New Organs (September, 2004)

Cover

Buzard Pipe
Organ Builders, Champaign, Illinois

Opus 29,
completed November, 2003

All Saints
Episcopal Church, Atlanta, Georgia

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

--John-Paul Buzard

GREAT (4-inch wind pressure)

Manual II - unenclosed pipework

16' Double Open Diapason

8' First Open Diapason

8' Second Open Diapason (ext 16')

8' Viola da Gamba

8' Harmonic Flute

8' Bourdon

4' Principal

4' Spire Flute

22/3' Twelfth

2' Fifteenth

2' Fourniture V

13/5' Harmonic Mixture IV

16' Double Trumpet

8' Trombas (ext Ped)

4' Clarion (ext Ped)

Tremulant

Chimes

8' Major Tuba (20" wind)

8' Tuba Solo (melody coupler)

8' Fanfare Trumpets (Solo)

SWELL (4-inch wind pressure)

Manual III - enclosed and expressive

8' Open Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste

4' Principal

4' Harmonic Flute

22/3' Nazard

2' Flageolet

13/5' Tierce

22/3' Full Mixture V

16' Bassoon

8' Trompette

8' Oboe

8' Vox Humana

4' Clarion (ext 16')

Tremulant

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHOIR (4-inch wind pressure)

Manual I - enclosed and expressive

16' Lieblich Gedeckt (wood)

8' English Open Diapason

8' Flûte à Bibéron

8' Gedeckt Flute (ext 16')

8' Dulciana

8' Unda Maris

4' Principal

4' Koppel Flute

2' Recorder

2' Mixture III–IV (Dulcianas)

11/3' Fourniture IV

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

16' English Horn

8' Cornopean

8' Clarinet

Tremulant

Cymbalstern (14 bells)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

Harp (digital)

Celesta (digital)

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

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

8' Open Diapason

8' Viola da Gamba

8' Gamba Celeste (CC)

8' Melodia

8' Flute Cœlestis II (Ludwigtone)

4' Principal

4' Flûte d'Amour

2' Doublette

11/3' Mixture IV

8' Flügel Horn

8' Corno di Bassetto

Tremulant

Cymbalstern (8 bells)

Chimes (Gt)

8' Fanfare Trumpets

8' Major Tuba (Gt)

Harp (digital)

Celesta (digital)

PEDAL (various wind pressures)

32' Double Open Diapason (digital)

32' Subbass (digital)

32' Lieblich Gedeckt (Ch, digital)

16' First Open Diapason

16' Second Open Diapason (Gt)

16' Bourdon

16' Lieblich Gedeckt (Ch)

8' Principal

8' Bass Flute (ext 16' Bourdon)

8' Gedeckt Flute (ext 16' Lieblich)

4' Choral Bass

4' Open Flute (ext 16' Bourdon)

22/3' Mixture IV

32' Contra Trombone (wood)

16' Trombone (wood, ext 32')

16' Double Trumpet (Gt)

16' Bassoon (Sw)

8' Trumpet (ext 16')

4' Clarion (Sw)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHAPEL (4-inch wind, floating)

8' Open Diapason

8' Aeoline

8' Vox Angelica (tc)

4' Principal

Chapel on Great

Chapel on Swell

Chapel on Choir

Chapel on Solo

Chapel on Pedal

Intraddivisional couplers

Gt/Gt 16-UO-4

Sw/Sw 16-UO-4

Ch/Ch 16-UO-4

Solo/Solo 16-UO-4

Interdivisional couplers

Gt/Ped 8, 4

Sw/Ped 8, 4

Ch/Ped 8, 4

Solo/Ped 8, 4

Sw/Gt 16, 8, 4

Ch/Gt 16, 8, 4

Solo/Gt 16, 8, 4

Sw/Ch 16, 8, 4

Solo/Ch 16, 8, 4

Pedal Stops to Divisional Pistons

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

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

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

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

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

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

--Brent Johnson

Great (exposed)

16’ Violone*

8’ First Open Diapason

8’ Second Open Diapason

8’ Violoncello

8’ Harmonic Flute (Ch)

4’ Principal

4’ Flute Octaviante

2’ Fifteenth

IV Full Mixture

8’ Chorus Tuba (Ch)

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Chimes* (Ant)

Swell (expressive)

16’ Minor Bourdon*

8’ Open Diapason

8’ Stopped Diapason*

8’ Viola*

8’ Viola Celeste*

8’ Flauto Dolce*

8’ Flute Celeste*

4’ Octave Diapason

4’ Triangular Flute*

22/3’ Nazard*

2’ Recorder*

13/5’ Tierce*

IV Plein Jeu

16’ Waldhorn*

8’ Cornopean

8’ Oboe*

4’ Clarion

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Tremolo

Choir (expressive)

8’ Geigen (1-12*)

8’ Concert Flute

8’ Dolcan*

8’ Dolcan Celeste*

4’ Octave Geigen

4’ Transverse Flute

2’ Harmonic Piccolo

16’ Bass Clarinet

8’ Clarinet

8’ English Horn

8’ French Horn*

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

8’ Chorus Tuba

Tremolo

Harp*

Antiphonal (unenclosed - floating) (prepared)

8’ Festival Trumpet*

8’ Tuba Mirabilis*

Chimes*

Antiphonal Pedal (prepared)

Pedal

32’ Contre Bourdon*

16’ Open Wood

16’ Major Bourdon

16’ Violone* (Gt)

16’ Minor Bourdon* (Sw)

8’ Principal

8’ Flute

8’ Stopped Flute

4’ Octave

4’ Harmonic Flute (Gt)

32’ Ophicleide*

16’ Trombone (1–12*)

16’ Waldhorn (Sw)

8’ Tromba

8’ Trumpet (Sw)

4’ Oboe (Sw)

7-bell zimbelstern

*= Digital Voices

Cover Feature

Kegg Pipe
Organ Builders, Hartville, Ohio

First United
Methodist Church, Winnsboro, North Carolina

In an organ builder's life there come projects that for one reason or
another always remain close to one's heart. First United Methodist Church of
Winnsboro, South Carolina, is one such project. From the first contact by
consultant Stephen Williams of Allentown, Pennsylvania, to the final day of
tonal finishing, this project was and continues to be a delight to the eye, the
ear, and the heart of this builder.

The organ committee, headed by Jim Gladden, had one goal in mind: to have a
fine instrument that would serve the congregation in all its needs through the
21st century. The room is not large, seating about 300. The acoustic is on the
dry side, but sound travels well in the room. They knew that they did not need
or have room for a large instrument, but they desired an instrument that gave
them maximum musical versatility. Our design has provided them an instrument of
16 ranks and 13 independent stops. These ranks are used carefully to provide an
instrument that seems larger than it is. The previous Estey organ provided
three wood stops that fit well into the new design, namely the Gedeckt,
Hohlflute and Pedal Bourdon. There are no electronic imitation voices in the
organ.

