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Glück Opus 24

Glück Opus 24, Setauket Presbyterian Church

Sebastian M. Glück has installed their Opus 24 at Setauket Presbyterian Church, Setauket, New York: two manuals and pedal, 25 ranks, 39 stops, 1,392 pipes. The organ utilizes electropneumatic action, with wind pressure four inches throughout.

The builder states, “At Setauket Presbyterian Church, I set out to design an organ that could be played, despite the unification or duplexing of nine of its twenty-five ranks, as a traditionally disposed instrument while avoiding some of the perceived pitfalls of the extension principle: lack of character distinction between the manual sections, ‘missing note syndrome,’ divisional imbalance, and an ineffective Pedal department.”

For information: http://www.gluckpipeorgans.com/

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Cover Feature: Sebastian Glück Opus 24

Sebastian M. Glück, Opus 24, New York, New York; Setauket Presbyterian Church, Setauket, New York

Sebastian M. Glück
Glück Opus 24 (photo credit: John Kawa)

Vice, virtue, and flexibility

Among the linguistic tics bandied about the organbuilding craft for the better part of a century is “judicious unification,” apologetically implying that the practice is quantifiably evil depending upon the extent of its use and the judgment of the builder. If we dislike the builder, it is dismissed as cheap expediency; if we adore the builder, it is the methodology of a thoughtful and clever artist. Both assessments can be, and have been, accurate. Duplexing (the ability to play a stop from more than one keyboard) and unification (the ability to play a particular stop at more than one pitch) have been in use for more than three hundred years. A century after the cinema organ flourished, many are granting “unit orchestras” absolution as we try to preserve the few that we have yet to destroy, with the expectation that accompanying silent films in church will reinvigorate appreciation for the organ, even if it is not used to play organ music.

In some circles, the conservative traditionalist falls from grace when employing a rank of pipes for more than one musical purpose, although a “pass” is granted if the duplexing or extending is achieved solely with wires, rods, and levers. Regardless of action type, compromise is inevitable when space is rationed. For the staunch purist, the compromise must take the form of a smaller instrument in which each stop serves a single function, eagerly sacrificing variety, color, and scope. The establishment may believe that such a design process is additive, but in truth, pressure is applied to exclude stops from the project. The builder who designs, scales, voices, and finishes a partially unified organ must weigh and assume responsibility for the musical consequences of each compromise.

At Setauket Presbyterian Church, I set out to design an organ that could be played, despite the unification or duplexing of nine of its twenty-five ranks, as a traditionally disposed instrument while avoiding some of the perceived pitfalls of the extension principle: lack of character distinction between the manual sections, “missing note syndrome,” divisional imbalance, and an ineffective Pedal department.

The assignment

The congregation owned a pipe organ built in 1968, to which artificial orchestral voices had been added. The ailing instrument had served adequately for hymnody and life cycle events, but the tonal design did not extend consideration to the performance of the established organ literature. When developing the specifications with consultant David Enlow, we agreed that if the organ could be used to perform the noble repertoire of the past, it would be a fine church organ. No instrument can be loyal to the music of every culture and era, but we were adamant that in addition to the features common to all schools of organbuilding, specific tone colors should be placed in the correct divisions at the proper pitches to enable an organist to bring a stack of scores to the console and honor as closely as possible the composers’ intentions.

Following a period of discussion, the decision was taken to build an organ entirely under the control of expression shutters. While this firm had not, until now, built a fully enclosed instrument, this uncommon practice is experiencing a centennial revival and showed merit in this situation. The existing organ had been completely enclosed, yet its two-rank mixture and narrowly scaled, fractional-length reeds were perceived as painfully harsh by the choir members who sat in front of the organ.

The intimate sanctuary lacks any desirable reverberation. Fortunately, its proportions produce no perceptible echo, and the new organ enjoys an elevated position, speaking down the length of the room, its tone blended and preserved by the barrel vault. Made entirely of timber, the flexible building absorbs lower frequencies, so the organ would need to provide ample harmonically complex tone at 16′ and 8′ pitch without succumbing to the lingering recycled fad for the deprecation of mixtures.

