New Organs

Cover

Berghaus Organ Company, Inc., Bellwood, Illinois

First United Methodist Church, DeKalb, Illinois

 

The Berghaus Organ Company of Bellwood, Illinois, recently
completed the installation of a three-manual organ of twenty-eight registers
and thirty-five ranks for the First United Methodist Church of DeKalb,
Illinois. The church is a late nineteenth-century structure in the so-called
Akron design that was popular among Methodist churches at the time. In plan,
the room is square with the balcony, center aisle and visual axis on the
diagonal, and in this case the organ is along one side behind an arch. The
ceiling of this alcove is likewise arched like a band shell that helps project
the sound of the organ.

Except for the Solo Trumpet, the stop-list involves no
unification, and most of the instrument is placed on three slider windchests
that correspond to the three sections of the façade design. The Great,
Swell, and Pedal divisions stand respectively behind the left, center, and
right hand sections of the façade, with the Solo Trumpet placed in front
of the Swell. The façade pipes, masking the Great and Pedal, are from
the 8' Principals of those divisions, and screening the Swell enclosure
are the first twenty-three of the 16' Quintadena (six of them are around
the corners) with internal canisters as stoppers. This central section is
cantilevered further forward than the other two by a steel frame supporting all
the windchests and the façade, the weight of which is counterbalanced by
the windchests behind it.

The wind pressure of each of the three slider windchests is
70 mm and the Solo Trumpet is on 130 mm. A few ranks were retained from the
previous organ: the 8' Rohrflöte and 4' Holzflöte on the
Great, the Swell Viole, Celeste and 11/3' Spitz Nasat, and the 4'
Choralbass and III rank Mixtur of the Pedal. Schwimmers are built into each of
the three slider windchests to ensure absolute wind stability, and reservoirs
are used to wind the various offset and unit windchests.

The console is mobile and the Great division is played from
its lowest keyboard, the Swell from the middle, and the Solo from the highest
one. This manual, which is provided primarily for the Solo Trumpet and MIDI,
also serves as a coupling manual from the other two. Stops and couplers are
controlled by drawknobs in a traditionally arranged console, and there is
digital readout for the ninety-nine levels of combination memory, piston
sequencer, transposer, and crescendo.

The façade pipes are 75% polished tin, and the tin
content of the new metal pipes, made by Giesecke in Germany, ranges between 52%
and 75%. The wooden Subbass and Swell Holzgedackt were made by John Nolte in
Milwaukee. The reeds include a 16' Posaune with pine resonators, an
8' Oboe with capped resonators and adjustable tone holes, an 8'
Trompete as a blending ensemble reed with German shallots, an 8' Solo
Trumpet with copper hooded resonators and parallel shallots, and a 4'
Holzregal with mahogany resonators and German closed shallots.

Specification and tonal design were by Leonard Berghaus,
voicing by Kelly Monette and John Streufert, visual design and engineering by
Allyn Hoverland, and construction and installation by Brian and Todd Berghaus,
Fred Beal, Mark Ber, Gordon Bruns, Jeff Hubbard, Mat Kessler, Kurt Linstead,
Mike Pelton, Jordan Smoots, Paul Sturm, and Randy Watkins.

David McCleary was chairman of the organ committee and was
closely involved in  the entire
project from beginning to end. The Berghaus Company wishes to thank him and everyone
at First United Methodist, DeKalb, for their cooperation, help and confidence
in us.

—Allyn Hoverland

 Designer,
Berghaus Organ Company

 

GREAT

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

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

SWELL

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

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

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

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

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

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

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

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

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

                                    Tremulant

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

SOLO

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

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

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

                                    Chimes

PEDAL

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

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

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

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

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

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

                  16'
style='mso-tab-count:1'>         Posaune
(L/2)

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

                                    Tremulant

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

 

                                    Couplers

                                    Sw/Sw
16-UO-4

                                    Gt/Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    Gt/Solo
16-8-4

                                    Sw/Solo
16-8-4

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

 

