotte, North Carolina about then-recent installations in the area, it was decided that we would visit the five recommended churches. Three of the five organs had been built by Goulding & Wood.

Soon after, the pipe organ study committee was formed and eventually visited 14 church organ installations, met with the representatives of four organ builders, and traveled over 3,000 miles, in addition to holding monthly meetings to discuss and evaluate its findings. To be thorough, we also studied the possibility of renovation, versus replacement, of our 1952 Moeller. Our research for both ideas took place over the course of two busy years.

Our group’s final visit was to Greenville, South Carolina, where we heard the magnificent 67-rank organ at Christ Episcopal Church (Opus 35, 2001), and met then-director of music and composer Robert Powell, who was extremely helpful and gracious. As with the three organs in Charlotte, Goulding & Wood once again demonstrated how expert the staff is in determining the most effective way of projecting sound, no matter what the acoustical challenges. After that important visit, we came home to Roanoke and voted to build, versus renovate; Goulding & Wood received a resounding affirmative vote.
From a sound standpoint, our Opus 43 (2005) is most satisfying. The organ integrates German principal choruses, French color stops, and English accompaniment stops. At the time that the design was conceived, the Choir division was the most single-minded and stylistically pure that Goulding & Wood had proposed. Second Presbyterian has a strong choral program, and this division reflects the type of literature that is frequently performed. From Bach to Mozart, Howells to Pinkham, including everything in between, the color range is broad. Another significant feature is the Choir to Swell coupler, adding that much more texture to choral accompaniments. From a technical standpoint, the internal MIDI interface processor is a great luxury, as are the 200 levels of memory. Lastly, a basic function called “Scope” is featured, which allows each piston on the console to control any group of stops from the whole specification. Among other features, each memory level has its own scope for total flexibility.

An important characteristic of the organ’s sound is its subtlety. Any change in registration is significant, yet beautifully and intelligently shaded. The listener is also aware of the enormous range of the instrument—from the music performed during a hushed Good Friday evening service to the majesty of Easter morning. The organ’s palette of color is completely versatile and seemingly unlimited. The early delivery and installation enabled us to use the organ on Palm Sunday, 2005.

Visually, the organ is both majestic, yet understated, in accordance with the church’s wishes and the design of the sanctuary. The console’s Gothic Revival design is elegant and is a seamless aesthetic fit. Everything about the workmanship is superb.

In November 2005, we officially dedicated the instrument with a concert played by Carole Terry, professor of organ and harpsichord at the University of Washington School of Music in Seattle. Also featured was a commissioned piece by British composer Andrew Carter for choir, soprano and organ, entitled O Sing to the Lord, based on Psalm 98.

The dedicatory recital marked the culmination of a project that more than met all of our expectations, and has given us an instrument that will inspire future generations. This spring we will present a Mozart festival on April 23 featuring vocal and instrumental music by the church’s Chancel Choir, the Roanoke College Choir, soloists and orchestra. For information: 540/343-3659;
.

—Marianne M. Sandborg

Organist, Second Presbyterian Church, Roanoke, Virginia

Dedicatory Recital

Carole Terry

November 13, 2005



Prelude and Fugue in G Major, BWV 541, Bach; Unter den Linden grüne, Sweelinck; Sonata No. 3 in A Major, op. 65, Mendelssohn; Joie et Clarté des Corps Glorieux (Les Corps Glorieux), Messiaen; O Sing to the Lord (Ps. 98, vv. 1, 5, 6, 7 and 8), Carter; Shall We Gather at the River, O Zion Haste/How Firm a Foundation (Gospel Preludes, Book 2, Book 4), Bolcom; Il n’est rien de plus Tendre, Dandrieu; Noël X, D’Aquin; Intermezzo, Adagio, Finale (Symphony No. III, op. 28), Vierne.

Great (II, 31/2" wind pressure)

16’ Violone (50% tin)

8’ Principal (30% tin; bass in façade)

8’ Violone (ext 16’ Violone)

8’ Claribel Flute (poplar; open)

8’ Stopped Diapason (poplar and 30% tin)

4’ Octave (50% tin)

4’ Spire Flute (30% tin)

22/3’ Twelfth (50% tin)

2’ Fifteenth (50% tin)

13/5’ Seventeenth (50% tin)

11/3’ Fourniture IV (50% tin)

8’ Trumpet (zinc/50% tin)

8’ Festival Trumpet (Choir prep)

Tremolo

Great to Great 16–Unison Off–4

Swell (III, 4" wind pressure)

16’ Gedeckt (ext 8’ Gedeckt)
8’ Geigen Diapason (50% tin)

8’ Viole de gambe (50% tin)

8’ Voix céleste (50% tin; from low G)

8’ Gedeckt (poplar)

4’ Principal (50% tin)

4’ Clear Flute (poplar)

2’ Octave (50% tin)

2’ Flageolet (30% tin)

11/3’ Quint (50% tin)

2’ Plein Jeu III–IV (50% tin)

1’ Cymbale III (70% tin)

16’ Basson-Hautbois (zinc/50% tin)

8’ Trompette (zinc/50% tin)

8’ Hautbois (ext 16’ Basson-Hautbois)

8’ Voix humaine (50% tin)

4’ Clairon (zinc/50% tin)

Tremolo

Swell to Swell 16–Unison Off–4

Choir (I, 31/2" wind pressure)

16’ Conical Flute (ext 8’ Conical Flute)

8’ Diapason (50% tin)

8’ Chimney Flute (poplar and 30% tin)

8’ Conical Flute (50% tin)

8’ Flute Celeste (50% tin; tenor C)

4’ Fugara (50% tin)

4’ Spindle Flute (30% tin)

22/3’ Nazard (30% tin; tenor C)

2’ Recorder (30% tin)

13/5’ Tierce (30% tin; tenor C)

11/3’ Larigot (30% tin)

2’ Mixture III (50% tin)

8’ Clarinet (50% tin)

8’ English Horn (zinc/50% tin)

8’ Festival Trumpet (preparation)

Tremolo

Choir to Choir 16–Unison Off–4

Pedal (4" wind pressure)

32’ Contra Violone (digital ext of 16’ Violone)

32’ Contra Bourdon (digital ext of 16’ Bourdon)

16’ Open Wood (pine and 50% tin; tenor octave in façade)

16’ Bourdon (pine)

16’ Violone (from Great)

16’ Gedeckt (from Swell)

8’ Octave (ext 16’ Open Wood)

8’ Bass Flute (ext 16’ Bourdon)

8’ Violone (from Great)

8’ Gedeckt (from Swell)

4’ Choral Bass (50% tin)

4’ Nachthorn (30% tin)

2’ Mixture III (50% tin)

32’ Contra Posaune (digital ext of 16’ Posaune)

16’ Posaune (poplar resonators)

16’ Basson (from Swell)

8’ Trompete (zinc/50% tin)

8’ Basson (from Swell)

4’ Schalmei (zinc/50% tin)

Couplers

Swell to Great 16–8–4

Choir to Great 16–8–4

Swell to Choir 16–8–4

Great to Choir 8

Choir to Swell 8

Great to Pedal 8

Swell to Pedal 8–4

Choir to Pedal 8–4




Switching and combination action: Solid State Organ Systems multi-system with 200 levels of memory, piston sequencer, and internal MIDI interface with playback device.

