New Organs

Wicks Organ Company,
Highland, Illinois
Bethel Lutheran Church,
Rochester, Minnesota
On a pleasant evening in July 2007, five members of Bethel Lutheran Church climbed into a van for a trip to Highland, Illinois. It was the next step in a process that had been going on for years. We had a dream: ever since our new worship space was being designed, we dreamed of filling it with music. Now the Wicks Organ Company—currently building their 6400th organ—had a unique proposal for us. In 1964 Wicks had built their 4400th instrument for themselves, to showcase their work to prospective customers. They had built a climate-controlled room for it, and maintained and updated it ever since.
In Highland we met with representatives of Wicks who told us about their company and Opus 4400. We listened as Dale Mundahl, our principal organist, sat down at the console. We heard the beautiful tones and the awe-inspiring low notes that our temporary organ could not produce. We delighted in the variety of different tone colors available; quintessential pipe organ, sweet strings, melancholy flutes, vibrant reeds, stirring brass and majestic festival trumpets, even a set of chimes. It sounded fantastic and looked stunning.
So what was the unique opportunity? Well, this instrument had a list of pipes very similar to that of our hoped-for ideal, with all the features we had dreamed of—and this meticulously maintained and updated organ, with a replacement value of $1.2 million, was being offered to Bethel for less than half of that. In January 2008 the people of Bethel approved a proposal to purchase it.
Then came the day when our new instrument was delivered. Twenty-five members of Bethel joined the Wicks staff in unloading the two trucks. Three hours later our narthex and several other areas were covered with all the pieces that make up Opus 4400—what an interesting, informative, and enjoyable labor of love. Throughout the installation process we were impressed with the willingness of the Wicks personnel to include us and answer questions.
After a process of tonal finishing and final adjustments, the space above our choir has been filled with a magnificent instrument that will be a blessing to our worship for present and future generations of Bethel—well worth an extended road trip in a rented van.
—Gary G. Thorn
Minister of Music & Worship

GREAT (unenclosed)
16′ Quintaton 61 pipes
8′ Prinzipal 61 pipes
8′ Gedeckt 61 pipes
4′ Prestant 61 pipes
4′ Waldflöte 61 pipes
2′ Oktave 61 pipes
II Tertian 122 pipes
III Mixtur 183 pipes
8′ Trompette en Chamade 61 pipes
8′ Krummhorn Pos
Chimes

SWELL (enclosed)
8′ Rohrflöte 61 pipes
8′ Salicional 61 pipes
8′ Voix Celeste TC 49 pipes
4′ Spitz Prinzipal 61 pipes
4′ Koppelflöte 61 pipes
22⁄3′ Nazard 61 pipes
2′ Hohlflöte 61 pipes
1′ Flautino 61 pipes
III Scharff 183 pipes
16′ Posaune 12 pipes
16′ Bassoon 61 pipes
8′ Trumpet 61 pipes
8′ Oboe digital
4′ Rohrschalmei 61 pipes
Tremolo

CHOIR (enclosed)
8′ Geigen Principal 61 pipes
8′ Gemshorn 61 pipes
8′ Erzähler 61 pipes
8′ Erzähler Celeste TC 49 pipes
8′ Viole 61 pipes
8′ Viole Celeste 61 pipes
4′ Gemshorn 12 pipes
2′ Harmonic Flute 61 pipes
II Rauschpfeife 122 pipes
8′ Clarinet 61 pipes
4′ Hautbois 61 pipes
8′ Trompette en Chamade Gt
Tremolo

POSITIV (unenclosed)
8′ Holzgedeckt 61 pipes
4′ Spillpfeife 61 pipes
2′ Flachflöte 61 pipes
11⁄3′ Quint 61 pipes
1′ Nachthorn 61 pipes
II Sesquialtera 110 pipes
III Klingende Cymbel 183 pipes
16′ Krummhorn 61 pipes
8′ Holzregal 61 pipes
Cymbelstern

PEDAL (unenclosed)
32′ Bordun digital
32′ Violone digital
16′ Kontra Bass 32 pipes
16′ Bordun 32 pipes
16′ Quintaton Gt
8′ Prinzipalbass 32 pipes
8′ Gedeckt 32 pipes
8′ Gemshorn Ch
4′ Choralbass 32 pipes
4′ Copula 12 pipes
2′ Oktavbass 12 pipes
III Mixture 96 pipes
32′ Contra Bombarde digital
32′ Sordun 32 pipes
16′ Bombarde 32 pipes
16′ Posaune Sw
16′ Bassoon Sw
8′ Trumpet 12 pipes
4′ Cromorne Pos
8′ Trompette en Chamade Gt
Chimes