Fabry Inc., Fox Lake, Illinois, recently completed phase two
of the up-dating and tonal additions for the 1966 Möller organ (opus
10216) at First Presbyterian Church, Rockford, Illinois; three manuals, 63
ranks. Phase one, completed in September of 1999, consisted of solid state
conversion of the console and relay system, the addition of three Pedal
electric 32's, electric tremolos, and electric expression systems. The
original 45-degree shutter system was changed to 90 degrees for better tonal
egress. The console is prepared for MIDI and several remaining tonal additions.
Phase two, completed in November of 2000, consisted of tonal additions and
changes. The new specification was designed by the church organist, Ryan A.
Kasten, and Fabry Inc. A new Positive division was installed directly above the
existing Swell division, with the bottom of the chest inside the Swell chamber
for easy maintenance. A new passage board and ladder system was built to aid in
tuning. The back wall of the Choir division was cut and pushed out to make room
for all the additions. New chests in the Great division were mounted on legs
above the existing pipes. The original Swell Mixture III toe boards were
removed and drilled to hold a new IV Mixture. All 13 new electro-pneumatic chests
were made by David G. Fabry. The dedication was held on November 10, 2000,
played by Ann Labounsky assisted by Lewis Steele, cantor. Crew leaders on the
project include Joseph W. Poland and David G. Fabry. Photo by Photographic
Design of Racine, Wisconsin.

 

GREAT

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

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

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

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

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

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

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

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

                  II
style='mso-tab-count:1'>              Sesquialtera
(1–12 new)

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

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

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

                                    Tremolo
(new, electric)

                                    Zimbelstern
(new)

                                    Chimes
(moved)

SWELL

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo
(new, electric)

POSITIVE (new)

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

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

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

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

                  2'
style='mso-tab-count:1'>            Doublette
(moved from Gt)

                  III
style='mso-tab-count:1'>            Scharf
(moved from Sw)

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

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

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

                                    Tremolo
(new, electric)

CHOIR

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

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

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

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

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

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

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

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

                  11⁄7'
style='mso-tab-count:1'>     Septieme (new)

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

                  4'
style='mso-tab-count:1'>            Trichter
Regal

                                    Tremolo
(new, electric)

PEDAL

                  32'
style='mso-tab-count:1'>         Contra
Bass (new, electric)

                  32'
style='mso-tab-count:1'>         Subbass
(new, electric)

                  32'
style='mso-tab-count:1'>         Resultant
(new, wired)

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

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

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

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

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

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

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

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

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

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

                  IV
style='mso-tab-count:1'>            Mixture
(new, wired)

                  32'
style='mso-tab-count:1'>         Bombarde
(new, electric)

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

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

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

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

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

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

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

*Re-voiced

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

Berghaus Organ Company, Inc., Bellwood, IL, has built a new 27-stop, 35-rank organ for Sacred
Heart School of Theology, Hales Corners, WI. Finished in March, 1994, this
organ, the firm's 30th mechanical action instrument, is located in the seminary
chapel, a circular building 133 feet in diameter, with the central space
surrounded by an ambulatory. Stained glass windows display a progression of
colors of increasing intensity from the entrance to the Sacred Heart window.
The dominant architectural motif is the triangle which forms the shape of the
entry corridor, arches, windows, pews, folded ceiling and consequently the
organ. It was decided early in the planning that the organ should be
free-standing and set just inside the nave.

Rising 30 feet above the floor, the divisions are stacked,
with the Swell in the lowest position closest to singers and instrumentalists,
the Great in the middle and the Pedal on top. The two levels of the facade
display the first 25 pipes of the Great 8' Principal and the Pedal 8'
Offenbass, all of which were made of 75% planed tin. While the key action is
mechanical, the stop action is electric with a multi-level combination action.

As agreed upon by organbuilder and organ committee, the
voicing and scaling were to produce a sound of full-bodied warmth, with gentle
flutes providing the background setting for cantor and choir. These sounds are
the result of variable scales of ample proportion, slightly high cutups and
judicious nicking. Wind pressure throughout is 70mm supplied by a slow speed
blower and a large, floating, weighted reservoir located in a room directly
below. As each windchest has its own schwimmer, the organ has steady wind
pressure and is tuned in equal temperament.