Pipework: metal principals and flutes 4’ C and higher from Jacques Stinkens Orgelpijpenmakers, B. V. Other metal flue pipes and reeds from A. R. Schopp’s Sons, Inc. Wood pipes built by Goulding & Wood, Inc.



Cover photo by James C. Morris

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

Bedient Pipe Organ Company, Roca, Nebraska

The Episcopal Church of St. John the Baptist, Thomaston,
Maine

The pastor and congregation at The Episcopal Church of St.
John the Baptist chose to view the fundraising for their new organ as a time to
rededicate themselves to God with open hearts. With this rededication came the
new Bedient pipe organ--a new organ for an old church, a robust sound for
a thriving congregation.

Based upon the Phoenix model in our Legacy line, this
803-pipe, II/13, self-contained organ speaks from the front left of the nave.
The façade pipes draw upon the Principal 8' and are ornamented with
23-carat gold leaf mouths. Made of Honduras mahogany, the casework is
stylistically fitting with the room, adorned with pipe shades of a nautical
theme incorporating the church crest. To best serve the needs of the church,
this organ has mechanical key action, electronic stop action with 8 levels of
memory, and the Swell is under expression.

The first of three organ celebration concerts was performed
on February 21, 2004 by Sean Fleming accompanied by an orchestra from Boudoin
College in the performance of the Poulenc Concerto for Organ and the Handel
Concerto for Organ in B-flat. This organ endeavor was near and dear to the
heart of our company because the late Myron Roberts, a member of the organ
committee, had been a past organ instructor of our president, Gene Bedient.

GREAT

8'           Principal

4'           Octave

2'           Octave

                  Sesquialtera
II

                  Mixture
II-III

SWELL

8'           Salicional

8'           Voix
céleste

8'           Gedackt

4'           Spitzflute

2'           Doublette

8'           Cromorne/Trumpet

PEDAL

16'        Subbass

8'           Flute

Accessories

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

Goulding & Wood, Inc., Indianapolis, Indiana

First Presbyterian Church, Washington, North Carolina

Washington, North Carolina was founded in the 1770s and in
1776 became the first town to adopt the name Washington. In recent years,
Washington has seen a vigorous renewal of its downtown. First Presbyterian
Church has contributed to the growing cultural life with the installation of a
new pipe organ in an expanded chancel area. Though the room is of modest size
and acoustics, the congregation expressed great desire for a comprehensive
instrument that would support worship and recital use. The stoplist reflects
these various desires and constraints by providing a maximum amount of tonal
color within a small three-manual scheme.

All main chests are the firm's exclusive design of
electro-pneumatic slider and pallet windchests, with pipework voiced on
relatively light wind pressures yet with generous scales. Flutes and principals
are from Jacques Stinkens Orgelpijpenmakers, with reeds, strings, bass and façade
pipes from A. R. Schopp's Sons, Inc. New wooden pipework, including the
boots and resonators of the Pedal reed, were made in the Goulding & Wood
shop.

Given the shallow chamber and the careful placement of
chests, the instrument speaks freely into the room without undue force or
overwhelming volume. Dedicatory recitals marking the completion of the project
feature Nicholas Bowden on September 12, Robert King on October 17, church
organist Mike Morgan on December 19, and Vance Harper Jones on February 20, 2005.

GREAT

16'        Gemshorn
(ext Ch)

8'           Principal

8'           Bourdon

8'           Gemshorn
(Ch)

4'           Octave

4'           Flûte
conique

22/3'   Quint

2'           Super
Octave

13/5'   Terz

11/3'   Mixture
IV

8'           English
Trumpet

                  Tremolo

                  Gt/Gt
16-Unison Off-4

SWELL

16'        Gedeckt
(ext)

8'           Geigen
Principal

8'           Geigen
Celeste (GG)

8'           Gedeckt

4'           Principal

4'           Clear
Flute

2'           Octave

11/3'   Quint

2'           Plein
Jeu III-IV

16'        Basson-Hautbois

8'           Trompette

8'           Hautbois
(ext)

4'           Clairon

                  Tremolo

                  Sw/Sw
16-Unison Off-4

CHOIR

8'           Rohr
Flute

8'           Gemshorn

8'           Gemshorn
Celeste (TC)

4'           Fugara

4'           Spiel
Flute

22/3'   Nazard
(TC)

2'           Principal

2'           Block
Flute

13/5'   Tierce
(TC)

1'           Scharf
III

8'           Clarinette

                  Tremolo

                  Ch/Ch
16-Unison Off-4

PEDAL

32'        Resultant

16'        Gemshorn
(Ch)

16'        Subbass

16'        Gedeckt
(Sw)

8'           Octave

8'           Flute
(ext Subbass)

8'           Gedeckt
(Sw)

4'           Octave

4'           Gedeckt
(Sw)

2'           Mixture
III

16'        Lieblich
Posaune

16'        Basson
(Sw)

8'           Basson
(Sw)

4'           Basson
(Sw)

Movable console

Solid State Organ System multi-level memory

Internal MIDI processor with record/playback

Goulding & Wood, Inc.,
Indianapolis, Indiana
Opus 28 (1996) and Opus 49 (2009)
First United Methodist Church, Rocky Mount, North Carolina