65 stops, 59 ranks

=========================

Nichols & Simpson, Inc., Organbuilders, Little Rock, Arkansas
West Side Presbyterian Church, Ridgewood, New Jersey
The journey towards a Nichols & Simpson pipe organ for West Side Presbyterian Church began in 1999, when a contract was signed for an instrument to replace the church’s Austin organ, reusing many pipes from the existing instrument. On January 8, 2002, the church was totally destroyed by fire. In the ensuing months, friends and fans of West Side Presbyterian watched in amazement as this courageous and faith-filled congregation made the decision to rebuild. Nichols & Simpson, Inc. was chosen to build the pipe organ for the new worship space.
The West Side Presbyterian organ is unique in many ways. Its striking visual appearance was designed by the church’s architect, Herbert S. Newman and Partners, PC, and the unusual cylindrical case pipes were constructed by A. R. Schopp’s Sons, Inc. The case was designed by Frank Friemel and executed by QLF Custom Pipe Organ Components, LLC. The chest actions are electric-slider with pneumatic-cylinder stop actions and electro-pneumatic/electro-mechanical actions for unit and duplexed stops. The swell boxes are two inches thick, with hollow shades featuring sound-trap joint construction. Shade movement is controlled by 12-stage pneumatic-cylinder whiffletree swell engines.
The moveable console is constructed of mahogany finished to match the interior of the church, and features an interior of burl eucalyptus, bone natural keys with rosewood sharp keys, rosewood expression and crescendo shoes, rosewood drawknobs with bone faces, rosewood thumb pistons with bone faces, and bone tilting tablets to operate the intermanual couplers. The organ utilizes a Peterson ICS 4000 control system and incorporates 256 levels of memory.
The instrument was dedicated on Sunday, October 9, 2007, during a recital by Dr. Catherine Rodland, daughter of Joanne Rodland, the church’s director of music, and the late John Rodland.
—C. Joseph Nichols
Photo credit: David C. Scribner

Nichols & Simpson, Inc.,
West Side Presbyterian Church,
Ridgewood, New Jersey
48 stops, 59 ranks

GREAT
16′ Double Geigen
8′ Principal
8′ Geigen (extension)
8′ Harmonic Flute (expressive)
8′ Bourdon (expressive)
8′ Gamba (expressive)
4′ Octave
4′ Nachthorn (expressive)
22⁄3′ Twelfth
2′ Fifteenth
13⁄5′ Seventeenth
IV–V Fourniture
8′ Harmonic Trumpet (expressive)
8′ Cromorne (expressive, preparation)
4+8′ Clairon (expressive)
Tremolo
8′ Tuba (expressive)
Chimes

SWELL
16′ Bourdon
8′ Diapason
8′ Chimney Flute
8′ Salicional
8′ Voix Celeste
8′ Flauto Dolce
8′ Flute Celeste GG
4′ Principal
4′ Flute Octaviante
22⁄3′ Nasard
2′ Octavin
13⁄5′ Tierce
11⁄3′ Larigot
IV–V Plein Jeu
16′ Double Trumpet
8′ Trompette
8′ Hautbois
8′ Vox Humana
4+8′ Clarion
Tremolo
8′ Tuba (Great)

CHOIR
16′ Erzahler (extension, preparation)
8′ Geigen Diapason
8′ Bourdon
8′ Erzahler
8′ Erzahler Celeste GG
4′ Octave
4′ Koppelflote
2′ Flautino
IV Mixture
8′ English Horn
8′ Clarinet
Tremolo
8′ Tuba (Great)
Cymbelstern
16′ Trombone (Pedal)
8′ Tromba (Pedal)
4′ Tromba Clarion (Pedal)

ANTIPHONAL
8′ Principal (console preparation)
8′ Gedeckt (console preparation)
4′ Octave (console preparation)
8′ Trompette (console preparation)

ANTIPHONAL PEDAL
16′ Gedeckt (console preparation)

PEDAL
32′ Contra Bourdon (extension)
16′ Open Wood
16′ Subbass
16′ Double Geigen (Great)
16′ Bourdon (Swell)
16′ Erzahler (Choir)
8′ Gross Flute (extension Open Wood)
8′ Octave
8′ Geigen (Great)
8′ Gross Bourdon (extension Subbass)
8′ Bourdon (Swell)
8′ Erzahler (Choir)
4′ Choral Bass
4′ Gross Flute (extension Open Wood)
IV Mixture (preparation)
32′ Ophicleide (extension)
16′ Trombone
16′ Double Trumpet (Swell)
8′ Trumpet
8′ Tuba (Great)
4′ Clarion (extension Trumpet 8′)
Chimes

Nichols & Simpson, Inc., Organbuilders, Little Rock, Arkansas
First Presbyterian Church, Birmingham, Michigan
4 manuals, 50 stops, 64 ranks
The Nichols & Simpson organ for First Presbyterian Church in Birmingham, Michigan replaces a Casavant organ that was built in 1953. The three-manual Casavant was installed in one chamber on the side of the chancel. The Nichols & Simpson organ has 50 stops and 64 ranks of pipes, of which 12 stops or portions thereof from the Casavant are incorporated into the new organ. The pipes of the main divisions of the organ are on pallet-and-slider windchests. Larger pedal pipes and duplexed stops are on individual valve windchests.
The church interior was completely redesigned architecturally by Constantine George Pappas Architects of Troy, Michigan, and acoustically by Scott R. Riedel & Associates of Milwaukee, Wisconsin. The chancel width was opened up, and most of the organ is across the front of the chancel, fronted by new casework designed by Frank Friemel. The Swell division together with some Pedal basses are located in the original organ chamber, which was made shallower.
The new four-manual console is constructed of American cherry and features manual keys with coverings of bone and rosewood. The drawknobs are of rosewood with bone faces inset for engraving. The tilting tablets are of bone. The five expression shoes are solid rosewood. The wind pressures for the organ range from 4 inches for the Great division to 6 inches for the Solo division, with the separately enclosed Tuba stop on a wind pressure of 15 inches.
—C. Joseph Nichols
Photo credit: David C. Scribner