The president of the seminary is Fr. John Kasparek, S.C.J.,
and the organ committee members included Dr. Richard Lux, Lee Erickson, Richard
Kirsch, William O'Toole, Christian Rich, Sr. Mary Jane Wagner, and Sr. Rosann
Wagner. Personnel of the Berghaus Company who worked on the project included
Leonard Berghaus (voicing, scaling), Allyn Hoverland (visual design), George
Anderson (windchests), Fred Beal (service), Brian Berghaus, Todd Berghaus and
Rob Conger (casework), Judy Berghaus (office), Kurt Linstead (racking), Mike
Pelton (winding), Ray Sargent (electrical), Jordan Smoots (console), John
Streufert (voicing), and Paul Sturm (action). Dr. Mary Beth Bennett played the
dedication recital.

                                    HAUPTWERK

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Zimbelstern

                                    II/I

                                    SCHWELLWERK

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    PEDAL

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

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

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

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

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

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

                  4'
style='mso-tab-count:1'>             Singend
Regal

                                    I/P

                                    II/P

Andover Organ Company, Methuen, MA, has built a new organ for First Presbyterian Church, Richmond, VA. The firm's opus 100, the three-manual and pedal organ has mechanical key and electro-pneumatic stop action with solid state combination action. The Swell to Great and Swell to Choir couplers are operated electrically. The Choir coupler to the Great is a 16' coupler and is operated mechanically as are the Unison Pedal couplers.

The casework and stoplist were designed for the physical and
acoustical environment of the building. The building's architect provided
chambers for an organ, and due to the small size of the chancel it was evident
that only a portion of the organ could be placed in the room. Again because of
size and proportions, it was decided that the Choir division would be placed in
a projecting case with the Great and Swell immediately behind it in the
chambers. The 8' Salicional was placed in the case and is made of polished
tin. Everything possible was done to project the sound out of the chambers and
into the listening area. Several visible grills promote this objective. Special
shutters were installed behind the grill work opening directly into the nave so
that the organist could close this opening during choir accompaniment to
promote a better balance with the choir.

The woodwork of the case and console reflect the woodwork of
the church, painted panels and moldings with black walnut decorations and gold
leaf ornamentation. The stop knobs are turned from Brazilian rosewood. The
engraved stop labels and the manual key coverings are of bone.

The tonal design is based on the best examples of
19th-century American organs with romantic French influences. The organ case
was designed by Donald H. Olson, mechanical design by Benjamin G. Mague, and
tonal design by Robert J. Reich in consultation with J. Michael Grant, organist
of the church. Wind pressures are 3≤ for the Choir, 31/4≤ for the
Great and Swell and 31/2≤ for the Pedal.

                                    GREAT

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

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

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

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

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

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

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

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

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

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

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

                                    SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    CHOIR

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    PEDAL

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

                  16'
style='mso-tab-count:1'>         Double
Open Diapason

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

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

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

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

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

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

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

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

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

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

                                    Zimbelstern

                                    Nightingale

T. R. Rench and Co.,
Racine, WI, has installed a 15-stop tracker action organ in the new sanctuary
of English Lutheran Church, LaCrosse, WI. The instrument is a substantial
rebuild of M. P. Moller opus 402 (ca. 1902): five new stops were added and all
action and organworks components were overhauled to new condition. The casework
is of natural-finish oak, and the facade pipes are finished in brilliant gold
with the pipe mouths being polished pipe metal. All facade pipes are speaking
pipes. While much new pipework was added, it is possible to play the organ
within the original layout if desired. The original voicings and scalings have
not been altered except to the extent needed for good tonal regulation. The
acquisition of the organ by the church was assisted by Organ Clearing House,
and Delores Bruch was the organ consultant to the church. The dedication
service and the recital were played by William Kuhlman. Compass 61/30.

                                    GREAT

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

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

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

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

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

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

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

                                    SWELL

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

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

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

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

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

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

                                    PEDAL

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

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

Berghaus Organ Company, Inc., Bellwood, IL, has built a new 27-stop, 35-rank organ for Sacred
Heart School of Theology, Hales Corners, WI. Finished in March, 1994, this
organ, the firm's 30th mechanical action instrument, is located in the seminary
chapel, a circular building 133 feet in diameter, with the central space
surrounded by an ambulatory. Stained glass windows display a progression of
colors of increasing intensity from the entrance to the Sacred Heart window.
The dominant architectural motif is the triangle which forms the shape of the
entry corridor, arches, windows, pews, folded ceiling and consequently the
organ. It was decided early in the planning that the organ should be
free-standing and set just inside the nave.