There are several features of particular note in the design. The organ is
installed in a very compact space. I wanted to provide a 16' open flue stop,
and the Viole extension done in Haskell pipes has proven very valuable while
taking up little space. It provides the soft 16' line when used alone and also
adds point to the 16' Bourdon when used in combination. Its use as a double on
the Great adds just the amount of weight needed in a modest room. In order to
provide a strong leading voice in the organ, we have provided a Sesquialtera on
the Great; this is a 37-note stop running from C13 to C49. The pipes of the
22/3' pitch are taken from the bottom 37 pipes of the first rank of the
Mixture. Thus the Sesquialtera only requires the extra space for the small
pipes of the 13/5' rank. This stop can easily lead hymn singing when built
using the principal chorus. When built using flutes, it is a charming solo
voice.

Another feature that furthers the reputation of organ builders as innovators
is the air conditioning ducts. The previous organ had large A/C grilles
directly on the front of the case, blowing out over the heads of the choir
members. These had to stay and were not negotiable in the deep South, and being
a chorister myself, I could completely understand the request. But what to do?
I couldn't have grilles on the new case, or so I thought. Another look at the
case and you will find that there are indeed A/C grilles on the front in the
form of quatrefoils just below the impost.

This organ is installed in the existing chamber that opens out through the
right of three arches. The space available was 6' deep, 13' wide at the front
and 16' wide at the back. The height of the chamber went above the opening creating
a tone pocket that would hinder sound egress. The solution was to build a swell
box in the chamber, eliminating the excess space above the tone opening and
with it the tone pocket. The entire organ is under one expression except the
Great Principal 8', the Pedal Bourdon 16' and the chimes. While the organ is
very dense in the space available, all parts and pipes are easily accessible
for tuning and maintenance. The largest pipes of the wood Pedal Bourdon are
laying on the floor under the main chest. The blower is in a dedicated space in
the basement under the organ.

The stepped terrace drawknob console is what we normally provide with our
two-manual organs. It is very compact and easy to see over, and is fitted with
bone and rosewood keys as is our custom. The combination system by Z-Tronics
provides piston range and copy functions along with archive of memory levels to
disk. There is also a performance sequencer.

The organ was dedicated in concert on November 10, 2002 by consultant
Stephen Williams. I would like to acknowledge the organ committee chaired by
Jim Gladden, organist Esther Baughman, and Al Williams, without whom this
project would not have been possible. The people of First United Methodist
Church embraced the new organ from beginning to end in a way that brought
uncommon joy to the Kegg company. We were indeed honored to have been chosen.
We would invite you to stop and see this instrument when you find yourself in
the Charlotte or Columbia area.

--Charles Kegg

GREAT

9
ranks, 6 stops, 549 pipes

16' Violone
style='mso-tab-count:1'> 73 pipes

8' Prestant*
style='mso-tab-count:2'> 61
pipes

8' Hohlflute
style='mso-tab-count:2'> 73
existing pipes

8' Viole
(ext 16' Violone)

8' Viole
Celeste TC (Sw)

4' Octave
61
pipes

4' Gedeckt
(Sw)

2' Flute
(ext Hohlflute)

II Sesquialtera
style='mso-tab-count:1'> 37
pipes & from Mixture

IV Mixture
style='mso-tab-count:1'> 244 pipes

8' Trumpet
(Sw)

Chimes
(existing)

Great
4

Swell
to Great 16

Swell
to Great 8

Swell
to Great 4

*Unenclosed

SWELL

6
ranks, 6 stops, 390 pipes

8' Gedeckt
style='mso-tab-count:2'> 73
existing pipes

8' Viole
(Gt Violone)

8' Viole
Celeste TC 49
pipes

4' Principal
style='mso-tab-count:2'> 73
pipes

4' Hohlflute
(Gt)

22/3' Nazard
TC (ext Quinte)

2' Octave
(ext 4')

11/3' Quinte
49
pipes

16' Contra
Trumpet 85
pipes

8' Trumpet
(ext)

8' Oboe
style='mso-tab-count:2'> 61
pipes

4' Clarion
(ext)

Tremulant

Swell
to Swell 16

Swell
Unison Off

Swell
to Swell 4

PEDAL

1
rank, 1 stop, 44 pipes

32' Resultant
(from Bourdon)

16' Bourdon
style='mso-tab-count:2'> 44
existing pipes

16' Violone
(Gt)

8' Prestant
(Gt)

8' Bourdon
(ext)

8' Viole
(Gt)

8' Gedeckt
(Sw)

4' Octave
(Gt 8')

16' Trumpet
(Sw)

8' Trumpet
(Sw)

4' Oboe
(Sw)

Great
to Pedal 8

Great
to Pedal 4

Swell
to Pedal 8

Swell
to Pedal 4

Tonal Resources

13
stops

16
ranks

983
pipes

Accessories

Expression
Pedal with indicator

Dual
level Crescendo Pedal with numeric ndicator

Concave
and radiating pedal clavier

Adjustable
Bench

Full
Organ indicator light

Combination
lock with indicator

Transposer

Performance
Sequencer

Photo credit: Charles Kegg

Kegg Pipe Organ Builders

1184 Woodland St. SW

Hartville, OH 44632

330/966-2499

www.keggorgan.com

Muller Pipe Organ Company, Croton, Ohio

First English
Lutheran Church, Mansfield, Ohio

Muller Pipe Organ Company has completed installation of the III/50 organ at
the First English Lutheran Church of Mansfield, Ohio. M. P. Möller
installed the original organ in 1950 (Opus 7997), and made tonal additions in
1961. In the 1980s, minor stopgap repairs were completed, and the Great 8'
Principal and 4' Octave ranks were replaced. In recent years, the condition of
the windchests and console had deteriorated nearly to the point of failure.

In addition to the new pipework, select ranks of the existing pipework were
restored, then revoiced and rebalanced to serve in new capacities within the
ensemble of the new instrument. The Great Organ now features a robust principal
chorus of new pipework, a full complement of flutes and strings, and a fiery
Trompette. The Swell Organ boasts a secondary principal chorus and a battery of
chorus reeds. The Choir Organ is both the most intimate and most colorful
division of the instrument, containing a flute-based Cornet and the sonorous
Clarinet from the original organ. The Antiphonal Organ (the Great principal
chorus in the original instrument) helps support congregational singing for
those seated in the rear of the nave. Due to its relatively poor placement,
this pipework was substantially revoiced and regulated to speak on much higher
wind pressure to insure adequate volume. The Pedal Organ, with its independent
principal chorus and powerful Posaune, provides an exciting foundation for the
instrument. From the softest stops to full organ, the instrument is versatile
and exciting, a wonderful example of the American Classic tradition.

The church completed significant renovations to the chancel area while work
was in progress at our facility. The new area is much more flexible, providing
a suitable space for orchestras or large choirs. Acoustics were improved by
replacing the plush carpeting in the chancel with hardwood flooring. In
addition, substantially improved tonal projection was achieved by removing the
original plaster wall that served as the front of the organ chamber and
replacing it with grille cloth.