From the organbuilder
One of the greatest pleasures we have as organbuilders is seeing the development of our relationships with the congregations whose churches house our instruments. We have found that our organs serve as catalysts for ongoing shared experiences with musicians, clergy, and lay people across a wide spectrum of geographic, demographic, and denominational ranges. We are grateful for our ever-growing circle of friends, many of whom feel like family. Nowhere is this truer than with the people of First United Methodist Church in Rocky Mount, North Carolina. We have continued to maintain close ties with the congregation even as the staff musicians have changed through the years. As such, it was with great excitement that we received word that the church was interested in fulfilling the preparations left on our Opus 28 instrument from 1996. As the conversation continued, the church further inquired about the realization of an Antiphonal division as well.
Discussion over this Antiphonal organ had been brief at the time of the chancel instrument installation. Console preparations to control the division were included, but no timeline was established for moving forward. Part of this preliminary design was to situate the instrument on the rear wall of the main sanctuary, allowing it to also speak into the adjacent chapel. The two rooms are perpendicular in orientation, with the back wall of the sanctuary serving as the side wall of the chapel. Although no definite decisions were made in 1996, the assumption was that the small Kilgen extension organ that served the chapel would provide a repository for the pipework of this very modest division.
As we considered the project more fully, it became apparent that the resources of the Kilgen organ were insufficient for either chapel or sanctuary use. Rather than using any sort of unit chest design, we proposed building an instrument employing a slider windchest with all new pipework. To maximize the flexibility of the organ for chapel use, we split the slider chest grid at middle C and furnished separate stop controls for bass and treble slides. The chapel console then accesses the instrument through divided stops, much in the way of a seventeenth-century English organ. This concept similarly influenced the specification, although the organ is not an attempt to copy any historical style. At the same time, the choice of a wooden Stopped Diapason, an elegantly thin Dulciana with matching celeste, and treble Cornet derives from English precedents. In scaling and voicing, however, the pipework adheres to the acoustical environment of both chapel and sanctuary, balancing with the tonal style of the chancel instrument so as to contribute to a satisfying musical ensemble when paired together.
In order to negotiate the dual uses of the organ, and to maximize the division’s expressive capabilities, the organ speaks through shade frames behind each façade. Upon turning on the chapel console, the shade frame facing into the main sanctuary closes and remains fixed, focusing all the sound into the chapel. Conversely, turning on the chancel console closes the chapel shades and allows the sanctuary side shade to be assigned to either the Swell or Choir shoe. All stops reside within the expression enclosure, including the 16′ Stopped Diapason. Within the chapel, the organ has a wide dynamic range, from the faint whisper of the Dulciana with the box closed to a satisfying full organ that fills the room with warmth. Although the chapel has a modestly sized floor plan, it has the same ceiling height as the main sanctuary. The proportions of the room, then, create a generous acoustical environment. The large cubic volume accommodates the abundant sound of the organ, while the placement of the instrument high on the wall distributes sound evenly, resulting in a musical presence that is embracing but never oppressive.
Mechanically, the organ is arranged in two levels, with the bass chest above the treble chest. Access for tuning and maintenance is easy throughout the layout despite the small size of the case. All mechanical systems and winding, including the blower, are located inside the case, yet the organization is logical and efficient. The division of the windchest into bass and treble facilitates imaginative use of the organ within the chapel. By drawing different combinations for right and left hands, two-manual repertoire can be rendered convincingly. Cornet voluntaries and trios with obbligato pedal are especially effective.
Tonally, the organ is typical of our organs in favoring fairly high cut-ups, substantial scaling, and thick-walled pipework, all of which encourages fundamental development. The Open Diapason is modestly scaled at 149 mm, taking into account the intimate context of the chapel. By contrast, the Stopped Diapason is a full 85 mm by 114 mm, adding thickness and weight to ensembles. Similarly, the 4′ Recorder is scaled at 81 mm with a 20th halving ratio and constructed of linen lead with a gentle 2:3 ratio taper. The Dulciana is a slender 88 mm at 8′ C and bearded for the first two octaves. Mouth widths are narrow, allowing for high cut-ups; all stops below 2′ pitch have 2/9 mouths, with the exception of the 4′ Recorder, whose first two octaves have 1/5 mouths. Only the treble of the 2′ and the Fourniture have 1/4-width mouths, restraining the upper end from growing glassy or obtrusive.
The current project also completed the chancel organ, rounding out the reed choruses in particular. The Great division received a new 16′ Fagotto, lending gravitas and weight to the ensemble. The Swell’s battery of reeds is now capped with a powerful 4′ Clairon, and the 16′ Basson is extended to 32′ pitch for the Pedal division. Other additions to the Pedal are a blending 8′ Trompete and solo 4′ Schalmei. Crowning the organ in the chancel is a commanding 8′ Bombarde with generous fundamental development and rich power. This reed also provides an effective contrast with the brilliant 8′ Fanfare Trumpet located within a section of the Antiphonal case partitioned from the main division. As such, it does not speak into the chapel, nor is it accessible by the chapel console. As an Antiphonal solo color, however, it is a thrilling presence in the room, able to stand up against full organ from the front. The only flue preparation was the 8′ Harmonic Flute on the Great, and the addition of this color opens up its own wealth of repertoire.
As with all of our recent work, the metal pipework for both the new instrument and the preparations was built by A. R. Schopp’s Sons, Inc. of Alliance, Ohio. Bob Schopp, David Schopp, Joe Russo, and their entire staff are a terrific resource and helpful partners in achieving the musical goals we seek. This job also required some sophisticated alterations to the chancel console solid-state systems, modifying controls built before the organ in back was even designed. We are grateful to Duncan Crundwell, Mark Gilliam, and Alan Bragg of Solid State Organ Systems for providing these changes and the new control systems, all of which worked from the start without a single glitch. Norman Y. Chambliss III of Chambliss and Rabil Contractors, Inc. ably and cheerfully coordinated the room modifications, including preparation of the rear wall to accommodate the steel support structure. Dr. Marcia Heirman, director of music for First United Methodist Church, has been a great friend to our shop throughout her tenure, and this project was especially fulfilling to embark upon with her. We look forward to watching as she continues to develop the music ministries of the church and incorporates the organ into the worship life of the congregation. We also wish to recognize the important work, sincere friendship, and unflagging support of the late Harry Pearsall. Harry was instrumental in the 1996 organ project, and we enjoyed keeping in touch with him through the intervening years. He was the first one to notify us of the prospect of this project in the spring of 2007, and he anticipated the completion of the organ with great eagerness. Unfortunately, Harry passed away in August shortly before the installation of the Antiphonal organ. We shall miss Harry’s kind smile and gentle presence on our future trips to Rocky Mount, and we are grateful to have this instrument as a testament to his perseverance and commitment to liturgical music in the church. May his dedication and stewardship serve as a reminder to all who hear the organ that, in the words of senior pastor Bob Bergland, music is “means of grace that people may come into the presence of God and have that experience of God’s nearness.”
—Jason Overall

Goulding & Wood, Inc.
Robert Duffy—case design and construction/supervision, installation
Mark Goulding—project team leader, installation
Robert Heighway—console design and construction, case construction, structure, installation
Phil Lehman—business manager, office support
Tyler MacDonald—slider chest construction, installation
Jason Overall—project development, onsite regulation
Tim Piotrzkowski—winding, chest construction, installation
Kurt Ryll—engineering and design
David Sims—voicing, console and system wiring, onsite tuning and regulation
Michael Vores—structure, winding, case construction, installation
Brandon Woods—tonal design and voicing