The key ingredients we established for the manual divisions were a pair of contrasting principal choruses, an 8′ harmonic flute for the Great, a string and its undulant, the components of a cornet, and the three primary colors of reed tone: trumpet, clarinet, and oboe. The structural forms of the flute ranks include open cylindrical, open tapered, open harmonic (overblowing), stoppered wood, and capped metal with internal chimneys. The different flutes are voiced and finished within a bounded range of amplitude for the sake of blend, although the harmonic flute is given its characteristic treble ascendancy.

The primary function principle

When utilizing a rank at more than one pitch, it is best to establish its primary function, treat it accordingly, and then identify its potential auxiliary uses and what must be modified to accommodate them. The following are a few examples from the Setauket organ:

The Great 8′ Principal is extended to provide the 2′ Fifteenth. The independent 4′ Octave permits the designer to recalibrate the Principal’s scale progression over the course of two octaves as the unit rank approaches the treble of the 2′ extension. Is it ideal? No. Is it better than extending the 4′ rank or having no 2′ Fifteenth at all? Certainly. The chorus becomes fully independent if the 2′ is retired when the Mixture is added because a 2′ rank enters at the first break of the Mixture.

The Great Flûte Harmonique is called for at 8′ pitch in the literature, so that is its primary function. It takes its bass from the 8′ Principal to continue open tone all the way to the bottom. The 4′ Flûte Octaviante, by extension, can be used as an independent voice, played with the 8′ Holzgedeckt or the 8′ Principal. Crime averted.

The Swell 8′ Chimney Flute also is made available beyond its primary function, playable at 2′ (and 1′) pitch to create oft-debated “gap” registrations in addition to completing the solo Cornet. The 4′ Night Horn stands on its own to alleviate missing notes in the flute choir. The 2-2⁄3′ Nazard is scaled and voiced for its primary function, but is also made available at 1-1⁄3′ rather than foregoing such a stop entirely. The Nazard and Tierce must be independent ranks for the sake of tuning and balance.

The Swell 4′ Principal is the pivot point and tuning reference for that division, one of two 4′ stops that can be selected to change the vowel of the full Cornet. Keying it at 8′ pitch gives the division an 8′ Geigen Diapason where none would fit, a boon to literature, service playing, and choral accompaniment. The 8′ octave is synthesized by playing the bass octaves of the 8′ flute and 8′ string together. This is by no means a confirmation of the 1960s falsehood that “a flute plus a string equals a diapason,” but the effect is quite satisfactory in that lowest octave and the pitch does not suddenly drop out. It lends body to the full ensemble when the organ is played with orchestra.

The reeds

If one is restricted to a single trumpet rank in a unit design, its treatment is unavoidably difficult because it cannot serve two masters. If it is powerful enough to stand as the Great 8′ Trumpet, it can be too forceful for its expected roles in the Swell. Conversely, if it is designed as a normal Swell stop, it may prove insufficient when drawn with the Great chorus, unsuitable for some solo functions, and too weak for the Pedal, even if its descent into the 16′ octave grows dramatically as it would in a French organ. Without a second trumpet, I chose to favor the Great and Pedal with a round and warm English quasi-Tromba that made the transition down to a rolling 16′ Trombone that sits majestically under the full organ. After a lengthy search, I located a heritage M. P. Möller rank of unusual construction, built and voiced on the needed pressure, that fit the bill. The resonators were restored and masterfully remitred by Organ Supply Industries to stand comfortably beneath the low ceiling of the chamber.

The Swell 8′ Oboe features English shallots with caps and scrolls, and is under no burden to act as anything else. If the Trumpet is too loud for a particular registration, the tone of the Oboe can be modified by one or more of the division’s flue stops, including the mutations.