Rising 30 feet above the floor, the divisions are stacked,
with the Swell in the lowest position closest to singers and instrumentalists,
the Great in the middle and the Pedal on top. The two levels of the facade
display the first 25 pipes of the Great 8' Principal and the Pedal 8'
Offenbass, all of which were made of 75% planed tin. While the key action is
mechanical, the stop action is electric with a multi-level combination action.

As agreed upon by organbuilder and organ committee, the
voicing and scaling were to produce a sound of full-bodied warmth, with gentle
flutes providing the background setting for cantor and choir. These sounds are
the result of variable scales of ample proportion, slightly high cutups and
judicious nicking. Wind pressure throughout is 70mm supplied by a slow speed
blower and a large, floating, weighted reservoir located in a room directly
below. As each windchest has its own schwimmer, the organ has steady wind
pressure and is tuned in equal temperament.

The president of the seminary is Fr. John Kasparek, S.C.J.,
and the organ committee members included Dr. Richard Lux, Lee Erickson, Richard
Kirsch, William O'Toole, Christian Rich, Sr. Mary Jane Wagner, and Sr. Rosann
Wagner. Personnel of the Berghaus Company who worked on the project included
Leonard Berghaus (voicing, scaling), Allyn Hoverland (visual design), George
Anderson (windchests), Fred Beal (service), Brian Berghaus, Todd Berghaus and
Rob Conger (casework), Judy Berghaus (office), Kurt Linstead (racking), Mike
Pelton (winding), Ray Sargent (electrical), Jordan Smoots (console), John
Streufert (voicing), and Paul Sturm (action). Dr. Mary Beth Bennett played the
dedication recital.

                                    HAUPTWERK

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    Zimbelstern

                                    II/I

                                    SCHWELLWERK

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

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

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

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

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

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

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

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

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

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

                                    Tremulant

                                    PEDAL

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

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

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

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

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

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

                  4'
style='mso-tab-count:1'>             Singend
Regal

                                    I/P

                                    II/P

Andover Organ Company, Methuen, MA, has built a new organ for First Presbyterian Church, Richmond, VA. The firm's opus 100, the three-manual and pedal organ has mechanical key and electro-pneumatic stop action with solid state combination action. The Swell to Great and Swell to Choir couplers are operated electrically. The Choir coupler to the Great is a 16' coupler and is operated mechanically as are the Unison Pedal couplers.

The casework and stoplist were designed for the physical and
acoustical environment of the building. The building's architect provided
chambers for an organ, and due to the small size of the chancel it was evident
that only a portion of the organ could be placed in the room. Again because of
size and proportions, it was decided that the Choir division would be placed in
a projecting case with the Great and Swell immediately behind it in the
chambers. The 8' Salicional was placed in the case and is made of polished
tin. Everything possible was done to project the sound out of the chambers and
into the listening area. Several visible grills promote this objective. Special
shutters were installed behind the grill work opening directly into the nave so
that the organist could close this opening during choir accompaniment to
promote a better balance with the choir.

The woodwork of the case and console reflect the woodwork of
the church, painted panels and moldings with black walnut decorations and gold
leaf ornamentation. The stop knobs are turned from Brazilian rosewood. The
engraved stop labels and the manual key coverings are of bone.

The tonal design is based on the best examples of
19th-century American organs with romantic French influences. The organ case
was designed by Donald H. Olson, mechanical design by Benjamin G. Mague, and
tonal design by Robert J. Reich in consultation with J. Michael Grant, organist
of the church. Wind pressures are 3≤ for the Choir, 31/4≤ for the
Great and Swell and 31/2≤ for the Pedal.