From the director of music
A long anticipated completion of the original 1996 Goulding & Wood (Opus 28) organ was realized in November 2009 as the company installed 1,048 additional pipes at First United Methodist in Rocky Mount. The installation included the addition of an Antiphonal division for the main organ, a new console in the chapel, the completion of the reed choruses in the chancel, a new fanfare trumpet in the antiphonal division for use in the sanctuary only, and a harmonic flute solo stop on the Great. Completed, the organ now fills the sanctuary with 69 ranks of beautiful and warm timbres.
The most obvious addition to the organ is the stunning Antiphonal division with a beautiful double façade, whose presence at the rear of the sanctuary fits so well architecturally it seems as if it has always been there. The chancel side of the double façade allows this division to be played independently from a new one-manual, split console in the chapel to serve as a new chapel organ. Independently, this organ is catalogued as Opus 49 by Goulding & Wood. The organ now embraces and surrounds the congregation with music and fills the large sanctuary without overpowering and overwhelming.
The organ completion was dedicated in the worship service on January 10. Upcoming dedication recitals will be presented by Dr. Monica Sparzak of Fayetteville, North Carolina, February 21; Dr. William Weisser of Edenton Street United Methodist in Raleigh, March 14; Christin Baker, sub dean of the East Carolina AGO chapter and an East Carolina University student, April 11; and Dr. Marcia Heirman with Lawrence Goering on May 16; all of these recitals will be at 4 pm. Coming in the fall will be Dr. Marilyn Mason, University Organist and Chairman of the University of Michigan Organ Department in Ann Arbor, Michigan; Dr. Michael Stefanek of Green Bay, Wisconsin; and Jeffrey Thompson of Goldsboro, North Carolina. Dates and times for the fall 2010 recitals will be announced later.
—Dr. Marcia Heirman

Goulding & Wood, Inc.
Opus 28 (1996) and Opus 49 (2009)
First United Methodist Church
Rocky Mount, North Carolina

Opus 28 Chancel Organ
(prepared pipework installed in 2009 listed in bold)
GREAT (Manual II)
16′ Violone
8′ Principal
8′ Violone (extension)
8′ Harmonic Flute
8′ Bourdon
4′ Octave
4′ Block Flute
2′ Super Octave
22⁄3′ Sesquialtera II (tenor c)
11⁄3′ Mixture IV
16′ Fagotto
8′ Trumpet
8′ Bombarde
8′ Fanfare Trumpet (hooded, in
Antiphonal case)
Tremulant
Great to Great 16
Unison Off
Great to Great 4
Chimes

SWELL (Manual III, enclosed)
8′ Geigen
8′ Geigen Celeste (tenor c)
8′ Stopped Diapason
4′ Principal
4′ Clear Flute
2′ Octave
11⁄3′ Quint
2′ Plein Jeu III–IV
1′ Cymbale II
16′ Basson-Hautbois
8′ Trompette
8′ Hautbois (extension)
4′ Clairon
8′ Fanfare Trumpet (Antiphonal)
Tremulant
Swell to Swell 16
Unison Off
Swell to Swell 4

CHOIR (Manual I, enclosed)
16′ Rohr Gedeckt (extension)
8′ Rohrflöte
8′ Salicional
8′ Salicional Celeste (tenor c)
8′ Flauto Dolce
8′ Flute Celeste (tenor c)
4′ Principal
4′ Spielflöte
22⁄3′ Nazard
2′ Spitzflöte
13⁄5′ Tierce
11⁄3′ Larigot
1′ Sifflöte
8′ Oboe
8′ Bombarde (Great)
8′ Fanfare Trumpet (Antiphonal)
Tremulant
Choir to Choir 16
Unison Off
Choir to Choir 4

PEDAL
32′ Resultant (from Rohr Gedeckt)
16′ Principal
16′ Subbass
16′ Violone (Great)
16′ Rohr Gedeckt (Choir)
8′ Octave
8′ Pommer
8′ Violone (Great)
8′ Rohr Gedeckt (Choir)
4′ Choralbass
4′ Koppelflöte
2′ Octavebass
11⁄3′ Mixture II
32′ Contre Basson (extension/Swell)
16′ Posaune
16′ Basson (Swell)
8′ Trompete
8′ Basson (Swell)
4′ Schalmei
8′ Bombarde (Great)
8′ Fanfare Trumpet (Antiphonal)

Opus 49 Antiphonal/Chapel Organ

MANUAL
8′ Open Diapason (1–13 in façade)
8′ Stopped Diapason
8′ Dulciana
8′ Unda Maris
4′ Principal (1–6 in façade)
4′ Recorder
2′ Fifteenth
22⁄3′ Sesquialtera II (from middle c)
11⁄3′ Fourniture II–III
Tremulant

PEDAL
16′ Stopped Diapason (extension of
Manual stop)
8′ Stopped Diapason (Manual stop)
Manual to Pedal Coupler

Chapel console: One-manual mahogany keydesk with natural keys in maple and sharps in rosewood. Stop controls divided bass and treble (b-24/c-25) except Fourniture, Dulciana, and Unda Maris.

Chest action: Goulding & Wood’s exclusive design of electro-pneumatic slider and pallet windchest.

Casework: Dual façades with two sets of speaking display pipes. Woodwork designed and painted to match church interior.

Goulding & Wood, Inc.
823 Massachusetts Ave.
Indianapolis, IN 46204

800/814-9690
[email protected]
www.gouldingandwood.com

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois

Opus 31: St. Bede Catholic Church, Williamsburg, Virginia

This new instrument was just installed this spring, the tonal finishing completed during April and June. This is the 31st new pipe organ built by John-Paul Buzard Pipe Organ Builders of Champaign, Illinois, and
the first of two new Buzard organs to be installed in Williamsburg churches. Williamsburg Presbyterian Church will receive Opus 32 next spring for their new Georgian style building at the entrance to Colonial Williamsburg.

The organ at St. Bede Catholic Church is the result of eight
years of planning and dreaming, hoping and praying. St. Bede’s
communicant strength is about 3,000 families, formerly located in a small
landlocked building close to Colonial Williamsburg. The former site simply could not accommodate the parish’s phenomenal growth, nor could the entire parish worship together. When planning the new building, St. Bede’s pastor, the Rev. Monsignor William Carr, insisted that the new
church include a pipe organ, and that the organbuilder be commissioned to work with the architect from the beginning. The new building, designed by architect Tom Kerns, seats 1,500 and is expandable to seat 2,000.

The then music director, and later consultant for the project, Steve Blackstock, formed a musical instruments committee to select the
organbuilder, as well as other musical instruments for purchase. The musical instruments committee directly communicated with the parish’s building committee (called the core committee) as the new building was planned, to make sure that the organ’s requirements were supported throughout the process.

Even though this church is not located in the Colonial District, there was great concern on the part of the core committee that the building relate to the area’s Georgian architecture--no small feat for a big round room--and that, since the organ case would be the significant visual element in the church, it must reflect appropriate features of Georgian design. A great emphasis was placed on the importance of art and
music as direct participants in liturgical expression, and the organ had to
appeal to all the senses in this surprisingly intimate--although rather
large--space. 