The cylindrical half-length reed posed a mixed conundrum: where should it reside, what should it be, and what should it do? Any version of the American Krummhorn of a half a century ago was dismissed from the outset. A warm, round Clarinet with a bit of a bright “edge” would address anything from Clarinet soli in English choral anthems to dialogues in French Baroque suites. The extension down to a 16′ Basset Horn provides a rich reed timbre with a fully developed fundamental, giving the desirable growl and harmonic complexity of the “full Swell.” The sticking point is that it plays at 8′ pitch from the Great and 16′ from the Swell. Were the Great unenclosed, the 8′ Clarinet under expression would have been a forthright bonus, but since the Setauket organ is entirely enclosed, the Clarinet is seemingly in the “wrong” enclosure. It is assigned to the Great to chat with the Jeu de Tierce in the Swell, and the rank plays at 16′ and 4′ pitch in the Pedal, as a secondary unison reed and as a cantus firmus stop for chorale settings.

The mixtures

Why provide two generous mixtures when a single small one had been deemed too shrill? The effectiveness of mixtures is contingent upon their position, harmonic composition, scaling, mouth proportions, voicing methods, and tonal finishing. From time to time, theorists have campaigned aggressively to extirpate mixtures from the art of organbuilding, yet they inevitably return to the craft because they are too essential to the organ’s origin and design. The compositions of the Setauket mixtures favor unisons over fifths and are not terribly acute in their pitch bases, with the Great IV–V including a second 8′ Principal to add warmth and body to the right hand. They are polite but by no means weak, and weld to the ensemble rather than standing apart from it.

The Pedal

The unit pipe organ was an essential response to the growing market for artificial instruments as American postwar prosperity fostered suburban communities that built new churches and synagogues. Architects were encouraged to forgo space for a pipe organ in their modern, low-slung structures as the allure of compact, inexpensive imitations took hold. This gave birth to the twelve-pipe Pedal division, the delusion that extending the stoppered flute rank down to 16′ would provide sufficient bass to support the entire organ.

The chamber plan for Opus 24 reveals the structural obstacles that had to be skirted while granting safe and facile access. I could not provide full independence, so I had to assure that the pedal line could be heard moving against the manual textures. The dedicated 16′ Sub Bass exhibits a characteristic of many 16′ stoppered wood ranks in small, acoustically dead rooms: if the listener steps in one direction or another, or turns their head, a note can switch from booming to absent. I therefore added a 16′ extension of the Viole de Gambe, with Haskell qualifying tubes. It provides clean pitch definition and consistent acoustical reinforcement anywhere in the room, and is far more interesting to the musical ear.

The other independent Pedal rank is the 4′ Choral Bass (the twentieth-century name given to a 4′ Octave), an arrangement that prevents note robbing from the middle of the manual textures. It also is used at 8′ pitch, with the lowest octave borrowed from the Great 8′ Principal, a practice not uncommon in smaller mechanical-action work. Because of this shared bottom octave, the Pedal 8′ and 4′ principal unit is in the Great expression enclosure, and the remainder of the Pedal within the Swell.

The organ case

Setauket’s 1812 landmarked meetinghouse was not conceived for a pipe organ, and the congregation, founded in 1660, did not install their first organ, an eleven-rank tubular-pneumatic affair set partially into the tower at balcony level, until 1919. The 1968 instrument of sixteen ranks expanded that footprint at the sides and into the gallery. Pipes and speaker cabinets packed the chamber, and the organ could not be maintained effectively. There were no organ pipes to be seen, the works concealed by a metal mesh screen that covered an enormous black void. The console was placed in front, creating poor sight lines, unsafe fire egress, and irreconcilable imbalances between the choir and the organ. Those issues were completely resolved by building a mobile, elegant, unobtrusive console for the new organ and moving the choir to a side gallery.

My duty was to create an architectural solution half as tall as its width, and I arrived at a small façade centered upon a visually neutral backdrop. Initial designs were based upon Georgian chamber organs, but as I spent more time in the building, I saw that the space demanded a more restrained treatment, a contemporary interpretation of organ cases built in New York during the second quarter of the nineteenth century. It is a restfully proportioned quintipartite mahogany façade, devoid of carvings, with burnished front pipes that extend to the cornice.