                                    GREAT

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

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

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

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

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

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

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

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

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

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

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

                                    SWELL

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

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

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

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

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    CHOIR

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

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

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

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

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

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

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

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

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

                                    Tremolo

                                    PEDAL

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

                  16'
style='mso-tab-count:1'>         Double
Open Diapason

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

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

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

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

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

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

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

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

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

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

                                    Zimbelstern

                                    Nightingale

T. R. Rench and Co.,
Racine, WI, has installed a 15-stop tracker action organ in the new sanctuary
of English Lutheran Church, LaCrosse, WI. The instrument is a substantial
rebuild of M. P. Moller opus 402 (ca. 1902): five new stops were added and all
action and organworks components were overhauled to new condition. The casework
is of natural-finish oak, and the facade pipes are finished in brilliant gold
with the pipe mouths being polished pipe metal. All facade pipes are speaking
pipes. While much new pipework was added, it is possible to play the organ
within the original layout if desired. The original voicings and scalings have
not been altered except to the extent needed for good tonal regulation. The
acquisition of the organ by the church was assisted by Organ Clearing House,
and Delores Bruch was the organ consultant to the church. The dedication
service and the recital were played by William Kuhlman. Compass 61/30.

                                    GREAT

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

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

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

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

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

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

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

                                    SWELL

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

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

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

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

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

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

                                    PEDAL

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

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

Dobson Pipe Organ Builders,

Lake City, Iowa, Op. 79, 2004

Shepherd of the Bay Lutheran Church, Ellison Bay, Wisconsin

Door County, a peninsula jutting into the northern waters of
Lake Michigan, is Wisconsin’s answer to Cape Cod. Part of the Niagara
Escarpment, the same geological formation that created Niagara Falls, Door
County attracted many northern European farmers and fishermen in the 19th
century. Because Lake Michigan’s waters keep winter temperatures
moderate, the county is ideal for orchards, and Door County cherries are known
throughout the Midwest. Long a summer getaway for city folk from Milwaukee and
Chicago, Door County now hosts visitors from all over the country. With more
miles of shoreline, more lighthouses and more state parks than any other county
in the nation, Door County is a tourism magnet. And nature isn’t the only
draw: artists’ studios are liberally scattered throughout the county, and
the Peninsula Music Festival, now in its 53rd season, attracts classical music
lovers from surrounding states. And now, a new pipe organ is part of the
peninsula’s cultural mix.

Shepherd of the Bay Lutheran Church is the result of the
1987 merger of Trinity Lutheran Church in Ellison Bay and Zion Lutheran Church
in nearby Sister Bay. For many years the two congregations, both affiliated
with the Evangelical Lutheran Church in America, had shared a common pastor and
ministry. In 1989 the congregation took its present name, and in 1992 it voted
to consolidate its ministry in a single, new building. When the new facility
was constructed in 1994, an electronic organ was moved from one of the existing
churches to the new sanctuary, where it continued to be used for worship; a
fine grand piano was acquired later. In 2001, a search was undertaken for an
organ builder, and a contract with Dobson was signed in 2002. The pressing need
to expand seating capacity due to growth, coupled with consideration of the
ideal organ placement, led the church to enlarge their worship space by
expanding outward in three directions. This yielded a larger chancel, a new
choir and organ area, and the improved acoustics that come with increased cubic
volume.

The organ, which was originally planned to stand in a corner
in the original space, now assumed a location behind the choir on the long axis
of the sanctuary. A case of white oak was designed that incorporates a round
central tower and free-form toeboards; the upper “eyebrow”
toeboards are cantilevered in front of the lower façade pipes. Five stops,
the Great Bourdon 16’ and Prestant 8’, the Pedal Subbass 16’,
Principal 8’ and Trombone 16’, contribute pipes to the façade.
Although its central tower is aligned with the ridge of the roof, the
asymmetrical case is not centered on the axis of the building.

To give the organist a good view of the congregation and the
choir director, the console was detached from the main case, reversed, and
placed to one side of the choir. The console incorporates manual keyboards with
ebony naturals and bone-covered rosewood sharps, and a pedalboard with naturals
of hard maple with teak sharps. Oblique rosewood drawknobs are set in angled
terraces that, like the music rack, are veneered with Carpathian elm burl. An
eight-level combination action is provided.