The entire playing mechanism is new, with the exception of selected offset
windchests, replacing a problematic Möller mechanism. The beautiful
original console cabinet was refinished and fitted with wheels, and is playable
from three locations in the chancel. The ivory and ebony manual keyboards and
the pedal keyboard were restored. New solid-state operating systems were
installed, including MIDI with record/playback capability, as well as new
drawknob and tilting tablet assemblies. A custom music rack was built,
featuring walnut with bird's eye maple inlay, and a new adjustable bench with
backrest was provided.

For his invaluable contributions to the development of the specification, we
extend special thanks to Dr. Timothy E. Guenther, director of music and
organist of First English Lutheran Church (ELCA), and adjunct instructor in
organ and university organist, Ashland University of Ashland, Ohio.

--John Muller

Photo by Steven Elbert

GREAT

16' Violone

8' Principal

8' Bourdon

8' Viola

8' Erzähler

8' Erzähler
Celeste TC

4' Octave

4' Rohrflöte

2' Super
Octave

IV Mixture

8' Trompette

Chimes

Tremolo

SWELL (expressive)

16' Waldflöte

8' Geigen
Principal

8' Waldflöte

8' Salicional

8' Voix
Celeste TC

4' Geigen
Principal

4' Spillflöte

22/3' Nazard

2' Flageolet

III Plein
Jeu

16' Bassoon

8' Trumpet

8' Oboe

8' Vox
Humana

4' Clairon

Tremolo

CHOIR (expressive)

8' Rohrflöte

8' Dulciana

8' Unda
Maris TC

4' Principal

4' Koppelflöte

4' Dulciana

22/3' Nazard

2' Blockflöte

13/5' Tierce

11/3' Quint

8' Clarinet

Tremolo

ANTIPHONAL (expressive)

8' Principal

8' Spitzflöte

4' Octave

4' Spitzflöte

2' Fifteenth

III Mixture

PEDAL

16' Diapason

16' Bourdon

16' Waldflöte

16' Violone

102/3' Quint

8' Diapason

8' Bourdon

8' Waldflöte

8' Viola

4' Choral
Bass

4' Bourdon

II Mixture

16' Posaune

16' Bassoon

8' Posaune

8' Trumpet

4' Rohrschalmei

Chimes

Couplers

Gt/Gt
16-UO-4

Sw/Gt
16-8-4

Ch/Gt
16-8-4

Ant/Gt
8-4

MIDI/Gt

[if !supportEmptyParas] [endif]

Sw/Sw
16-UO-4

Ant/Sw
8

MIDI/Sw

Ch/Ch
16-UO-4

Sw/Ch
16-8-4

Ant/Ch
8

MIDI/Ch

Gt/Ped
8-4

Sw/Ped
8-4

Ch/Ped
8-4

Ant/Ped
8

MIDI/Ped

Carillon
I

Carillon
II

John-Paul Buzard Pipe Organ Builders
of Champaign, Illinois, has built a new organ for St. Bartholomew Episcopal
Church, Estes Park, Colorado. Our opus 30 was installed during March, 2004,
ready for Palm Sunday, about a month ahead of the contracted schedule.

The church is a simple log cabin structure about 7,500 feet up in the Rocky
Mountains. The view of snow-capped Long's Peak through the plate glass window
behind the altar (along with the thin air) literally takes one's breath away.
Folks who have made their lives in this rugged terrain are used to doing things
pretty much for themselves, and in their own time. Witness their former pipe
organ, fondly nicknamed "Little Toot." This homemade three-rank
instrument (Diapason, Dulciana, Flute) served the congregation for many, many
years, until its deteriorating mechanical condition begged for replacement. The
old organ had been located in a cramped balcony projecting over the last four
rows of pews. It was too small for a choir, or for a pipe organ of adequate
size. The ceiling under the balcony was covered with acoustic tile, which at
best discouraged anyone seated there from singing. We began our conversations
with the church four years ago.

Folks who have made this church their parish home were also used to things
just the way they were, and so it was remarkable that they ultimately agreed to
remove the balcony, locate the organ in the elevated area over the narthex, and
provide space for a choir on the main floor of the nave. The instrument and the
reconfiguration of the space looks natural and relaxed, as though it had always
been that way.

The organ is small, but beautiful things come in small packages! The
instrument has a complete Principal chorus on the Great, flute choruses, a
string and celeste, as well as independent manual and pedal reeds. It is
intended to lead hymn-singing, accompany singers and other musicians, and play
voluntaries before and after services. The altitude was taken into account in
the organ's scaling, voicing, and engineering. The result is that, even though
small in the number of stops, it fills the building with a rich, full sound,
even when playing softly. The visual design plays upon the earth-tone colors in
the room, and the roof line. The organ speaks unimpeded down the axis of the
building.

Thanks to The Rev. M. Paul Garrett, rector; Martha Sandford, organ consultant;
and to The Rev. Al Persons, who, with his late wife Marcia, guaranteed the
purchase of the organ. Thanks also to the dedicated members of my staff who
make every project a special and life's work undertaking: Charles Eames,
executive vice-president; Brian Davis, associate tonal director; Keith
Williams, director of service; Shayne Tippett, production manager; Jay Salmon,
office manager; Stuart Martin, cabinetmaker; C. Robert Leach, cabinetmaker;
Kenneth McCabe, cabinetmaker; Stephen Downes, tonal assistant; Evan Rench,
pipemaker, tonal assistant, tonal department scheduling; Ray Wiggs, consoles,
windchests, wiring; Bob Ference, service technician; Jonathan Borchardt,
service technician; Stuart Weber, service technician; JoAnne Hutchcraft Rench,
receptionist, administrative assistant.

--John-Paul Buzard

[if !supportEmptyParas] [endif]

Buzard Opus 30: 14 stops, 17 ranks, across two manuals and
pedal; voiced on 4 inches wind pressure

GREAT

8' Open
Diapason (polished tin in façade)

8' Flûte
à Bibéron (metal chimney flute)

4' Principal

2' Recorder

11/3' Mixture
IV

Tremulant

Gt
16-UO-4

Sw/Gt
16-8-4

SWELL (expressive)

8' Stopped
Diapason

8' Salicional

8' Voix
Celeste

4' Spire
Flute

2' Principal

8' Minor
Trumpet

Tremulant

Sw
16-UO-4

PEDAL

16' Bourdon
(stoppered, wood)

8' Principal
(polished tin in façade)

8' Bass
Flute (ext)

4' Choral
Bass (ext)

16' Bassoon

Gt/Ped
8-4

Sw/Ped
8-4

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

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

New Organs

Martin Ott Pipe Organ Company, Inc., St. Louis, Missouri

First United Methodist Church, Jackson, Michigan

From the organ builder:

In 1996, I was contacted by the First United Methodist Church in Jackson,
Michigan about their desire to hear and examine one of our instruments. We
arranged to meet with representatives of their organ study committee and
consultant Dr. Albert Bolitho at St. John's Lutheran Church in Decatur,
Illinois, where we had just finished the installation of a three-manual organ.
A few weeks later, I was invited to come to Jackson and inspect their 1922
Austin organ. It became apparent that multiple repairs in recent years had not
prevented the ongoing decay of this instrument and that it was doomed to fail
within a short time. The organ study committee engaged in many lengthy
discussions and much soul searching before determining that their organ must be
replaced. Subsequently, I was asked to prepare a proposal for a new instrument.
Further study by the committee brought about a recommendation to the
congregation for a renovation of the church sanctuary and chancel in order to
enhance their worship space and provide an optimum setting for the proposed new
organ. On November 22, 1998, my firm received the commission to build a new
organ for the First United Methodist Church.