As the building’s design process unfolded, and the cost estimates exceeded projections, significant “value engineering” of the building was undertaken to allow the church to be built. The organ project was shelved and its estimated cost applied toward the building. It became apparent that an organ, whenever it would be installed, would need a small antiphonal division at the opposite end of the church to assist in congregational singing, due to a change in building materials.
Certain stops in the organ were prepared for future addition, to lower the
initial price. The music personnel changed, and the parish concentrated upon building the church. 

Once the building was up, Monsignor Carr’s passion for building the new pipe organ was rekindled. His love of fine art and artistic liturgical expression is infectious. It was through his inner fire that he established the notion in the minds of the parishioners that the church was simply not finished until the pipe organ was installed. Although at the time the church did not have an organist, our contract was signed the week following
the new building’s dedication. 

As the organ’s installation date approached, the parish hired organist Neil Kraft of Ohio to be their new director of music. He has already established himself in the Tidewater area as a musician of high
caliber, and the perfect person to develop an inclusive parochial music
program, with the organ as the principal musical instrument. A concert series to celebrate the dedication of this new instrument is being organized. The opening recital was played by Erik Wm. Suter on Sunday, September 30, and John Scott will play in June of 2006. The church is working on sponsorship of a concert featuring the Virginia Symphony, but this is currently in the planning stage. The new pastor, the Rev. John Abe, is committed to making St. Bede known for beautiful music, both in liturgical and concert contexts, for Williamsburg and the greater Tidewater area.

The organ case stands three stories tall and is made of 11/2-inch thick solid white oak and white oak veneers. Walnut is used for the pipe shades and accenting trim details. This is truly heroic cabinet making! The façades incorporate pipes of the Great 16’ Double Open
Diapason (the low 20 notes of which are shared in the pedal), the Great First and Second 8’ Open Diapasons, and the Pedal 8’ Principal. The
16’ Pedal First Open Diapason of wood stands behind the organ case and is stained and finished in a dark walnut color. Resonators of the low octaves of the Pedal 32’ and 16’ Trombones are made of beautiful, clear pine, continuing upscale in thick 52% tin pipe metal as this stop becomes the manual Tromba, voiced on 7” wind. The big Tuba stands vertically in the Choir box just behind the shutters, and is certainly the Tromba’s big brother, being voiced on nearly 30” pressure!

The Procession Organ’s case is also of white oak, to match the Main Organ case. Its pipe shades are carved basswood. Celtic crosses
have been cut into the tower tops and are enameled in rich, dark purple (the manufacturer’s color name “Monsignor” led to the whimsical
decision to incorporate it into the case in honor of Monsignor Carr), and
outlined in gold leaf. When played with the Main Organ, the Processional
Organ’s two Principal stops have the effect of “pulling” the sound out of the Main Organ’s case and surrounding the listeners with an
incredibly inescapable, voluptuous tone.

The console of 11/2-inch thick white oak is attached to an easily moved platform. And it’s a good thing, because the organ is heard in its best balance starting about 15 feet away from the case. We utilize
AGO radiating, concave pedalboards for their superior ergonomics. In a modern, eclectic pipe organ, the pedalboard’s shape should not limit an
organist’s ability to play in styles other than that which a flat pedalboard
dictates.

Those who have followed our work know that our instruments
are liturgical organs that play literature remarkably well. Our style is in
direct response to the need for an organ to function liturgically and
musically, but not at the expense of a particular historical, national, or
idiosyncratic musical style. Only a classic concept of organbuilding can truly accomplish this, and I think only an organist-trained organbuilder has the ability to empathize with modern American musical requirements, reconcile these to classic organbuilding practices, and know how to achieve the intended results. 

Slider windchests keep the tonal design physically honest,
and offer speech, voicing, and tuning advantages (as well as virtually no
long-term maintenance). Our proprietary Slider Pedal Chest allows us to play a single rank of pedal pipes at several pitches--without giving up slider chest speech, tuning stability, and repetition characteristics. Because they’re pedal stops, and usually only one note is played at a time, we can scale these individual ranks to be appropriate for two or three tonal contexts and save the client some money. 

Although we were one of the first American organbuilders to
reintroduce the Tuba into modern practice, in 1991 at the Chapel of St. John the Divine in Champaign, our tonal innovations are often of a subtler (and quieter) nature.  For example, in this organ we have specially developed Dolcan-shaped pipes for the metal top octaves of open wood ranks; they sound like wood pipes, but stay in tune. We have perfected Walter Holtkamp’s Ludwigtone as our Flute Cœlestis, its plaintive and gentle celesting tone evocative of something heavenly, which
explains the pun in the nomenclature. We have refined the 18th-century French Flûte à Bibéron (“Baby-Bottle Flute”) to be a colorful chimney flute tone suitable for solos, the foundation of a flute chorus, or secondary foundation for a principal chorus.

The sound of the organ is warm and rich, filling the space
nicely with a generous foundation. Each chorus has its own distinctive color, so there is no redundancy within each family of sound. The organist is able to lead congregational singing with a wide variety of color, at many different volume levels. And, recitalists won’t be disappointed in the tonal
resources and the informed manner of their disposition and execution. 

Everyone seems to have found “favorite” stops in this instrument. Of course the Pontifical Trumpets titillate the eye and ear, and most visitors want to hear them right off the bat. However, my 16-year-old son Stephen, already an organist of greater accomplishment than his father, fell in love with the Choir 8’ English Open Diapason while preparing a recital for the Tidewater POE held last June. “It has something to tell you,” he says. What higher compliment can an organbuilder receive? After all, shouldn’t pipe organs have a strong emotional appeal, so that when played they grab you and don’t let go? yes"> 

Henry Willis once said that truly great organs are only created when 90% of the project’s effort is expended upon the last 2% of perfection. After the organ is built, installed, and voiced, it’s that last step of careful, time-consuming, painstaking tonal finishing that imparts a living soul into the instrument. That you feel “connected” while listening or playing is no happy accident, but the result of careful listening and exacting craftsmanship on the part of the voicer working on the pipes. It is only when one is working at this level that organbuilding is truly an art.
And, it is only when clients have the sensitivity and sensibility to know the
difference that truly world-class pipe organs are commissioned.
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It has been a tremendous honor to build this instrument, and
to work with Father Abe, Monsignor Carr, Steve Blackstock, Neil Kraft, and the wonderful people at St. Bede’s Church. We look forward to many years of wonderful music-making and musically inspired liturgies at St. Bede’s.