GREAT
16′ Violone (ext 8′ Violone)
8′ Principal
8′ Solo Flute (Solo)
8′ Harmonic Flute
8′ Violone
8′ Bourdon
4′ Octave
4′ Nachthorn
22⁄3′ Twelfth
2′ Fifteenth
13⁄5′ Seventeenth
IV–V Fourniture
8′ Harmonic Trumpet
Tremolo
16′ Trombone (Pedal)
8′ Tromba (Pedal)
8′ Tuba (Choir)
4′ Tromba Clarion (Pedal)

SWELL
16′ Lieblich (ext 8′ Chimney Flute)
8′ Diapason
8′ Chimney Flute
8′ Salicional
8′ Voix Celeste
8′ Flauto Dolce
8′ Flute Celeste
4′ Principal
4′ Flute Octaviante
22⁄3′ Nasard
2′ Octavin
13⁄5′ Tierce
III Plein Jeu
III Petit Plein Jeu
16′ Double Trumpet (ext 8′ Trumpet)
8′ Trompette
8′ Trumpet
8′ Hautbois
8′ Vox Humana
4′ Clarion (ext 8′ Trumpet)
Tremolo
8′ Tuba (Choir)

CHOIR
16′ Double Dulciana (1–12*) (ext)
8′ Geigen Diapason
8′ Geigen Celeste*
8′ Bourdon
8′ Dulciana
8′ Celeste (1–12*)
4′ Principal
4′ Koppelflote
2′ Flautino
11⁄3′ Larigot
IV Chorus Mixture
16′ Bass Clarinet (1–12*) (ext)
8′ Petite Trompette
8′ Clarinet
Harp*
Celesta*
Tremolo
8′ Tromba (Pedal)
16′ Tuba TC
8′ Tuba

SOLO
16′ Contra Gamba (ext 8′ Gamba)
8′ Solo Flute
8′ Gamba
8′ Gamba Celeste
4′ Solo Flute (ext 8′ Solo Flute)
8′ French Horn
8′ Clarinet (Choir)
8′ English Horn
Tremolo
Harp (Choir)
Celesta (Choir)
16′ Tuba TC (Choir)
16′ Trombone (Pedal)
8′ Tuba (Choir)
8′ Tromba (Pedal)
4′ Tromba Clarion (Pedal)

PEDAL
32′ Contra Violone*
32′ Contra Bourdon*
16′ Open Wood (ext 8′ Solo Flute)
16′ Principal (ext Great 8′ Principal)
16′ Subbass
16′ Violone (Great)
16′ Lieblich (Swell)
16′ Double Dulciana (Choir)
8′ Solo Flute (Solo)
8′ Octave
8′ Bourdon (ext 16′ Subbass)
8′ Violone (Great)
8′ Chimney Flute (Swell)
8′ Dulciana (Choir)
4′ Solo Flute (Solo)
4′ Choral Bass
2′ Solo Flute (Solo)
IV Mixture
32′ Ophicleide*
16′ Trombone
16′ Double Trumpet (Swell)
16′ Bass Clarinet (1–12*)
8′ Tuba (Choir)
8′ Tromba (ext 16′ Trombone)
8′ Trumpet (Swell)
4′ Tromba (ext 16′ Trombone)
4′ Clarinet (Choir)

*digital

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

Nichols & Simpson, Inc., Organbuilders, Little Rock, Arkansas
Moorings Presbyterian Church, Naples, Florida
The new Nichols & Simpson organ for Moorings Presbyterian Church is the first pipe organ that this congregation has ever used in worship. The generosity of the Sterritte family made this long-held dream a possibility. The main organ and façade houses 49 stops and 63 ranks. The Solo division, which will be housed behind a smaller façade, will be completed at a future date and will comprise five stops and five ranks. The case pipes in the large towers are made of flamed copper; the remainder of the case pipes are made of polished zinc. The case was designed by Frank Friemel and executed by QLF Custom Pipe Organ Components, LLC. The organ was used in worship for the first time on August 10, 2008.
—C. Joseph Nichols

3 manuals, 49 stops, 63 ranks

GREAT
16′ Double Diapason
8′ Open Diapason
8′ Second Open Diapason (ext 16′)
8′ Flute Harmonique
8′ Bourdon
8′ Violone
4′ Octave
4′ Nachthorn
22⁄3′ Twelfth
2′ Super Octave
13⁄5′ Seventeenth
IV–V Fourniture
16′ Bombarde (ext 8′ Tpt Harm)
8′ Trompette Harmonique
Chimes*
Cymbelstern

SWELL
16′ Lieblich Gedeckt
8′ Open Diapason
8′ Chimney Flute
8′ Salicional
8′ Voix Celeste
8′ Lieblich Gedeckt (ext 16′ Lieb Ged)
8′ Flauto Dolce
8′ Flauto Dolce Celeste
4′ Principal
4′ Flute Octaviante
22⁄3′ Nasard
2′ Octavin
13⁄5′ Tierce
II Grave Mixture
III Sharp Mixture
16′ Double Trumpet
8′ Trompette Harmonique
8′ Trumpet (ext 16′ Dbl Trumpet)
8′ Hautbois
8′ Vox Humana
4′ Clarion
Tremolo

CHOIR
16′ Contra Viola (ext 8′ Viola) (1–12*)
8′ Geigen Diapason
8′ Viola
8′ Viola Celeste (1–12*)
8′ Gedeckt
8′ Erzahler
8′ Erzahler Celeste (1–12*)
4′ Principal
4′ Zauberflote
2′ Flautino
IV–V Mixture
16′ Bass Clarinet (ext 8′ Clar) (1–12*)
8′ Trompette
8′ Clarinet
Harp*
Celesta*
Tremolo