1. Casework

The free-standing organ case is based on classic European design and
complements the existing Gothic Revival architecture of the 1870 sanctuary.
This attractive neo-Gothic styled organ case, made out of stained oak,
complements the furnishings of the sanctuary. The case blends and focuses the
organ sound into the room. The Violon 16' and Principal 8' pipes, made from
polished tin, are located in the fa?ßade. The height of the tallest pipe in the
fa?ßade is approximately 20 feet. The Great and Pedal divisions are unenclosed
while the Swell and Choir divisions are under expression. The Great and Pedal
divisions are at the same elevation as the fa?ßade pipes. The Choir division is
located below the fa?ßade pipes of the Great division and behind the ornamental
grillework. The Swell is at the same elevation as the Great and sits behind in
its own case, flanked by the larger tin pipes of the Pedal.

2. Wind Chests

Slider chests were used for the entire organ, except for the offset chests.
Slider chests provide a cohesive sound because all pipes of the same pitch
stand above the same wind channel. Since these pipes are from different stops,
but are receiving the same wind, they are able to blend and enhance the ensemble
of the instrument. Because a choir has many voices that blend into tone sound,
church music (i.e., hymn singing, choral anthems) requires an instrument that
enhances a blending of the human voice. The slider wind chests complement
choral and congregational singing.

3. Action

The organ primarily uses electric pull-down action. Some of the larger pipe
ranks are located on offset wind chests and use electro-pneumatic action.

4. Console

The console features French-style curved terraced stop jambs in cherry wood;
it is detached from the main organ case and is movable, providing flexibility
in various arrangements of the choir and instrumentalists. The solid state,
multi-level combination action allows different organists to save their stop
combinations in separate "file folders." The console has a MIDI
interface connection. This interface can record a player's performance and give
an authentic playback as well as preserve important performances. This, too, is
also an aid for the organist in deciding the registration.

5. Tonal Design

The organ is designed to lead congregational singing, accompany the choirs,
and play the various styles of organ literature. All four pipe families
(principal, flute, string and reed) are well represented. The Great division,
with its grand principal chorus, is the foundation of the entire instrument.
The Swell division, in French style, gives a romantic attribute to the
instrument, while the Choir division provides softer accompanying stops and
solo voices. A stop of special note is the Choir's 11/7' Septime, which adds an
interesting color not available on most organs. The Dolce Celeste 8' from the
previous Austin organ was retained in the Choir.

The reed family is well represented. The Festival Trumpet 8' is mounted
horizontally to project the sound to the congregation and is the strongest reed
in the organ. The Trumpet 16' and 8' on the Great are designed to blend with
the Great principal chorus. The Swell reeds are built in the French Romantic
style. They provide color but do not stand out as much as the festival Trumpet.
The bold Krummhorn 8' and lush English Horn 8' of the Choir division are solo
stops and can be used to highlight a melody. The harmonic flutes in the Swell,
one made of cherry wood and the other in tin, provide an interesting tonal
color. Harmonic pipes are purposely overblown so that the pitch sounds an
octave higher than normal. This produces a clear, transparent sound, similar to
a transverse flute.

The Pedal and Swell divisions were installed early in 2002. The main case,
containing the Great and Choir divisions, was shipped and installed in August
of 2002. Voicing of the instrument was completed in November 2002.

The following people participated in the building of this organ:

Alexander I. Bronitsky

William Dunaway

Hans-Ulrich Erbsl??h

Eileen Gay

Donna Hodges

Alex D. Leshchenko

Richard Murphy

Earl C. Naylor

Martin Ott

Sascha Ott

Jeff Spitler.

We wish to express our gratitude to Timothy Meunier, director of music
ministries, organists Brian Buehler and Laurie Meunier, the members of the
organ building/sanctuary renovation committee and its chairman Earl Poleski,
Rev. Ed Ross and the members of the First United Methodist Church for awarding
us this commission and creating a fine environment for this instrument. We
especially thank Dr. Albert Bolitho for facilitating the organ building
process. His consultation, suggestions and support were most helpful. Having
worked with him previously on the organ for First Congregational Church in
Battle Creek, we were happy to work with him again.

Extensive electrical wiring in the organ was completed by our colleague Dick
Houghten. We are thankful that he could be a part of this project. Acoustician
Scott Riedel and architect Lincoln Poley contributed to the success of this
organ.

--Martin Ott

From the organ consultant:

It has been a pleasure to work with the organ committee and building
committee throughout the planning and decision process that has led to the selection
of this wonderful new pipe organ. The people on the committee were very
conscientious and they dedicated countless hours in study and discussion, not
to mention trips to visit organs in other churches.

Preliminary discussions centered upon evaluating the old 1922 Austin,
acoustics of the church, placement of choirs and liturgical appearance of the
chancel, and future musical needs of the church. From these discussions a
"vision" for the future was developed that concentrated upon the organ
but also included acoustics and liturgical architecture. The committee began
serious study of organ construction and design. After several visits to other
churches and listening to many pipe organs, the committee requested selected
builders to bid on a carefully designed three-manual specification. After much
serious thought, the committee unanimously recommended that Martin Ott be
selected to build the new organ.

The new organ was designed principally to be a liturgical instrument. As
such, it has a full complement of tonal resources to lead congregational
singing, accompany voices or instruments and to play solo organ literature. Two
very quiet stops noted for their ethereal sound were retained from the old
organ to provide for meditative moments. There are beautiful flutes throughout
all divisions of the organ; some are bass flutes and used in the Pedal, some
are on the manuals to be used as solo voices or for accompaniments, and some
are pitched very high near the limits of human hearing. The organ has an abundance
of reed voices; some are colorful stops for solo effects, such as the Krummhorn
and English Horn on the Choir division or the Hautbois on the Swell division.
Some are ensemble voices used to provide rich timbre, such as the 16' or 8'
Trumpet on the Great division or the Bombarde, Trompette and Clairon on the
Swell division. The 16' Trombone in the Pedal division provides a sturdy bass
for the whole organ. For the discriminating organist, there is a complete
Principal chorus on each manual and a complete Principal chorus for the Pedal
division.

The organ boasts some unique features such as a high-pitched 11/7' Septime
on the Choir division, Cornet combinations located on the Choir and Swell
divisions and a 32' Bourdon. Crowning the entire ensemble and located at the
top of the organ behind the center tower are the horizontal pipes of the
Festival Trumpet, a stop that will find much use for congregational singing and
wedding processions.