Deepest thanks to the staff of Buzard Pipe Organ Builders who have made this instrument so much more than the sum of its parts:

Charles Eames, executive vice-president, chief engineer,
general manager

Brian K. Davis, associate tonal director, head voicer, director, tonal department

Phillip S. Campbell, business manager

Keith Williams, director, service department

Shayne Tippett, shop manager

Stuart Martin, cabinet maker

C. Robert Leech, cabinet maker

Bob Ference, cabinet maker and service technician

Lyoshia Svinarski, wind system construction

Kenneth McCabe, wind system construction

Ray Wiggs, console, electrical systems, wind chest
construction

Evan Rench, pipe maker, voicer, racking, tonal associate

Stephen P. Downes, pipe preparation, racking, tonal
associate

Todd Wilson, service technician, installation

Stuart Weber, service technician

Jay K. Salmon, office manager

JoAnne Rench, receptionist

--John-Paul Buzard

43 straight speaking stops, 54 ranks, across three manuals
& pedal

GREAT ORGAN (4” wind)

16’ Double Open Diapason (tin in façade)

8’ First Open Diapason (tin in façade)

8’ Second Open Diapason (1–8 from 16’)

8’ Viola da Gamba (tin)

8’ Claribel Flute (open wood)

4’ Principal

4’ Spire Flute

22/3’ Twelfth

2’ Fifteenth

13/5’ Seventeenth

2’ Fourniture V

V Cornet (tenor C, preparation)

8’ Trumpet (preparation)

8’ Tromba (Ped)

4’ Clarion (from Tromba)

8’ Major Tuba (in case)

8’ Tuba Solo (melody coupler function)

8’ Pontifical Trumpets (polished copper, horizontal,
over entry door)

SWELL (4” wind)

8’ Violin Diapason

8’ Stopped Diapason (wood)

8’ Salicional

8’ Voix Celeste

4’ Principal

4’ Harmonic Flute

2’ Octavin

22/3’ Full Mixture V

16’ Bassoon (full length)

8’ Trompette

8’ Oboe

4’ Clarion

Tremulant

8’ Major Tuba (Ch)

8’ Pontifical Trumpets

CHOIR ORGAN (4” wind)

16’ Lieblich Gedeckt

8’ English Diapason

8’ Flûte à Bibéron

8’ Flute Cœlestis (doubled open wood)

4’ Principal

4’ Suabe Flute (open wood)

22/3’ Nazard

2’ Recorder

13/5’ Tierce

11/3’ Mixture IV

16’ English Horn (preparation)

8’ Clarinet

Tremulant

Cymbalstern

8’ Major Tuba (30” wind)

8’ Pontifical Trumpets (51/2” wind)

PROCESSIONAL ORGAN

(4” wind, housed in a case over the entry doors)

8’ Open Diapason (tin in façade)

4’ Principal

PEDAL (various pressures)

32’ Double Open Diapason (1–12 digital)

32’ Subbass (1–12 digital)

32’ Lieblich Gedeckt (1–12 digital)

16’ First Open Diapason (open wood)

16’ Second Open Diapason (Gt, tin-façade)

16’ Bourdon

16’ Lieblich Gedeckt (Ch)

8’ Principal (tin-façade)

8’ Bass Flute (ext 1st Open)

8’ Bourdon (ext 16’)

8’ Gedeckt Flute (Ch)

8’ Spire Flute (preparation)

4’ Choral Bass (ext 8’)

4’ Open Flute (ext yes">  8’ Bourdon)

32’ Contra Trombone (from 16’, wood)

16’ Trombone (wood)

16’ Bassoon (Sw)

8’ Trumpet (from 16’)

4’ Clarion (from 8’)

8’ Major Tuba (Gt)

8’ Pontifical Trumpets

The organ has a full set of inter- and intra-manual couplers. These have been omitted from this specification for brevity and ease of reading.