Although the specification, incorporating a 16’ plenum,
a variety of unison colors, mutations, and expected reeds, may read like many
other church organ stoplists, Shepherd of the Bay’s organ gains
distinction from careful scaling and meticulous on-site tonal finishing. The
voicing emphasizes blend and agreeable tone that well supports choral and
congregational song. Although projection of tone is excellent throughout the
church, reverberation is minimal, and pains were taken to walk the fine line
between brightness and shrillness. The organ is voiced on 80 millimeters wind
pressure, supplied by a blower within the organ case and regulated by a large
weighted reservoir. The organ is tuned to equal temperament.

Our shop celebrated its 30th anniversary in March 2004, and
a number of hardy church members made the 1,100-mile round trip by car to be
guests of honor at our open house, which featured the Shepherd of the Bay organ
set up in our erecting room.

Since the installation last fall, the church--in part
because it possesses the only pipe organ in the northern half of Door
County--has already hosted several events designed to acquaint people with
the organ. In January, Gordon Rowley, chair of the organ committee, presented
“Pipes, Pedals and Pistons: A Q&A Session at the Dobson Pipe
Organ.” Naomi Rowley presented a “Pipe Organ Discovery Day for
Adults” in February, as well as a “Pipe Organ Discovery Day for
Middle and High School Youth” in March. Dr. Rowley is principal organist
at First United Methodist Church and organ teacher at the Lawrence Academy of
Music, both in Appleton. She is also national director of the American Guild of
Organists’ Committee on the New Organist.

Because many members of the church live in Door County on a
seasonal basis, the formal dedication of the organ occurred on June 26, 2005 at
7:00 pm, when John Ferguson of St. Olaf College presented a hymn festival
“When in Our Music: A Celebration in Song to Dedicate a New Organ.”
Washington National Cathedral organist Erik Wm. Suter, whose family spent
summers in Door County, presented a dedicatory recital on August 17, 2005 at
8:00 pm.

--John A. Panning, Tonal Director

Dobson Pipe Organ Builders

Dobson Pipe Organ Builders

William Ayers

Mitch Clark

Lynn A. Dobson

Lyndon Evans

Randy Hausman

Dean Heim

Scott Hicks

Donny Hobbs

Antal Kozma

Arthur Middleton

Gerrid D. Otto

John Ourensma

John A. Panning

Kirk P. Russell

Robert Savage

Meridith Sperling

Jon H. Thieszen

Sally J. Winter

Dean C. Zenor

Shepherd of the Bay Lutheran Church, Ellison Bay, Wisconsin

Dobson Pipe Organ Builders, Lake City, Iowa, Op. 79, 2004

GREAT (I, 58 notes)

16’           Bourdon
(partly in façade, poplar and 30% tin)

8’               Prestant
(partly in façade, burnished 75% tin)

8’               Chimney
Flute (poplar and 30% tin)

4’               Octave
(52% tin)

22/3’     Twelfth
(52% tin)

2’               Fifteenth
(52% tin)

13/5’     Seventeenth
(52% tin)

IV                 Mixture
11/3’ (52% tin)

8’               Trumpet
(52% tin)

                        Swell
to Great

SWELL (II, expressive, 58 notes)

8’               Lieblich
Gedeckt (poplar and 30% tin)

8’               Salicional
(75% tin)

8’               Celeste
(FF, 52% tin)

4’               Principal
(52% tin)

4’               Harmonic
Flute (30% tin)

2’               Piccolo
(52% tin)

11/3’     Larigot
(52% tin)

8’               Oboe
(52% tin)

                        Tremulant
(affects entire organ)

PEDAL (32 notes)

16’           Subbass
(partly in façade, poplar)

16’           Bourdon
(from Great)

8’               Principal
(partly in façade, 75% tin)

8’               Bass
Flute (ext Subbass)

4’               Octave
(ext Pedal Principal)

16’           Trombone
(partly in façade, 75% tin)

8’               Trumpet
(ext Pedal Trombone)

                        Great
to Pedal

                        Swell
to Pedal

                        Zimbelstern
(five bells)

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.
style="mso-spacerun: yes"> 

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.