The fa?ßade of the organ was designed to architecturally complement the
hammer beam ceiling and other woodwork in the sanctuary. Its artistic design
and impressive appearance accentuate the height and grandeur of the room and
also demonstrate the craftsmanship of the Martin Ott organ firm. The console,
with its elegant keyboards and wood finish, incorporates solid state switching
that enables the organist to change registrations quickly. Stops are placed on
either side of the keyboards, thus making it possible for the console to have a
low profile.

The instrument is a distinguished addition to other significant organs in
Michigan and surrounding states and will undoubtedly attract considerable
attention among churches, organ aficionados and organists. Truly the church has
been blessed with a beautiful instrument that will enhance worship both now and
far into the future.

--Dr. Albert Bolitho

History of the Pipe Organs at First United Methodist Church

In 1869, prior to the completion of the present sanctuary, the congregation
of the Jackson Methodist Episcopal Church contracted with the J.H. & C.S.
Odell organbuilders of New York to build an organ for the new church. The new
organ, Opus No. 86, was shipped to Jackson in early February 1870 and installed
in time for the church dedication on Sunday, February 13, 1870. On the following
Saturday, February 19, the congregation hosted a dedicatory recital played by
Elihu Cooley, Esquire. The organ was a mechanical action one-manual instrument
consisting of 12 stops and was housed in a handsome Gothic Revival case with
stenciled pipes. The cost of the organ was assumed by the church's Ladies'
Society. This organ faithfully served the growing congregation for the next 51
years.

In 1921, the congregation embarked on a major renovation and expansion of
the church facilities. Along with a remodeled chancel and choir loft, the
sanctuary was expanded to the north with the addition of a larger balcony. The
Odell organ was replaced with a new electro-pneumatic action instrument built
by the Austin Organ Company of Hartford, Connecticut. The Austin organ, Opus
No. 1043, consisted of 3 manuals and 29 ranks of pipes. The organ was dedicated
on October 12, 1922 with a recital by Francis Mackay, organist of St. Paul's
Cathedral, Detroit. In later years, chimes were added to the organ and in 1973
the Austin firm revoiced the instrument with the addition of 7 new ranks of
pipes and replacement of most 1922 pipework. This organ was sold to the Temple
Organ Company in January 2001.

Unless indicated otherwise, photos are by John Woodring (copyright © John
Woodring Photography), member, National Press Photographers Association and
Professional Photographers of Michigan.

Martin Ott Opus 97

First United Methodist Church,

Jackson, Michigan

61 ranks, 56 stops

GREAT

16'           Violon*
style='mso-tab-count:1'> 61            75%
tin

8'              Principal
               61
style='mso-tab-count:1'>            75%
tin

8'              Violon
(ext)*       12
style='mso-tab-count:1'>            75%
tin

8'              Chimney
Flute   61            40%
tin

4'              Octave
                  61
style='mso-tab-count:1'>            75%
tin

4'              Spire
Flute           61
style='mso-tab-count:1'>            40%
tin

22/3'       Twelfth
61            75%
tin

2'              Fifteenth
               61
style='mso-tab-count:1'>            75%
tin

11/3'       Mixture
IV‚ÄìVI   330         75% tin

16'           Trumpet*
style='mso-tab-count:1'>               61
style='mso-tab-count:1'>            75%
tin

8'              Festival
Trumpet*             61
style='mso-tab-count:1'>            75%
tin

8'              Trumpet
style='mso-tab-count:1'>                 61
style='mso-tab-count:1'>            75%
tin

                  Chimes

                  Zimbelstern

SWELL (Enclosed)

16'           Bourdon*
(ext)  12            oak

8'              Bourdon*
style='mso-tab-count:1'>              61
style='mso-tab-count:1'>            40%
tin

8'              Fl?ªte
Harmonic                   61
style='mso-tab-count:1'>            cherry

8'              Viol
di Gamba   61            75%
tin

8'              Voix
Celeste (TC)             49
style='mso-tab-count:1'>            75%
tin

4'              Principal
               61
style='mso-tab-count:1'>            60%
tin

4'              Fl?ªte
Harmonic                   61
style='mso-tab-count:1'>            40%
tin

22/3'       Nazard
61            75%
tin

2'              Nachthorn
style='mso-tab-count:1'>            61
style='mso-tab-count:1'>            40%
tin

13/5'       Tierce
  61            75%
tin

2'              Mixture
IV‚ÄìV     268
style='mso-tab-count:1'>         75%
tin

16'           Bombarde*
(1‚Äì12 L/2)   61
style='mso-tab-count:1'>            75%
tin

8'              Trompette
           61
style='mso-tab-count:1'>            75%
tin

8'              Hautbois
style='mso-tab-count:1'>                61
style='mso-tab-count:1'>            75%
tin

4'              Clairon
61            75%
tin

                  Tremulant

CHOIR (Enclosed)

8'              Violin
Diapason                  61
style='mso-tab-count:1'>            75%
tin

8'              Stopped
Flute    61
style='mso-tab-count:1'>            cherry

8'              Dolce
Celeste II                110
style='mso-tab-count:1'>         Austin

4'              Principal
               61
style='mso-tab-count:1'>            75%
tin

4'              Chimney
Flute   61            40%
tin

2'              Octave
                  61
style='mso-tab-count:1'>            75%
tin

22/3'       Sesquialtera
II 112         40%
tin

11/3'       Larigot
61            40%
tin

11/7'       Septime
                61
style='mso-tab-count:1'>            40%
tin

1'              Scharff
IV             224
style='mso-tab-count:1'>         75%
tin

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

8'              Krummhorn
        61
style='mso-tab-count:1'>            75%
tin

8'              English
Horn      61
style='mso-tab-count:1'>            75%
tin

                  Tremulant

PEDAL

32'           Bourdon*
style='mso-tab-count:1'>              12
style='mso-tab-count:1'>            Austin

16'           Principal*
style='mso-tab-count:1'>              32
style='mso-tab-count:1'>            75%
tin

16'           Violon
  (Gt)

16'           Subbass*
style='mso-tab-count:1'>             32
style='mso-tab-count:1'>            Austin

16'           Bourdon
               (Sw)

8'              Octave
                  32
style='mso-tab-count:1'>            75%
tin

8'              Violon
  (Gt)

8'              Gedeckt
style='mso-tab-count:1'>                 32
style='mso-tab-count:1'>            40%
tin

8'              Bourdon
               (Sw)

4'              Octave
                  32
style='mso-tab-count:1'>            75%
tin

4'              Bourdon
               (Sw)

22/3'       Mixture
IV           128
style='mso-tab-count:1'>         75%
tin

16'           Trombone*
style='mso-tab-count:1'>          32
style='mso-tab-count:1'>            pine

16'           Bombarde
           (Sw)

8'              Trumpet
                (Gt)

4'              Clairon
(Gt)

Couplers

Swell to Great 16' & 8'

Choir to Great 8'

Swell to Choir 8'

Choir to Choir 16'

Choir Unison Off

Choir to Choir 4'

Great to Pedal 8' with reversible thumb & toe pistons

Swell to Pedal 8' with reversible thumb & toe pistons

Choir to Pedal 8' with reversible thumb & toe pistons

Choir to Pedal 4' with reversible thumb & toe pistons

*An asterisk indicates electro-pneumatic action.