SOLO
8′ Gross Flute (preparation)
8′ Gamba (preparation)
8′ Gamba Celeste (preparation)
4′ Gross Flute (preparation)
8′ French Horn (preparation)
8′ English Horn (preparation)
Tremolo
16′ Tuba TC (preparation)
8′ Tuba (preparation)
8′ Tromba (Pedal)

PEDAL
32′ Contra Violone*
32′ Contra Bourdon*
16′ Open Wood
16′ Double Diapason (Great)
16′ Subbass
16′ Contra Viola (Choir)
16′ Lieblich Gedeckt (Swell)
8′ Gross Flute (Solo preparation)
8′ Octave
8′ Bourdon (ext 16′ Subbass)
8′ Viola (Choir)
8′ Chimney Flute (Swell)
4′ Super Octave
4′ Gross Flute (Solo preparation)
IV Mixture
32′ Ophicleide*
16′ Trombone
16′ Bombarde (Great)
16′ Double Trumpet (Swell)
8′ Tuba (Solo)
8′ Tromba (ext 16′ Trombone)
8′ Trumpet (Swell)
4′ Tromba Clairon (ext 16′ Trombone)
4′ Clarinet (Choir)
Chimes*

*digital

Cover

Rieger-Kloss
Company, Krnov, Czech Republic

Government
Street Presbyterian Church, Mobile, Alabama

Members of the Government Street Presbyterian Church worked for several
years developing a plan for the renovation of their beautiful and historical
church in downtown Mobile. Among the many items that needed serious attention
was the pipe organ--the former organ was an Estey installed in 1905. It had
been renovated a number of times and had so many alterations that it could
hardly be credited back to its original builder. The one thing that had
remained constant was the organ pipe facade. After an in-depth study by a very
thorough organ committee, it was decided that the old organ had so many
problems that it would be better stewardship for the church to purchase a new
instrument. It was initially assumed that the new organ would occupy the same
space as the old organ. William Gray of the Rieger-Kloss Company entered onto
the scene rather late in the process and challenged the committee to look at
the total music ministry to develop a plan of how the organ, choir and
congregation could all relate musically together more effectively. The Estey
had occupied the entire center gallery, and the choir had to sit off to the far
side of the organ; there was no proper choir loft. Mr. Gray impressed on the
committee that if they were ever going to correct this problem, this was the
time to do so. In order to make room for a rear choir gallery, the organ was
located in three organ cases. The organ cases were located left and right of
the center gallery plus a very shallow division in the center, across the back
wall. This was not only a time to purchase a new organ but to develop workable
space for the music ministry of the church.

A tracker action organ was very seriously considered for Government Street
Presbyterian Church. However, if a good space were created for the choir there
would be very long tracker runs to the organ cases which would greatly decrease
the effectiveness of the tracker action. It was also decided that it would be a
great advantage to have a movable console. After all the facts were weighed, it
was decided that slider chests with electric pull downs, along with a few unit
chests, would be most appropriate for this instrument.

The Rieger-Kloss Pipe Organ Company of Krnov, Czech Republic was selected to
build the new organ for Government Street Presbyterian Church in January of
2000. Rieger-Kloss is one of Europe's oldest builders of pipe organs,
incorporated in 1873; however, the Rieger brothers were building organs as
early as the 1840s. They are unique in the industry in that they have a College
of Organ Building, a four-year accredited degreed course. The school enrolls 12
students each year and if they all stay for the full four years, they have a maximum
of 48 students enrolled. The company works to keep the best and brightest of
these students and then they furnish many of the other major builders in Europe
with their young craftsmen.

Although Rieger-Kloss is one of the largest builders of pipe organs in the
world, it operates as a small company. Each organ is built by a team of Master
Organ Builders; in the case of Mobile, an 8-member team built this instrument.
They see the organ from its conception to its completion. They assemble the
organ in the Rieger-Kloss shop erecting room to check out all systems. Although
pipes are placed on the wind chest and played, they are only tuned; they are
not finally regulated and tonal finished until they arrive in their permanent
home.

Government Street Presbyterian Church, being a historical building, required
a lot of attention to architectural details of the room. Marcel Kolarz, the
Rieger-Kloss case designer, was brought over from Europe to study the room and
to design the organ cases developed around the master plan that
style="mso-spacerun: yes"> Mr. Gray had set forth for this room.
The cases reflect numerous architectural details from the building. For
instance, the columns in the organ case and the dental design that forms the
top moldings are all details of the existing room. The capitals at the top of
the columns and the lacy pipe shades were all hand carved by Petr Brodak and
come from details of the building. The organ cases and pipe shades are white
with gilded gold trim as is found in the existing room. All of the pipes seen in
the fa?ßade of the organ cases are speaking pipes, made of 70% tin and 30% lead,
highly polished natural metal; the mouths of the pipes are gilded gold.