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia
Hendricks Avenue Baptist Church, Jacksonville, Florida
The early morning hours of December 23, 2007 were of significance and great loss for the Hendricks Avenue Baptist Church. Due to contract negotiations with the symphony, the then-locked-out musicians of the Jacksonville Symphony Orchestra performed at Hendricks Avenue Baptist Church with a “Messiah Sing” on the evening of December 22. The proceeds of this performance were to benefit the Health and Welfare fund of the members of this institution. This was the last performance ever held in the sanctuary. Sometime in the morning hours of the 23rd a fire started and in a matter of hours consumed the church to the foundation. On the brink of Christmas, the stunned members and staff assembled on the church grounds in front of the still-smoldering pyre of their sanctuary, to console, pray, and plan. From this immeasurable loss they resolved to bolster their presence in the Jacksonville community with a new church and renewed dedication to their ministry.
Reverend Dr. Kyle Reese assembled a team to plan and oversee the rebuilding of the sanctuary. They vowed to have the church open no later than December 23, 2009, when they would again open the church to the public with a performance of Handel’s Messiah. In addition to Pastor Reese, key members who were to play a role in our building an instrument were O’Neal Douglas, chairman of the Sanctuary Renovation Task Force; Bill Mason, organ committee chairman; Reverend Tommy Shapard, Minister of Music and Worship; and Brenda Scott, organist. A constant presence on this construction project was O’Neal Douglas, who served as a living Gantt chart. He invested untold hours to assure the clear communications and coordination between all the different trades involved to build this church by the required completion date.
Lost in the fire was a three-manual, 48-rank Möller that had been installed in 1989. As one of the last instruments from Möller, it was a very good example of their building style and had been well loved by the congregation. Prior to working with our firm as a sales representative, Herbert Ridgeley Jr. represented the Möller firm. He had worked with then minister of music Reverend Kendall Smith on the installation of this Möller instrument. Marc Conley of our staff had worked on this instrument when he was employed by Möller. With these past affiliations, we began the initial discussions with the church as they considered a replacement pipe organ and evaluated firms that might build this instrument. In the words of Tommy Shapard, the charge of the organ committee was “to design an instrument with a variety of colors and levels of expression available in the new instrument to give our congregation and choir the opportunity to sing together more vitally and creatively as a worshipping body.”
I will always recall an exchange that took place early in our meeting with the organ committee. As we talked about a proposed stoplist, we were five minutes into the discussion when Chairman Mason raised a finger and jokingly said, “Arthur . . . from this point forward whenever we say Baptist, we want you to think Presbyterian.” He was referring to the landmark III/62 instrument our firm was building at that time for New York Avenue Presbyterian in Washington and its ties to President Lincoln and theologian Peter Marshall. (See cover feature, The Diapason, July 2010.) I came to find a much deeper meaning in his offhand quip. In public and private discussions, I have heard other builders refer to a “type” of organ they design by denomination. Personally, I do not believe one serves any church well by imprinting their view of any particular denomination—a generic “this is it” approach to stoplist and tonal design of an instrument. This is true regardless of whether it be Baptist, Methodist, Presbyterian, Catholic, Episcopal, or any other denomination. There are and always will be the subtle and not so subtle differences in a church’s worship style. Often in my professional career I have had a church explain their “traditional” worship only to find a worship style that I might personally find to be contemporary, or often a church that describes itself as “contemporary” to be traditional. The euphemism “blended” often used by many churches to describe their music in worship does not solve any identity issues either. As a builder, it is incumbent upon you to experience a church’s worship with your own eyes and ears and then really listen to how your client will use the organ in their worship. This is the only surefire way to refine a stoplist and scale sheets into a cogent amalgam that will allow you to design, voice, and tonally finish an instrument that truly serves the vision of the church you are working for.
A very real challenge in the design of this instrument was that the church moved very fast in the design of a building to assure their December 23, 2009 first service. By the time a contract was signed with our firm, the basic design of the building was locked in place and key building materials had been ordered. We had to work with the architect to design space for an instrument in a building that was already well defined. To allow for an instrument, space would have to be created. As a design team, we found that if we changed the width of the hallway access to the baptistery on the right and left and had a concrete lentil poured above the hallway and above the baptistery, room could be provided for a 43-foot-wide chamber of varying depth and elevations. Taking into account the sloping ceilings in the chambers, we planned a left-to-right division orientation of Swell, Great/Pedal, and Choir. The enclosed divisions of the organ have tone openings on their front and also on the side openings into the center Great and Pedal division. These side openings provide a coalescence and focus for the enclosed resources into the central axis of the instrument.
The chancel façade is designed to frame the baptistery. The façade is silver with polished mouths and features pipework from the 16′ Principal, 16′ Violone, 8′ Octave, and 8′ Diapason. The casework has a maple finish to match the church furnishings. To support the needs of audio-visual functions in their ministry, a projection screen was incorporated into the center section of the upper organ case.
The completed organ is 60 ranks, divided among three manual divisions in the chancel and a floating Antiphonal division in the rear of the church. My specification and scaling for this instrument has its roots in American Classicism, with an emphasis on the English elements found within this stylistic construct. All of the organ divisions are weighted around 8′ chorus structure. The Great is designed around a diapason chorus that has richness and warmth but that still maintains clarity in its phrasing. The Swell features an independent 8′ Principal, which allows the 8′ Swell string scales to be narrower, since these stops do not need to provide the core 8′ flue foundation. The Gemshorn in the Choir is generously scaled, with a wide mouth to support a function in this division analogous to a foundational Spitz Principal. The mixtures in the enclosed divisions are pitched at 2′ and provide a logical completion to the enclosed division principal choruses. This allows completion of the 8/4/2 chorus ladder without breaks in pitch or the need for independent 2′ principals as single stop draws. In addition to avoiding the stridency sometimes found in mixtures with pitches above 1′, this treatment of the mixtures also frees up the 2′ pitch registers for independent manual flutes.
While individually differing in color, the two enclosed divisions have parallel flue pitch registers for support of choral accompaniment. With a large, effective shade front, these divisions provide ample resources of weight and color against the human voice.
The organ reeds were designed with English shallots, which prove much more favorable in a dryer American acoustic. As is our common practice, the organ reeds are placed on separate reservoirs, separate tremolos, and individual unit electro-pneumatic windchests. This treatment allows the reeds to be freed from the strictures of the manual flue wind pressures. This allows complete freedom in scale, shallot design and treatments, and tongue thickness. With a separate tremolo, achieving the correct depth and speed on the reed stops does not become as elusive as it can sometimes be when flues and reeds share a common plenum.
For a large festive solo voice, the chancel organ features a high-pressure English Tuba. This stop is located in the Choir division, and under expressive control it can be used as a darker ensemble reed when it is dynamically caged. It is carried down to the 16′ register to effectively ground the Pedal division.
A very complete Pedal division was desired, with multiple pitches represented from 32′ through 4′. Just the 16′ registers alone represent nine of the 24 stops in the Pedal division. In addition to independent Pedal registers, full advantage was taken of manual-to-pedal duplexes. The result is a plethora of stops under the organist’s control, with a full range of colors and dynamics.
Early on in the design of this instrument, we prepared for a 10-rank Antiphonal. Due to the beneficence of several members, the church was able to contract for this “prepared for” item and have it installed with the chancel instrument. Visually, the rear organ takes its design from the chancel façade. Positioned between the two cases is an 8′ Trompette En Chamade with brass bells. Cognizant of its position in the church and the presence of the high-pressure English Tuba in the chancel organ, the stop was voiced on a moderate 7½ inches pressure. By its position, it has presence and lacks the offensiveness that is sometimes associated with this stop. The core of the Antiphonal organ includes a complete 8′ principal chorus, a lyrical 8′ Gedeckt, and an ethereal pair of 8′ Erzahler Celestes.
Foundational support for the Antiphonal division is provided by a Pedal 16′ Stille Gedeckt and 8′ Stille Principal in the Antiphonal Pedal division. In addition to providing foundation for the rear division, these stops are also very useful in larger organ registrations by adding definition and dimension to the chancel bass presence.
Never to be forgotten in an instrument of this size is the need for quiet contemplative moments. Early in our meetings we talked about the need for the organ to have the resources for what we began to refer to as “the whisper.” In the Choir division, we added a Ludwigtone stop. This is a wooden set of pipes with a dividing wall in the center of the pipe that has two separate mouths. Its unique construction allows each pipe to produce two notes, one of which can be tuned off-beating. In our stoplist as the Flute Celeste II, when it is drawn with a closed box, full couplers, and the Antiphonal Klein Erzahlers added to it, with a light 16′ Pedal stop, there is a moment of being surrounded by an ethereal magic that is at once all enveloping and yet without any weight.
Mechanically this organ uses our electro-pneumatic slider chests, with the organ reeds placed on electro-pneumatic unit chests. Conventional ribbed box regulators are used for the winding system.
The resources of the organ are controlled by a three-manual drawknob console. Built in the English style, the console sits on a rolling platform to allow mobility. The console exterior is built of maple, with an ebonized interior. The console features modern conveniences for the organist, such as multiple memory levels, programmable crescendo and sforzando, transposer, MIDI, and the ability to record and play back organ performances.
To allow full control in the tonal finishing of this instrument, we set sample pipes on the windchests in the organ chambers and then removed the pipes from the chambers to continue work with a portable voicing machine located in the chancel. This allowed us to work unimpeded and be more accurate with cutups and initial nicking, feathering, and flue regulation than could have possible within the confines of the organ chambers and the sea of pipework on each chest. After “roughing in” the pipework voicing, the stops were reinstalled in the organ chamber for final voicing and tonal finishing. In a process that lasted months, the tonal finishing was completed by a team including Daniel Angerstein, Peter Duys, John Tanner, Marc Conley, and Bud Taylor. In addition to our tonal finishers, our installation team included Marshall Foxworthy, Rob Black, Patrick Hodges, Jeremiah Hodges, Kelvin Cheatham, Joe Sedlacek, and Wilson Luna. I am thankful for their dedication and the long hours they put into this project to make sure that our tonal ideals for this instrument were not only achieved but exceeded.
The new sanctuary was finally at a point of completion by November 16 that we were able to begin the installation. The organ was brought up divisionally to allow autonomous work by our staff in multiple divisions. This allowed 40 ranks of the organ to be brought online when first heard in public on December 23, 2009. On this day, our staff was able to return home to be with their families during Christmas, and two family members, Art Schlueter Jr. and Arthur Schlueter III, were able to begin their Christmas together at the public opening of this church with Handel’s Messiah. Forever in my memory will be standing tall as father and son during the Hallelujah Chorus. As with all organ projects, there was still work to be done to complete and finish the organ, but it was a satisfying conclusion to a year that saw the installation of multiple new instruments by our firm and the fulfillment of a promise to this congregation and community.
A final chapter to this story must be told. To assist their search for an organbuilder and evaluate plans for a new instrument, the organ committee engaged local Jacksonville organbuilder, Jim Garvin, as part of their working group. As I developed my proposal for the church, he was a ready translator to discuss the minutiae of the organ proposal—from chest design, stop type, material construction, winding systems, etc. As a builder, I found it a great pleasure to work with Jim, who ably served as a liaison between the organbuilder and the church. Sadly, during the building of this instrument Jim began a battle with cancer. Even as he was weakened by his fight with the cancer, he never wavered in his role as consultant through the organ installation and dedication. I am happy to say that he lived to sing and worship with this instrument. One of our collective proudest moments was at the inaugural organ dedication with Dr. Al Travis. With a solid look in the eye and a firm stance, we exchanged handshakes as equals who had both worked to the best of our abilities on behalf of Hendricks Avenue Baptist Church. Earlier this year Jim lost his fight with cancer. His funeral was held at Hendricks Avenue Baptist Church, where I again returned to hear organ and choir, but this time to say goodbye. I will forever be grateful for my consultant and colleague I worked with in the completion of this project. Reminiscent of the way the project started, I once again heard Handel, as Jim’s final request for his service had been the Hallelujah Chorus.
Additional information on our firm and projects can be viewed at www.pipe-organ.com or by writing A. E. Schlueter Pipe Organ Company, P.O. Box 838, Lithonia, GA 30058.
—Arthur E. Schlueter III, tonal and artistic direction