Combination action with 100 levels of memory:

Gt            1-2-3-4-5-6
         thumb

Sw           1-2-3-4-5-6
         thumb

Pos         1-2-3-4-5-6
         thumb

Ped         1-2-3-4-5-6
         thumb
& toe

General                  1-2-3-4-5-6-7-8
                 thumb
& toe

Cancel thumb

Set         
style="mso-spacerun: yes"> thumb

Tutti        thumb
& toe

Accessories

Crescendo pedal

Adjustable bench (by crank) and back rest

Clock

Power indicator light

MIDI interface

Cover

Grant Edwards, Portland,
Oregon

Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia

 

From the builder

The road from this organ's conception to its completion was
long, complicated, and a bit adventurous. It began as every organist's dream of
having a lovely pipe organ at home. Having worked at Bond Organbuilders since
June 1993, where I am now in my tenth year as a craftsman, I felt confident
enough by the fall of 1995 to begin design and construction on my own
instrument. This would have been impossible if not for the generosity and
patience of Richard and Roberta Bond and the rest of the crew, as the organ's
components would gradually take up a large portion of shop space--more space,
in fact, than I had initially expected. After constructing the coupler chassis,
I felt it had come at far too much cost to my free time for the 10 stops
originally planned. Soon, a solo flute, 16' reed, and other goodies had found
their way onto the drawing-board.

Temporary lodging

After three long years of work on evenings and weekends, the
organ was eventually complete, albeit homeless. And my colleagues desperately
needed their set-up room for another project. The First Congregational Church
(UCC) in downtown Portland, where I have been organist since 1995, was more
than happy to provide room and board for the new organ in their downstairs
chapel. Because of the small size of the chapel, the organ had to be voiced as
"dolce" as possible. A large panel of wood at the bottom of the swell
opening also served intentionally to block any direct sound egress from the
mouths of the interior pipes. These measures successfully bottled up the
organ's potency, and it was well received by the congregation and community.

From the Northwest to the Southeast

Having enlisted the Organ Clearing House to help find a buyer,
I received inquiries from around the country. In February of 2001, I received a
call from Bruce Fowkes, who said that the Episcopal Church of the Nativity was
interested in my Opus One, which they had become aware of via the OCH's web
site. The church subsequently invited me to visit their sanctuary, to determine
if it would indeed work well in their space. After measuring the available
area, we found that the organ would fit exactly as if it were meant for the
space. In addition, the church planned to remove the chancel carpeting and
install ceramic flooring throughout. The organ committee soon paid a visit to
Portland to see and hear the organ for themselves, and in June, 2001 a contract
was signed for installation in October. A few final details, including voicing
of the new Mixture pipes, were completed by the beginning of February, and
parish organist John Wigal played the inaugural recital on April 21, 2002.

Nips and tucks

John Wigal and the church's organ committee readily agreed
to a short list of modifications which we mutually felt to be desirable in the
given situation. The primary visual issue involved placement of the largest
open 8' and stopped 16' pipes, which were originally racked informally along
both sides of the case. The future corner location of the organ would obscure
the left side of the case while exposing the right side. The solution was to
create a side display of new flamed copper façade pipes, notes 1-9 of
the 8' Principal which had been too large for the swell box. The bottom octave
of the 16' could easily be stashed against the wall behind the organ. The new
display basses allowed the opportunity to rescale the 8' Principal three notes
larger (and the 4' Octave one note larger), for a fuller tone given the room's
capacity. The primary tonal change was addition of a new Mixture stop. So that
all the enclosed pipes might also be allowed to speak directly into the room,
the large "muting" board was removed from the shade frame and the
swell shades extended downward, creating an opening well below the level of the
pipe mouths.

Small is beautiful

Since this organ had been designed as a small yet tonally
complete chamber instrument, and since its eventual location remained a mystery,
it was kept as compact as possible. It measures only 91/2 feet tall at its
crown and 8 feet wide in the front, the compromise being that it is somewhat
deeper than might be expected. Many labor-intensive methods were employed to
save space in the interior, such as the hanging of bass pipes lengthwise along
the ceiling of the swell box. Tubular-pneumatic action is used for the largest
pipes of the 8' reed (which behave badly when tubed off) and 16' Sub Bass, thus
also reducing key pluck and wind consumption. An almost ridiculous number of
pipes (137) are tubed off the main windchest for the sake of spatial economy,
and the 16' pedal reed is planted behind the organ on its own valve box. A
single slider windchest of 112 note channels contains alternating pallets for
both manuals side by side, the pedal channels being divided out of the front
halves of the Upper Manual channels. The suspended manual key action is simply
splayed chromatically by means of squares towards the back of the organ. A
third arm on each of the pedal coupler rollers directly pulls open the pedal
pallets in the front of the windchest, requiring many vertical trackers to pass
through both manual keyboards.

A tonal world where none exclude

I am a great admirer of historic instruments of diverse
times and places, and find many modern instruments modeled after these examples
to be a wonder to the eye as well as the ear. I have attempted to create a kind
of "melting pot" in which echoes of many past tonal ideas may be
perceived: the orchestral richness of the French Romanic, the colorful
brightness of the German Baroque, the refined simplicity of 19th-century
America, and even a bit of the pomp and bombast of Britain. I hope to create an
ensemble of voices which blend into one full, cohesive chorus while at the same
time retaining as much color and personality in each individual voice. I want
to build organs capable of performing the widest variety of music effectively
and convincingly, if not with that ever-elusive spirit of "historical purity."

When my Opus One was newly complete, I billed it as an
"American Classic Chamber Organ," by virtue of its attempt to be the
most musically flexible instrument possible within a limited number of tonal
resources. It has a refreshing, modern sound that is nevertheless strongly
reminiscent of 19th-century American instruments. I attempted to overcome some
shortcomings in this style that I otherwise admire by including upperwork and
colorful mutations that are rather brighter than in a typical 1883 Hook &
Hastings.

A firm foundation

The organ includes many features which I have found to be
advantageous in a small instrument, such as placing the 8' Principal inside the
single expression box rather than in the façade. Indeed, having almost
all the organ's pipes behind swell shutters allows a degree of control
especially useful for accompaniment purposes. The "full" complement
of unison stops may be somewhat unusual for modern instruments of this size,
and this is even more true of a manual Sub Bass. Despite appearances, it is the
mid-range of this 16' stopped rank that is displayed in the front of the case
instead of the Principal. When playing on full organ, the 16' does not
prominently stand out if the swell box is closed, since the shutters mute far more
treble frequencies than bass. Not only does the 16' lend a satisfying weight to
the full ensemble, but it is specifically called for in a great variety of
literature.