The console is four manuals with pedals. The outside cabinet of the console
is white and the interior is walnut. The natural keys are highly polished bone
and the sharp keys are walnut. The pedalboard natural keys are made of white
rock maple and the sharps of walnut. The console is a state-of-the-art design
with a very elaborate computer system, having 200+ levels of memory. A
sequencer allows the organist to program the pistons in the order that he/she
plans to use them and the organ will automatically progress through the pistons
in the order programmed. This organ also has a playback system, with which the
organist can record on a computer disc and have the organ play back exactly the
performance. Three of the manuals plus the pedal division are traditional
divisions--the Great Organ, the Positiv Organ, the Swell Organ and the Pedal
Organ. In addition to this, the fourth manual (top keyboard) represents the
Grand Choir Resonance, an idea that comes from the French school of organ
building. The Grand Choir Resonance division manual plays the entire Pedal
division on the fourth manual, with each of the Pedal stops extended to play
the full 61 notes of the manual. This opens up many unique registration colors
and is most valuable in service playing, especially for accompanying hymns. It
is also gives a fabulous richness to the organ in playing French toccatas and
other literature where the pitch line is high on the keyboard. The horizontal
Trompette-en-Chamade can solo above the entire organ and also play fanfares.

The tonal finishing of the organ required a little more than six weeks.
Daniel Angerstein came to Mobile and
set all of the
"C"s for the different ranks of pipes, and Frantisek Kutalek and
Tomas Fafilek matched the notes in between to the "C"s. The room is
especially treble heavy but has a very weak response to the bass harmonics. As
a result, it posed a special challenge for the tonal finishers.

Other members of the Rieger-Kloss team who built the Government Street
Presbyterian Church organ were Zdenik Mican, David Vystrcil, Rostislav
Kohoutek, Tomas Kusak and Miraslav Mitura.

In addition to providing inspiring music for worship, the church is planning
a concert series; so far, they have sponsored Merrill Davis, John Weaver and
Fred Swann in concert. The resident organist, Terry Maddox, has played a
recital, and they have sponsored noonday recitals with local organists
style="mso-spacerun: yes"> during Lent. An International Organist
Festival is being projected for the near future.

The Rieger-Kloss organ at Government Street Presbyterian Church is designed
especially for their building and for the musical needs of this congregation.
It was designed architecturally to
look as if it were always a part of this lovely, historical building and it is
equally suited to the musical demands of the church. It is a high quality
instrument which, if well maintained, will be there as long as the building
stands and will meet the demands of musical growth of the congregation. May it
always bring great and inspirational music to those who hear its majestic
sounds.

--William Gray

GREAT (partially expressive) Manual II

16' Violoneprestant

8' Principal

8' Flute
Harmonique

8' Bourdon

8' Violincelle
(ext)

8' Erzahler
Celeste (II)

4' Octave

4' Spillflote

22/3' Quint

2' Super
Octave

2' Flute

22/3' Grand
Chorus (VI)

8' Trumpet

Tremulant

POSITIV (unenclosed) Manual I

8' Principal

8' Holzgedeckt

4' Octave

4' Flute

2' Principal

11/3' Larigot

1' Cymbel
(IV)

8' Klein
Trompete

8' Cromorne

Tremulant

Zimbelstern

16' Trompette-en-Chamade
(TC, Grand Choir Resonance)

8' Trompette-en-Chamade
(Grand Choir Resonance)

SWELL (expressive) Manual III

16' Bourdon
Bass (ext)

8' Viola
Pomposa

8' Viola
Celeste

8' Chimney
Flute

8' Flute
Celeste (II)

4' Prestant

4' Spire
Flute

22/3' Nazard

2' Principal

2' Blockflote

13/5' Tierce

11/3' Mixture
Minor (V)

16' Basson

8' Trompette

8' Hautbois

8' Vox
Humana

4' Clarion

Tremulant

16' Trompette-en-Chamade
(TC, Grand Choir)

8' Trompette-en-Chamade
(Grand Choir)

GRAND CHOIR (unenclosed) Manual IV

16' Violoneprestant
(Great)

16' Bourdon

8' Principal

8' Bourdon

8' Violincelle
(Great)

4' Octave

4' Flute

2' Super
Octave

Mixture
(IV-VIII)

16' Trompetenbass

8' Trompete

4' Klarine
(ext)

Chimes

16' Trompette-en-Chamade
(TC)

8' Trompette-en-Chamade

PEDAL

32' Double
Open Wood (digital)

32' Contra
Bourdon

16' Open
Wood (digital)

16' Violoneprestant
(Great)

16' Subbass

16' Bourdon
Bass (Swell)

102/3' Rohrquinte
(Swell)

8' Octavebass

8' Gedacktflote

8' Violincelle
(Great)

4' Choral
Bass (ext Octavebass)

Mixture
(IV)

32' Contra
Fagott (ext)

16' Trompetenbass

16' Basson
(Swell)

8' Trompete

4' Klarine

8' Trompette-en-Chamade

4' Clairon-en-Chamade

Chimes
(Grand Choir)