Paradoxically, this visual treatment is an entirely deceptive set piece, yet respectfully complements the historic interior. The wall of painted joinery uses acoustically transparent grille cloth in place of solid panels, and the façade pipes do not speak on account of the enclosure of the entire organ. Whereas once there was no visual indication that an organ existed, there is now a correlation between what the eye sees and the ear hears, despite the grand body of tone that seems to issue from a chamber organ.

An assiduous client

The dedication and perseverance of the congregational leadership was remarkable, particularly amidst a global medical crisis fraught with uncertainty. Throughout the project’s development, they educated themselves about pipe organ building, and as the concept for the instrument grew, they twice offered to expand the space allocated for the instrument. Church and synagogue musician, international concert organist, and Juilliard faculty member David Enlow served as an informed and patient consultant, steering the proceedings toward a service, concert, and teaching instrument for future generations.

—Sebastian M. Glück

President and Artistic & Tonal Director

Glück Pipe Organs

The Glück staff

Matthew Deming

Joseph DiSalle

Sebastian M. Glück

Roderick Gomez

John Kawa, Project Manager

Chad Kranak

Nathan Siler

Matthew Yohn

 

Suppliers

Organ Supply Industries, Inc.

Peterson Electro-Musical Products, Inc.

Aug. Laukhuff GmbH & Co.

 

www.gluckpipeorgans.com/

 

25 ranks, 39 stops, 1,392 pipes

Electropneumatic action, wind pressure 4 inches throughout

 

Cover photo by John Kawa

All other photos by Sebastian M. Glück, except as noted

 

GREAT (Manual I)

16′ Violone (a) 12 pipes

8′ Principal 58 pipes

8′ Flûte Harmonique (b) 47 pipes

8′ Holz Gedeckt 58 pipes

8′ Viole de Gambe (from Swell)

8′ Voix Céleste (from Swell)

4′ Octave 58 pipes

4′ Flûte Octaviante (ext 8′ Fl) 12 pipes

2′ Fifteenth (ext 8′ Princ) 24 pipes

Fourniture IV–V 256 pipes

8′ Trumpet (from Swell)

8′ Clarinet (ext Sw 16′ Basset) 12 pipes

Tremulant

Great Silent

Swell to Great 16

Swell to Great 8

Swell to Great 4

Chimes

 

SWELL (Manual II – enclosed)

8′ Principal (fr 4′ Principal; 1–12 from 8′ Chimney Flute and 8′ Viole)

8′ Chimney Flute 58 pipes

8′ Viole de Gambe 58 pipes

8′ Voix Céleste (TC) 46 pipes

4′ Principal 58 pipes

4′ Night Horn (4/5 taper) 58 pipes

2-2⁄3′ Nazard (2/3 taper) 58 pipes

2′ Recorder (ext 8′ Chim Fl) 24 pipes

1-3⁄5′ Tierce 58 pipes

1-1⁄3′ Larigot (c) (ext 2-2⁄3′ Naz) 8 pipes

1′ Fife (d) (from 8′ Chim Fl)

Mixture III–IV 179 pipes

16′ Basset Horn 58 pipes

8′ Trumpet 58 pipes

8′ Oboe 58 pipes

Tremulant

Swell to Great 16

Swell Silent

Swell to Great 4

PEDAL

16′ Violone (from Great)

16′ Sub Bass (wood) 32 pipes

8′ Principal (e)

8′ Viole de Gambe (from Swell)

8′ Gedeckt (from Gt Holz Gedeckt)

4′ Choral Bass 32 pipes

4′ Flute (from Gt Holz Gedeckt)

16′ Trombone (ext 8′ Trumpet) 12 pipes

16′ Basset Horn (from Swell)

8′ Trumpet (from Swell)

8′ Oboe (from Swell)

4′ Cantus Firmus (from Sw 16′ Basset)

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Chimes

(a) with Haskell qualifying tubes; extension of Swell 8′ Viole de Gambe

(b) C1–A#11 from 8′ Principal

(c) F#55–A58 repeat

(d) top octave repeats

(e) 1–12 from Great 8′ Principal, 13–32 from 4′ Choral Bass

 

Great Fourniture IV–V

C1 19 22 26 29

C13 15 19 22 26

C25 08 12 15 19 22

C37 01 08 12 15 19

C49 01 08 12 15

 

Swell Mixture III–IV

C1 15 19 22

C37 12 15 22

G44 08 12 15

C#50 01 08 12 15

F#55 01 08 15

Matthew Koraus: Improvisation on Tu Es Petrus

Matthew Koraus: Improvisation on Tu Es Petrus.