Features create flexibility

Another way in which I expanded the utility of the organ's
limited resources is through the duplexing of several stops, a practice that is
becoming almost commonplace in mechanical-action organs. Four stops of the
Lower Manual are available in the Pedal via a second position in the
corresponding drawknobs, if the organist intentionally pulls up and out.
Notches locate the usual first positions, into which the stop shanks fall
naturally with the aid of a spring. As originally built, the two manuals also
shared a 22/3' Quinte and a 2' Doublet, which together served as a sort of
ersatz Mixture. When the Mixture was added to the Lower Manual, its 2' pitch
was made available as a half-draw stop, rendering a shared 2' redundant. The
Quinte's duplexing was left intact, however, but its pipes were revoiced as a
fluty Nazard to better mate with the Tierce. The Upper Manual was given a new
2' Recorder where the principal-scaled Doublet had been, thus completing a full
consort of six flutes. These are varied in character, and include an open wood
Descant Flute (Melodia) singing out from behind the center façade pipes.
Since I was compelled to co-opt its drawknob for the Mixture addition, the 16'
Pedal Bassoon is now controlled solely by a hitch-down foot lever, convenient
for hands-free activation. The Hautboy functions well as a chorus reed and can
produce a Trumpet-like solo voice when assisted by "helper stops."
The mutation stops blend seamlessly, forming reed-like effects, and the gentle
Viola has been found to be especially popular with listeners.

Heavenly casework

The organ's casework is made of quarter-sawn white oak
finished with hand-rubbed tung oil and varnish. Metal façade pipes are
of flamed copper. Wood façade pipes, in a design uniquely created for
this organ, feature fronts of lacewood with ebony trim and oak mouthpieces
carved in Roman arch form. The lacewood and ebony detailing is repeated in the
key-cheeks and music desk. Pipe shades depict stars, moons, and comets. Stars
surrounding the Chi Rho-emblazoned sun represent the nine planets, in their
relative sizes and exaggerated colors. Above the keydesk, a violet inscription
reads "Earth & All Stars Sing."

Summary

I am deeply satisfied with the
outcome of this, my first organbuilding endeavor. My subsequent trips to
Chattanooga and Fort Oglethorpe since the installation never cease to uplift my
spirits, with credit due as much to the wonderful friends I have met there as
to the success of the new organ. I am especially grateful to the members of the
Church of the Nativity, who took a leap of faith in commissioning a major work
of art from an unknown builder, and also to John Wigal for bringing the
instrument so skillfully to life through music.

--Grant Edwards

 

Acknowledgments: Matthew
Bellochio, installation and tonal finishing assistant; Michael Wheeler,
installation assistant; Robert Hubatch, execution of central sun carving
(replacement of vanished original); Ralph Richards, Bruce Fowkes & Co.,
supportive local organ builders.

Very special thanks to Richard
and Roberta Bond and the entire Bond staff for tireless encouragement, advice,
and a pretty darn enviable organ building shop.

From the organist

In October of 2000 I began as
interim organist/choirmaster for the Episcopal Church of the Nativity in Fort
Oglethorpe, Georgia. The congregation is a relatively young one, having built
its nave in the early 1960s. The church was using a four-rank unit organ, over
sixty years old and in very bad need of repair. The organ was first housed in
the Chattanooga Funeral Home, then made an interim stop before settling at Nativity.
A 4' Octave replaced a soft string rank when the organ was installed in the
church to assist in hymn playing. The instrument, all in one unit, except for
the blower and reservoir, was placed at a 45-degree angle on the floor level of
the nave behind and to the outside of the pulpit. This had been accomplished by
removing a section of the elevated choir floor. Consequently, the organ was 18
inches lower than all of the surrounding floor and was partially hidden from
the congregation by a solid wall about 5 feet in height. The blower and
reservoir, intended for installation in another room, had been installed in the
corner behind the organ, making them very noisy all the time.

The rector and vestry were aware
of the poor state of the instrument prior to my arrival, but had not been able
create a plan or the funding to deal with the situation. The possibility of
replacing the organ was significantly due to the generosity of Arthur Yates,
who left an endowment to the congregation upon his death. The organ and its
accompanying remodeling in the nave were financed entirely through the Nativity
Endowment Fund. In early 2001 after some educational discussions with the
vestry, a committee was formed to investigate the replacement of the
instrument. Because the Church of the Nativity is a small congregation seating
only 140 in the nave, we began a search for a small unit-style instrument.
During this investigation period, a local organ builder noted the Grant Edwards
organ on the Organ Clearinghouse website and contacted me having felt the
instrument was appropriate for our space. Subsequent phone calls with John
Bishop and Grant Edwards led to a visit to our church by Mr. Edwards and a
return visit by three members of our committee to Portland in May of 2001. The committee
was immediately struck with the beauty and craftsmanship of the casework. The
sound of the instrument, particularly of the varied flutes and the 8'
Principal, led the committee to quickly recommend the purchase of the organ
with some modifications agreed on by both committee and builder.

The vestry then charged the
organ committee to institute changes which would enhance the worship space and
the organ installation. This allowed for the removal of carpeting in the aisle
and the choir space. The pews were removed and the entire floor area was
covered with 18" ceramic tile. In order to allow for better egress of
sound, the raised floor was returned under the organ and the organ was
installed on the long axis of the nave. The previous solid railings were
replaced with a wrought iron and oak railing. New lighting around the choir and
organ was installed as well as increased general lighting in the entire nave.

It is very easy to see that the
organ has exceeded everyone's expectations. The church's worship has been
enhanced, hymn singing has been markedly improved, and many in the community
have been welcomed into the church for the first time. The Church of the
Nativity has kept its endowment funds for use on special projects only. This
has not only allowed for the completion of the organ, but also for many mission
projects, both local and international. The leadership of this small church and
the craftsmanship and work of Grant Edwards deserve recognition and praise.

John E. Wigal

Organist/Choirmaster

Grant Edwards, Portland, Oregon, Opus 1

Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia

16 ranks, 810 pipes

Mechanical key and stop action,
two manuals and pedal (56/30), balanced expression pedal, hitch-down couplers

Lower Manual

                  16'
style='mso-tab-count:1'>          Sub
Bass

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

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

                  8'
style='mso-tab-count:1'>             Descant
Flute (middle C)

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

                  22/3'
style='mso-tab-count:1'>      Nazard (from
Upper Manual)

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

                                    Mixture
III (double-draw)

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

Upper Manual

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

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

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

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

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

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

                                    Tremulant
(affects entire organ)

Pedal

                  16'
style='mso-tab-count:1'>          Sub
Bass (from Lower Manual)

                  8'
style='mso-tab-count:1'>             Principal
(from Lower Manual)

                  4'
style='mso-tab-count:1'>             Octave
(from Lower Manual)

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

                  8'
style='mso-tab-count:1'>             Hautboy
(from Lower Manual)

 

                                    Lower
Manual to Pedal

                                    Upper
Manual to Pedal

                                    Manual
Coupler

 

Fenris Pipe Organ
style='font-weight:normal'>, Kilkenny, Minnesota, has built a new organ for
Ascension Lutheran Church in Albert Lea, Minnesota, where music director Eileen
Nelson Ness oversees a music program with adult, community, and youth choirs.
The new organ replaces an electronic simulator, and was part of a larger
construction project that consisted of bumping out the chancel to provide choir
space on one side and an organ chamber on the other. The two-manual and pedal
organ comprises 12 ranks, with provision for five more.