Couplers

Gt/Ped
8

Sw/Pedal
8, 4

Pos/Ped
8, 4

Great
Unison Off

Sw/Gt
16, 8, 4

Pos/Gt
8

Grand
Ch/Gt 8

Gt/Grand
Ch 8

Pos/Grand
Ch 8

Sw/Grand
Ch 8

Sw
16-UO-4

Grand
Ch/Sw

Positiv
Unison Off

Gt/Pos
8

Sw/Pos
16, 8, 4

Grand
Ch/Pos 8

Cover photo by Matt Bechteler

Assistance with cover graphics: Matthias Minnig

Fabry Inc., Fox Lake, Illinois, has
installed a 1957 Schantz organ (two manuals, 13 ranks) at Prince of Peace
Catholic Church, Lake Villa, Illinois. The instrument was originally built for
Grace Christian Church in Kendallville, Indiana. The church decided to sell the
instrument rather than take it to their new sanctuary currently being built.
Fabry Inc. brought the two churches together to make their own purchase
agreement, and then dismantled, transported, and reinstalled the organ with
several improvements for Prince of Peace Catholic Church. Improvements include
a new blower, new solid state relay, new electric tremolos, new swell box
enclosure using original shade frames, new electric shade actions, refinished
bench and top of console, and new oak finish casework. Installation was
completed in May of 2002 and the dedidation was played on September 15 by Mr.
Ernie Hiltebrand and Mrs. Gina Buckley. Fabry Inc. would like to thank Mr.
Hiltebrand, director of music ministry, who handled the purchase and
coordinated the installation for the Rev. Richard Yanos, the pastor of Prince
of Peace Church. David G. Fabry and Joseph Poland reengineered, built all the new
casework, and tonally finished the instrument.

GREAT

8' Open
Diapason -- Rank 1

8' Bourdon--
Rank 2

8' Dulciana
-- Rank 3

8' Unda
Maris (TC) -- Rank 4

4' Octave
-- Rank 5

4' Hohlfloete
-- Rank 6

2' Fifteenth
(ext)

Chimes
style='mso-tab-count:1'> -- 25 bars

Tremolo

SWELL

16' Rohrgedeckt
-- Rank 7

8' Geigen
Diapason -- Rank 8

8' Rohrfloete
(ext)

8' Salicional
-- Rank 9

8' Voix
Celeste (TC) -- Rank 10

4' Geigen
Octave (ext)

4' Flute
Harmonic -- Rank 11

2 2/3' Nazard
(borrow)

2' Piccolo
(ext)

8' Oboe
-- Rank 12

4' Oboe
Clarion (ext)

Tremolo

PEDAL

16' Subbass
-- Rank 13

16' Rohrgedeckt
(Sw)

8' Bass
Flute (ext)

8' Rohrflute
(Sw)

4' Bass
Flute (ext)

4' Rohrflute
(Sw)

Couplers

Gt/Gt
16-UO-4

Sw/Sw
16-UO-4

Sw/Gt
16-8-4

Gt/Ped
8-4

Sw/Ped
8-4

Schneider Pipe Organs, Inc., of
Kenney, Illinois, has completed the first phase of a multi-stage renovation of
the 1922 Hinners organ in Zion Lutheran Church, Peoria, Illinois. The initial
phase consisted of rebuilding the console and rewiring the organ utilizing a
Matters microprocessor-based relay system with a fiber-optic link between the
console and the organ chamber. All wiring on the existing windchests was
replaced with new modern wiring. A new pedalboard to replace the existing one,
which was disintegrating due to years of heavy use, was also installed. At the
same time, new 120 volt AC wiring and magnetic starter for the existing organ
blower and a new DC rectifier were installed, as well as new fluorescent
lighting within the organ chamber and blower room. Service receptacles for
maintenance work were also added to the installation. Limited pneumatic repairs
were made to the existing electro-pneumatic windchests as a temporary measure,
as well as replacement of a number of badly damaged and crudely repaired treble
pipes of the Stopped Diapason rank.

Completion of this phase of the work was March, 2002. It was rededicated on
Reformation Sunday, October 27, 2002, in conjunction with and celebrating 10
years of the ordination of the incumbent pastor, The Rev. Steven Paul Tibbetts,
S.T.S. at Zion. The day-long celebration included a Festival Eucharist
(Reformation), potluck meal, organ rededication concert, and Vespers. In
between were displays of the 75th anniversary of the completion of the main
church building.

Anticipated future phases are to include complete removal of the existing
windchests and pipework of the instrument from the chamber space while it is
being replastered and repainted, and construction of all-new wind-chests with
electro-mechanical action and expansion chambers. Participants in the project
included W.C. Burkett, Nick Fry, Dan Schneider, Matt Schneider, Joan Schneider,
Richard Schneider.

GREAT

8' Principal

8' Rohr
Floete

4' Principal

4' Rohr
Floete (ext)

2' Spitz
Floete (ext)

11/3' Mixture
II (new)

8' Oboe
(Sw)

Gt
UO-4

Sw/Gt
16-8-4

SWELL

16' Z?§rtbass
(ext)

8' Geigen
Principal

8' Holzgedackt

8' Salicional

8' Vox
Celeste (49 pipes)

4' Geigen
Octave (ext)

4' Traverse
Floete (ext)

4' Violina
(ext)

22/3' Nazard
(ext)

2' Principal
(ext)

13/5' Terz
(ext)

16' Basson
(ext, new L/2 basses)

8' Oboe

4' Schalmey
(ext)

Tremolo

Sw
16-UO-4

PEDAL

32' Acoustic
Bass (resultant, Zartbass)

16' Grand
Bourdon

16' Zartbass
(Sw)

8' Principalbass
(Gt)

8' Bourdon
(ext)

8' Gedackt
(Sw)

4' Choralbass
(ext Gt)

4' Gedackt
(Sw)

16' Basson
(Sw)

8' Oboe
(Sw)

4' Schalmey
(Sw)

Gt/Ped

Sw/Ped

Cover

Goulding & Wood, Inc.,
Indianapolis, Indiana,

Preston Hollow Presbyterian
Church, Dallas, Texas

From the organ builder

From our first contact with the committee of Preston Hollow
Presbyterian Church, we were excited about the possibility of working in
Dallas, with its rich pipe organ culture and many significant instruments. At
the same time, our focus throughout the project has been the same as with all
of our instruments, namely to provide a worshiping community with a versatile
resource that supports their music ministry. Creating a liturgically sensitive
design within the larger context of the Dallas organ community posed challenges
as well as many exciting opportunities.