Sebastian Glück, Opus 16 and 17, St. Patrick Catholic Church, Huntington, New York. 
Chancel Organ: Opus 16 (16 ranks, 1,058 pipes) 
Gallery Organ: Opus 17 (46 ranks, 2,564 pipes)

Includes pipework from Frank Roosevelt’s three-manual, thirty-six rank Organ No. 408 at Brooklyn’s Schermerhorn Street Evangelical Lutheran Church. This installation was featured on the cover of the April 2018 issue of The Diapason. https://editiondigital.net/publication/?i=483232

Sebastian M. Glück, Opus 24 was built for Setauket Presbyterian Church, Setauket, New York. 25 ranks, 39 stops, 1,392 pipes. Electropneumatic action, wind pressure 4 inches throughout. Featured on the cover of the August 2021 issue of The Diapason. 
https://www.thediapason.com/content/cover-feature-sebastian-gluck-opus-…

For information: www.gluckpipeorgans.com/ 

Cover Feature

Sebastian M. Glück, New York, New York; The William and Alice Stack Cathedral Organ, The Cathedral of Christ the King, Superior, Wisconsin

Sebastian M. Glück

Sebastian M. Glück, New York, New York

The William and Alice Stack Cathedral Organ

The Cathedral of Christ the King, Superior, Wisconsin

Ground was broken for the Cathedral of Christ the King on June 23, 1926, and the building was dedicated on Christmas Day of 1927. Elegant simplicity marks the neo-Romanesque structure and its campanile, built upon a raised platform and standing nobly against the Wisconsin sky. Romanesque architecture, which features thick masonry walls with small windows rather than large expanses of flexible stained glass, normally would provide ample reverberation and the preservation of most frequencies. The cathedral’s interior stood unfinished until a fund drive was initiated in 1937 to complete the decorations and furnishings, installing carpet in the sanctuary and sound-absorbing materials covering the ceiling and the upper side and rear walls of the nave. Despite the great cubic volume of the building, reverberation was annihilated, with a range of .94 to 1.0 seconds. The choir sang from a low-ceilinged gallery above the narthex, its voices struggling to reach the crossing with the inadequate accompaniment of a small organ with failing digital stops.

A new acoustic

In 2003, Rev. Richard Vosko was engaged as the liturgical designer, along with architect Robert Semborski of Architectural Resources, Inc., of Duluth, Minnesota, to begin a revision of the cathedral, with Scott R. Riedel & Associates, Ltd. of Milwaukee, Wisconsin, as acoustic and organ consultants. The choir was relocated into the Epistle-side transept, and the altar, ambo, and liturgical functions onto a raised sanctuary space that extends into the crossing. The project was completed and dedicated in February of 2005.

The installation of terrazzo paving and the removal of the sound absorbing ceiling and side wall treatments were initial steps toward doubling the reverberation time. A coffered, hard plaster ceiling and hard surface clerestory walls now result in clear, intelligible speech and more than two seconds of gracious reverberation. Modest amounts of sound absorbing treatment on the rear wall prevent unwanted reflections and repetitions.

Upper-level balconies and ambulatory spaces flanking the sanctuary were redesigned as organ chambers for a future instrument, and the building was outfitted with electrical conduits and ductwork in anticipation of the installation of a new organ. The former hybrid organ was sold, and the cathedral used a piano as their primary musical instrument after the building renovation.

In 2003 the Cathedral Organ Committee had selected another organbuilder to build a new organ, but the price of the large instrument was formidable. The project was set aside until Scott Riedel recommended that I review the circumstances, since he had served as the consultant on three organs I had built across the country and believed that a different approach would lead to success. Client, consultant, and builder were in agreement that if an appropriate heritage organ could be adapted to the situation, the timeline could be compressed and the budget reduced. I made it very clear that despite the prevailing hopeful mythology, a complete restoration or reconfiguration of an existing organ might equal or exceed the cost of a new one.