All photos taken by Tim Rucci (www.timrucci.com)

Hendricks Avenue Baptist Church
Three manuals, 60 ranks

GREAT—Manual II
(unenclosed) (16 ranks)
16′ Violone 61 pipes
8′ Diapason 61 pipes
8′ Violone 12 pipes
8′ Flute Harmonique 49 pipes
(1–12 Pedal Bourdon)
8′ Bourdon 61 pipes
4′ Octave 61 pipes
4′ Spire Flute 61 pipes
22⁄3′ Twelfth 61 pipes
2′ Super Octave 61 pipes
IV Mixture 11⁄3′ 244 pipes
III Klein Mixture 2⁄3′ 183 pipes
16′ Double Trumpet 61 pipes
(English shallots)
8′ Trumpet 12 pipes
16′ English Tuba (Choir) (non-coupling)
8′ English Tuba (Choir) (non-coupling)
4′ English Tuba (Choir) (non-coupling)
Chimes (Choir)
Zimbelstern 9 bells
Great to Great 4′
Tremulant

CHOIR—Manual I (enclosed)
(13 ranks)
16′ Gemshorn 12 pipes
8′ Hohl Flute 61 pipes
8′ Gemshorn 61 pipes
8′ Gemshorn Celeste 49 pipes
8′ Flute Celeste II 80 pipes
(Ludwigtone)
4′ Principal 61 pipes
4′ Spindle Flute 61 pipes
2′ Harmonic Piccolo 61 pipes
11⁄3′ Quint 61 pipes
III Choral Mixture 2′ 183 pipes
8′ Clarinet 61 pipes
(English shallots with lift caps)
8′ English Tuba 61 pipes
(non-coupling)
Tremulant
Choir to Choir 16′
Choir Unison Off
Choir to Choir 4′

SWELL—Manual III (enclosed) (14 ranks)
16′ Lieblich Gedeckt 61 pipes
8′ Geigen Principal 61 pipes
8′ Viole de Gamba 61 pipes
8′ Viole Celeste TC 49 pipes
8′ Rohr Flute 12 pipes
4′ Geigen Octave 61 pipes
4′ Nachthorn 61 pipes
22⁄3′ Nazard TC 49 pipes
2′ Flageolet (from 16′) 24 pipes
13⁄5′ Tierce TC 49 pipes
IV Mixture 2′ 244 pipes
16′ Bassoon 61 pipes
(English shallots with lift caps)
8′ Trumpet 61 pipes
(English shallots)
8′ Oboe 12 pipes
4′ Clarion 12 pipes
Tremulant
Swell to Swell 16′
Swell Unison Off
Swell to Swell 4′

ANTIPHONAL—floating division (10 ranks)
8′ Weit Principal 61 pipes
8′ Gedeckt 61 pipes
8′ Klein Erzahler 61 pipes
8′ Klein Erzahler Celeste 49 pipes
4′ Principal 61 pipes
III Mixture 2′ 183 pipes
8′ Trompette En Chamade 61 pipes

ANTIPHONAL PEDAL
16′ Stille Gedeckt 12 pipes
8′ Stille Principal 32 pipes

PEDAL (7 ranks)
32′ Violone (digital)
32′ Bourdon (digital)
16′ Principal 32 pipes
16′ Violone (Great)
16′ Gemshorn (Choir)
16′ Subbass 32 pipes
16′ Lieblich Gedeckt (Swell)
8′ Octave 32 pipes
8′ Violone (Great)
8′ Gemshorn (Choir)
8′ Bourdon 12 pipes
8′ Gedeckt (Swell)
4′ Choral Bass 12 pipes
4′ Bourdon 12 pipes
IV Mixture 22⁄3′ 128 pipes
32′ Posaune (digital)
32′ Harmonics (wired Cornet series)
16′ Trombone (ext Tuba) 12 pipes
16′ Double Trumpet (Great)
16′ Bassoon (Swell)
8′ English Tuba (Choir)
8′ Trumpet (Great)
4′ Clarion (Great)
4′ Oboe Clarion (Swell)

Inter-manual couplers
Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Choir to Pedal 8′, 4′
Antiphonal on Pedal

Swell to Great 16′, 8′, 4′
Choir to Great 16′, 8′, 4′
Antiphonal on Great

Swell to Choir 16′, 8′, 4′
Antiphonal on Choir

Antiphonal on Swell

MIDI controls (programmable as preset stops) (with record/playback) (audio included)
MIDI on Pedal
MIDI on Great
MIDI on Swell
MIDI on Choir

Combination system with a minimum of 128 levels of memory