Throughout the process, we were grateful for the support and
assistance of the Organ Selection Committee, chaired by Jim Watkins, and the
church music staff, including Terry Price, director of music, and Annette
Albrecht, organist. In the many conversations, visits and meals we shared, the
people of Preston Hollow Presbyterian Church became close friends, and we
continue to value their input and camaraderie.

Tonally, the organ is structured around a carefully balanced
plan of principal choruses. Each division relates to and complements the other
divisions in a terraced scheme. The Great plenum is based at 16' pitch with a
divided six-rank mixture allowing for an 8' chorus when desired. The Swell acts
in relief to the Great in a traditional Positiv-Hauptwerk manner. The higher
pitched Cymbale mixture is effective in plenum literature as well as in
coloristic effects. In contrast, the Choir principal chorus is specifically
oriented toward the needs of choral accompaniment, and the mixture clearly
delineates tone without becoming oppressive or over-stated. The Pedal plenum is
built along lines similar to the Great and has a complete, independent chorus
of principals beginning at 16' pitch.

Each manual division contains a third-sounding rank,
increasing the flexibility in playing Cornet-based literature, particularly
French grands jeux and dialogues. Both Great and Choir Cornets are
decomposée, while the light, diapason Sesquialtera of the Swell effectively
colors flutes or principals.

Flute choruses in the instrument display a maximum of
variety in color, ranging from the solid Great 8' Bourdon and 4' Flûte
conique to the Swell's crisp, articulate wooden flutes at 8' and 4' with a
crowning 2' Recorder in 70% lead. The Choir's flute ensemble is the largest of
the divisions and includes a luxurious 16' Conical Flute. Among the largest yet
softest pipes in the organ, this stop features a clarity of pitch created by
the open taper that lays a solid foundation for quieter combinations. Pedal
flutes include the 32' Contre Bourdon, the wooden 16-8' Contrebasse, an 8'
stopped wood Flûte bouchée and the 4' Cantus Flute. The
Contrebasse/Flûte is useful as the foundation of plenum literature,
particularly works in the style of earlier German composers such as Buxtehude,
while the 8' range works well as the chant line in French classic organ masses.
We have recently been exploring solo stops for the Pedal's alto line, and the
4' Cantus Flute in this instrument is our first open wood with inverted mouths
and raised caps. The prominent, commanding flute timbre is designed especially
for works such as the fourth movement of Widor's Fifth Symphony
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Reed stops in the organ span a similarly wide spectrum of dynamic
and style. The Choir solo stops of Cremona, English Horn and Tuba contrast with
the dramatic fire of the Swell reed chorus with independent trumpets at 16', 8'
and 4'. The Pedal chorus is built on the 32' Posaune with wooden resonators
that encourage a generous amount of fundamental pitch. All reeds in the organ,
with the exception of the resonators of the Posaune, are from A. R. Schopp's
Sons, who also made the strings, Great Harmonic Flute and display pipes. We are
grateful to the people of A. R. Schopp's for their excellent work in all of our
projects.

The casework of the façade incorporates the main
architectural ornament details in the room. Hand-carved Corinthian capitals
based on the Temple of the Winds design support a substantial architrave with
dental molding and carved egg-and-dart detail molding. The console features
panels with crotch mahogany and styles and rails with quarter-sawn ribbon
mahogany. Console controls include 128 levels of memory, simple sequence memory
with advance thumb pistons in each key slip and an internal MIDI interface with
data filer for record and playback.

Mechanically, the organ uses Goulding & Wood's unique
design of electro-pneumatic slider and pallet windchests. This design offers a
tightness of ensemble and attractive speech characteristics which typify common
key channel instruments while allowing for remote, moveable key control. This
marriage of recognized mechanical design and up-to-date technology produces a
musical instrument of great expression and versatility. Adding to the reliable
chest mechanics, the layout and engineering of the instrument allows
accessibility for maintenance and tuning as well as maximizing tonal egress.
Great and Swell divisions are located near the barrel-vault ceiling, allowing their
voice to emanate freely through the room, and the Choir box is located near the
choir stalls of the chancel for effective accompaniment.

It is our hope and expectation that our Opus 41 will serve
the people of Preston Hollow Presbyterian Church well in their worship for
generations to come. Similarly, we look forward to contributing to the vibrant
cultural life of Dallas.

--Jason Overall

From the organist

My first days as organist at Preston Hollow Presbyterian
Church in March of 2000 were filled with excitement. The congregation had
recently approved a capital building expansion campaign that included new
facilities for music rehearsal, an enlarged and acoustically improved
sanctuary, and a new pipe organ. Becoming part of the music ministry team, forming
new relationships with congregation, choir and staff, and jumping right into
the process of selecting a builder for the new instrument was a challenge.
Working with Dr. Jim Watkins, chair of the selection committee, Terry Price,
music director and former classmate, and the rest of the committee was a joy.
The enormity and challenge of embarking on a project of this scope became very
real, and it was with a sense of certainty and good fortune that we decided to
entrust the planning and building of this new instrument to Goulding &
Wood, Inc. of Indianapolis.