Over a period of years, I located and offered three possibilities to the cathedral. The first was a late Frank Roosevelt organ that I had purchased and stored before its abandoned home was razed. Future plans had not been finalized in Superior, so I incorporated that instrument into a 62-rank double organ for another client (see The Diapason cover feature, April 2018). Two substantial, serially altered Aeolian-Skinner organs subsequently were brought under consideration. Both of those situations were so heavily freighted with bureaucracy, politics, and interference by middlemen that a choice was made to redirect the search.

On another front, unforeseen circumstances made the cathedral organ project possible. A church in the northeast had purchased, under my direction, carefully selected ranks from organs that had been dismantled and placed on the open market. That client chose to wait patiently for the time when they could build the organ I had designed for them without preparing any stops for future installation. At the point of signing a contract, Hurricane Sandy severely damaged that congregation’s roof, existing organ, and organ chamber. Their pipe organ would have to wait until they restored their building, and the pipes remained in storage. An evaluation of the needs of both potential clients led to the sale of that pipework to the Cathedral of Christ the King.

The available ranks were suited to adaptation for an organ in the cathedral, with adjustments to the specification, some rescaling of the fluework, and the construction of some new pipes. The clear mission was to serve the Catholic liturgy, congregational singing, and the established organ and choral literature. There was no interest in adopting the whims of any particular temporary organbuilding trend that might prove regrettable in the future. The specifications were built upon the features held in common by the instruments of the important eras and cultures of organ composition and building. That information was filtered through the registration guidelines handed down by tradition, performance practice treatises, and the composers’ scores. Such tenets distilled the stoplist toward a practical design that endures rather than frustrates.

The musical blueprint

What began as a two-manual design grew to three manuals in light of how much substantive literature called for a third, and how the nuances of choral accompaniment could be expanded. During the century and a half that Americans have placed Choir divisions under expression, these sections often have been of nebulous conception and could not serve the literature. I walked the conservative path of an unenclosed eight-rank Positiv division in the Gospel case, with the Great in the Epistle case. These divisions enjoy the spatial separation of a Baroque Positiv in a dorsal case while keeping the organ entirely on one level for the sake of tuning stability. The interior of the organ features abundant lighting, broad walkboards, sturdy tuning perches, and secure ladders to facilitate its future care and longevity.

Pipe organs of moderate size can exhibit some predictability in tonal design if the builder is a conscientious steward of a client’s funds; each indulgent frill that supplants a requisite voice is an extravagant waste—a disservice to music, liturgy, and education. Instruments of this size can be conceived with measured additions to the safety of the template, increasing color and utility without being irresponsible. My ethical obligation to keep the instrument free of artificially generated voices served to focus the stoplist and curb tonal temptation.

The forthright core of the Great division is its Diapason chorus, with the bottom octave of the 8′ standing in the speaking façade. The large scale 8′ Harmonic Flute, which takes its lowest nine pipes from the Open Diapason to maintain open tone throughout the compass, is joined by the 16′/8′ wooden Bourdon unit and the Viole de Gambe borrowed from the Swell. The 4′ Spire Flute is voiced and finished such that it can be used in unconventional combinations with other flue stops for a variety of tonal colors. The firm and round Trumpet is an extension of the Pedal reed unit, and although a theoretical compromise, is not detected as such by the listener in the now-sumptuous acoustic.

The Swell division is located in the triforium of the Epistle side of the sanctuary, with shutter fronts opening into the sanctuary as well as to the transept behind the Great windchest. This second set of shutters prevents the Swell from sounding distant and directs its tone toward the choir stalls in the transept. The division is planted on a slider soundboard like the rest of the organ, with the exception of the reeds and the Viole de Gambe, which stand on an electropneumatic unit windchest.