Our challenge, as organbuilders,
was to build a new instrument for an unconventionally shaped room with carpet
and padded pews. It also had to match the room and reuse pipework and some
components from an instrument the church had previously purchased as "seed."

The principal chorus is new,
façade pipes are from the earlier instrument. Casework and console are
new, made of red oak, with an oversized bench for teaching. The organ is
located in a pit; slab on frost footing with double 5/8 sheetrock taped and painted,
sloped ceiling. Chest action is electro-mechanical, with electro-pneumatic for
the 16' Subbass; switching system is Peterson. Wind pressure is 31⁄2
inches. Stoplist, scaling and voicing are by Bob Rayburn; design and
cabinetwork by Wes Remmey.

—Wes Remmey

Fenris Pipe Organ, Inc.

 

GREAT

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

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

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

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

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

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

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

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

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

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

                                    Gt/Gt
4

                                    Sw/Gt
16-8-4

SWELL

                  16'
style='mso-tab-count:1'>          Lieblich
Gedackt (ext)

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

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

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

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

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

                  22⁄3'
style='mso-tab-count:1'>      Nazard (T.C.)

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

                  2'
style='mso-tab-count:1'>             Block
Flute (ext)

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

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

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

                  16'
style='mso-tab-count:1'>          Bassoon
(T.C., ext)

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

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

                                    Sw/Sw
16-4

                                    Tremolo

PEDAL

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

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

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

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

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

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

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

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

                  4'
style='mso-tab-count:1'>             Oboe
(Sw)

                                    Gt/Ped

                                    Sw/Ped

 

Lauck Pipe Organ Company
style='font-weight:normal'>, Otsego, Michigan, has built a new organ for St.
Peter's Cathedral, Marquette, Michigan. Our opus 54 is a three-manual organ
which replaces a small two-manual instrument. Several ranks of pipes from the
previous organ were incorporated into the new instrument. The painted casework
recapitulates the Romanesque architecture of the building. The tin
façade pipes are from the Great 8' Montre, Great 8' Flûte
Harmonique and, Pedal 8' Montre.

Space was at a premium as the
gallery is not large and we were not permitted to obstruct the windows. The
left case contains the Great with Choir above while the right case contains the
Pedal with Swell above.

St. Peter's Cathedral is an old
and historic building constructed of local brown sandstone. The huge interior,
hard surfaces, and ceramic tile floor provide excellent acoustics. With over 5
seconds of reverberation, a high gallery and long nave, this room is an
organbuilder's dream. The organ is generously scaled and voiced on moderate
wind pressures ranging from 3 to 4 inches, with the Swell reeds (parallel domed
shallots) on 5 inches, and the Great Trompette (tapered shallots) on 8 inches.
The voicing is transparent and not forced.

--James Lauck

Lauck Pipe Organ Company

 

GREAT

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

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

                  8'
style='mso-tab-count:1'>             Flûte
à Cheminée

                  8'
style='mso-tab-count:1'>             Flûte
Harmonique (49 pipes)

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

                  4'
style='mso-tab-count:1'>             Flûte
Octaviante (ext Fl Harm)

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

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

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

                                    Gt/Gt
4

                                    Sw/Gt
16-8-4

                                    Ch/Gt
16-8-4

SWELL

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

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

                  8'
style='mso-tab-count:1'>             Voix
Céleste (49 pipes)

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

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

                  2'
style='mso-tab-count:1'>             Flûte
Ouverte (ext)

                  IV
style='mso-tab-count:1'>            Plein
Jeu

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

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

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

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

                                    Tremulant

                                    Sw/Sw
16-UO-4

CHOIR

                  8'
style='mso-tab-count:1'>             Flûte
Couverte

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

                  8'
style='mso-tab-count:1'>             Viola
Céleste (49 pipes)

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

                  4'
style='mso-tab-count:1'>             Flûte
à Fuseau

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

                  2'
style='mso-tab-count:1'>             Doublette
(ext)

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

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

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

                                    Tremulant

                                    Ch/Ch
16-UO-4

                                    Sw/Ch
16-8-4

PEDAL

                  32'
style='mso-tab-count:1'>          Contrebourdon
(resultant)

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

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

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

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

                  8'
style='mso-tab-count:1'>             Bourdon
(ext Soubasse)

                  8'
style='mso-tab-count:1'>             Flûte
à Cheminée (Gt)

                  51/3'
style='mso-tab-count:1'>      Quinte (from 16'
Bourdon)

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

                  II
style='mso-tab-count:1'>              Fourniture

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

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

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

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

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    Ch/Ped
8-4

 

J. Zamberlan & Co
style='font-weight:normal'>., Wintersville, Ohio, has built a new organ for St.
Andrew's Episcopal Church, Greencastle, Indiana. The firm's Opus 1 comprises 18
stops, 23 ranks, over two manuals and pedal. Three normal couplers, Gt/Ped,
Sw/Ped and Sw/Gt, are controlled by hitchdown pedals. There is one general
tremulant affecting the entire organ. A cymbelstern is installed on top of the
center tower. Pedal lights are wired into the blower switch. Great at impost
level, Swell in the bottom rear, Pedal above that (behind Great). The key action
is entirely mechanical, as is the stop action, except for the two pedal stops
which are activated by slider solenoids. Casework of red oak, with hinged
panels allowing easy access into most parts of the instrument. Keydesk area in
butternut; keyboard naturals of bone with sharps of ebony; pedal keys rock
maple, sharps ebony-capped; stopknobs, hitchdown pedals, etc. of bocote;
stopknob disks of certified legal ivory. Total number of pipes is 1,182. Old
pipes extensively repaired, including new languids for several stops; slide
tuners, temperament is Kellner. Manual/pedal compass 58/30.

 

GREAT

                  8'
style='mso-tab-count:1'>             Open
Diapason (new, façade, 28%)

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

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

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

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

                  4'
style='mso-tab-count:1'>             Cornet
IV (new, from c13-c49, 28%)

                  11/3'
style='mso-tab-count:1'>      Mixture III-IV (new,
28%)

                  8'
style='mso-tab-count:1'>             Trumpet
(new, zinc & 52% resonators)

SWELL (enclosed)

                  8'
style='mso-tab-count:1'>             Geigen
Diapason+ (1-12, stp fl)

                  8'
style='mso-tab-count:1'>             Stopped
Flute+ (1-6 new, cypress)

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

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

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

                  2'
style='mso-tab-count:1'>             Flautino+

                  16'
style='mso-tab-count:1'>          Bassoon
(new, 52% resonators)

                  8'
style='mso-tab-count:1'>             Hautboy
(new, 52% resonators)

PEDAL (flat pedalboard)

                  16'
style='mso-tab-count:1'>          Bourdon
(new, soft maple)

                  16'
style='mso-tab-count:1'>          Trombone
(new, zinc & 28% resonators)

* E. & G.G. Hook, 1870

+ Stevens & Jewett, 1856