While the organ committee was busy planning the
specification for this instrument with Jason Overall and Brandon Woods of
Goulding & Wood, others at the shop consulted with the architects for the
sanctuary expansion. To have the organ builder involved in this process was a
luxury that many don't experience. After the sanctuary renovation was complete,
we still had to wait another year for the organ. We finalized the stoplist,
enjoyed frequent digital photos of building progress e-mailed from the
workshop, and tried to imagine the sounds of the new instrument. Frequent
communication from the folks at Goulding & Wood helped us plan and prepare
for the installation, which occurred in the fall of 2003. Because of this, very
few problems were encountered, and the organ was ready several weeks earlier
than forecast.

It's very difficult to describe the pleasure of musical
sound. Most music lovers can recall the experience of sound lifting and
transporting the soul, of losing oneself in the beauty and holiness of the
moment. I and many others expected this instrument to provide the instrumental
voices for this kind of experience. The visual impact is simple, elegant, and
stunningly beautiful. The sound is rich and resonant, not muddy, but
full-bodied, with mixtures providing clarity and brilliance without a hint of
shrillness. Since the installation, my days have been filled with the wonder of
discovery. Instead of trying yet another trick to find a registration that
works, I have the delightful challenge of choosing from among several beautiful
possibilities. Preparing hymn accompaniments is a joy; the sanctuary's
acoustical improvements support the organ and congregation's song.
Possibilities for anthem accompaniments for our 120-voice choir are nearly
limitless. Repertoire that was filed away is brought out, registered, and
played, with the exclamation, "Aha! That's how it should sound!" The
powerful voice of Opus 41 fills the 900-seat space without becoming strident;
the Tuba 8' provides a crowning touch. The softest manual voice, the Choir
Conical Flute 8', almost disappears, while the 32' Contre Bourdon purrs quietly
underneath.

I believe I may speak for the selection committee, the
Preston Hollow Sanctuary Choir, the music ministry, and the congregation when I
say that we are truly blessed. We had a dream that was recognized by this
congregation to have great value, that merited considerable financial
commitment. This dream was nurtured, shaped and strengthened by our
collaboration with the Goulding & Wood organ builders. Our desire for a
pipe organ that could lead us as we lift our hearts, souls and voices together
in praise of our Creator God has been realized.  Our journey of stewardship of this great gift is now just
beginning.

--Annette Albrecht

From the senior minister

I have always said that sacred music in worship is "my
sermon," allowing me to hear the Word proclaimed beyond mere words,
interpreted by the great composers of all ages. Music lifts the soul beyond the
merely rational, and inspires God's people to sing the songs of faith.

Our new Goulding & Wood pipe organ has become the
centerpiece of our chancel; more importantly, it is our cantus firmus,
grounding our worship, raising the eye upward and tuning our praises. Already
we sense a new energy, depth and vitality in our services of worship. Whether
it is a Thanksgiving service, Christmas candlelight, a memorial service, a
wedding or an Easter Sunday, our 69-rank Goulding & Wood is capable of all
the nuances of color and meaning needed for the church's many moods.

I cannot express sufficient gratitude to all the artists
from Goulding & Wood who took great interest in our church, befriended our
staff and members and were supremely committed to the building of an instrument
to be used in the worship of God. They will be remembered by generations to
come--every time Goulding & Wood's Opus 41 fills its great bellows and
sings again.

--The Rev. Dr. Blair Monie

Great

16' Præstant

16' Bourdon (ext)

8' Principal

8' Gamba

8' Flûte harmonique

8' Bourdon

4' Octave

4' Flûte conique

2 2/3' Quint

2' Super Octave

1 3/5' Terz

2 2/3' Gross Fourniture II

1 1/3' Fourniture IV

16' Fagot

8' Trumpet

8' Tuba (Choir)

Tremolo

Gt/Gt 16-Unison Off-4

Swell

16' Gedeckt (ext)

8' Geigen Diapason

8' Gedeckt

8' Viole de gambe

8' Voix céleste (GG)

4' Principal

4' Clear Flute

2' Octave

2' Recorder

1 1/3' Quint

2 2/3' Sesquialtera II (TC)

2' Plein Jeu III-IV

1' Cymbale III

16' Contre trompette

8' Trompette

8' Hautbois

8' Voix humaine

4' Clairon

Tremolo

Sw/Sw 16-Unison Off-4

Choir

16' Conical Flute

8' Narrow Diapason

8' Chimney Flute

8' Conical Flute (ext)

8' Flute Celeste

4' Fugara

4' Spindle Flute

2 2/3' Nazard

2' Block Flute

1 3/5' Tierce

1 1/3' Larigot

2' Mixture III

8' Cremona

8' English Horn

8' Tuba

Tremolo

Cymbelstern

Rossignol

Ch/Ch 16-Unison Off-4

Pedal

32' Contre Bourdon

16' Principal

16' Contrebasse

16' Soubasse

16' Bourdon (Great)

16' Gedeckt (Swell)

16' Conical Flute (Choir)

8' Octave

8' Flûte (ext Contrebasse)

8' Flûte bouchée

8' Gedeckt (Swell)

4' Choral Bass

4' Cantus Flute

2' Mixture III

32' Contre Posaune

16' Posaune (ext)

16' Fagot (Great)

8' Trompete

8' Fagot (Great)

8' Tuba (Choir)

4' Schalmei

Tremolo

Cover photo by Robert Duffy