The American Swell division, for decades gutted of its 8′ Open Diapason, is enjoying a return of this valuable pitch base. It is included here as a hearty slotted version that is immeasurably useful in the liturgy as well as in the performance of organ and choral music. The Swell Diapason chorus is marked by a brighter Mixture than that of the Great, and although it contains only three ranks, it bears two unisons and one quint throughout the playing range to maintain clarity in voice leading. Incisive French strings of slotted construction take their traditional places, and the undulant makes a good pair with the Diapason as well. The parent rank stands behind the shutter front near the Great windchest, as it is borrowed onto the Great to complete the quartet of stops for the fonds d’huit.

The choir of flutes includes the elements of the Cornet Composé. With only one tierce combination in the instrument, I felt that the mutations should be flute scaled. Principal scaled mutations cannot weld into a Cornet, yet the 8′-22⁄3′-13⁄5′ flute combination can, in a good acoustic, convince one that there is a Sesquialtera present. This places the Cornet in a position to enter into dialogue with the half-length cylindrical reed in the Positiv while still contributing to the Grand-Jeu.

The original plan called for independent ranks for the 16′ Bassoon and 8′ Oboe, but they were reconceived as a unit when the organ was expanded to three manuals. An unexpected feature of the capped, full-length 16′ Bassoon is that when drawn in the Pedal by duplex action, it sits beautifully beneath the strings, as a surrogate Violone, and adds color and pitch identity to the Pedal line in softer combinations.

The Positiv borrows a bit from the Georgian chamber organ and a bit from the Continental Baroque, but is neither. Open flue stops at 8′ pitch were common practice for the secondary manual divisions of Bach’s time and culture. The chronic omission of such tone, as well as the frequent absence of the 4′ Principal during the Orgelbewegung’s American manifestation, perpetuated an imbalance between the Great and Positiv. The utility of the 8′ Dulciana cannot be overstated, especially when it leans more toward an Echo Diapason than the type of neutered, bland string placed in American organs of a century ago. The two-rank mixture is not high-pitched, as the Positiv differentiates itself by its weight and texture without having the upperwork separate from the ensemble. The 8′ Clarinet is made of very hard black zinc and is notably bold and broad in tone, voiced brightly so as to work well in both French organ repertoire and its characteristic soli in English anthem accompaniments. The Herald Trumpet, which plays from this manual, is placed in the triforium on the Gospel side of the sanctuary and is the most brilliant stop in the organ.

The Pedal division is derived from four boldly scaled unit ranks and carefully selected mezzo-forte stops either borrowed or extended from the manual divisions, with the 8′ Principal in the Gospel façade. The 16′ Dulciana, extended from the Positiv, is worth its weight in gold for its utility and elegance, and allows for the forcefulness of the 16′ Open Wood Bass to fully undergird the ensemble. The 16′ Trombone unit, despite its brassy flair, is warm and round, and rolls down the nave dramatically. It is scaled and voiced for the Pedal, rather than being a conceptual extension of the Great Trumpet, a practice which can lead to inadequate support in the bass.

The visual element

It is a challenge to be invited to design and build an organ after another builder’s recommended alterations have been made to the edifice. A freestanding organ in a resonant case, recessed slightly into one of the transepts, would have been ideal, but two factors negated that possibility. Reinforced concrete platforms projecting into each transept were already in place at the direction of the previously selected builder. Worshippers and visitors to the cathedral had been looking at those empty shelves and gaping holes in the transept walls for a decade and a half, and expected a resolution. In addition, three fine mosaics in the Byzantine style had been commissioned for each of the building’s apses, and their beauty had to remain in view.

My series of concept sketches began with a sculptural “pipes in the open” array, which quickly revealed itself to be contextually inappropriate. As a preservation architect attuned to precedent and context, I felt that the mid-20th-century treatment was an evasion of artistic responsibility, so I moved forward by cataloguing the building’s architectural elements. One principle of fine interior design is that if stylistically disparate furnishings are placed in a room, the gesture is most successful when they are at least two historical periods apart.

The cathedral case design, as built, combines pendant pairs of pipe stockades with wooden casework. The former is a nod to what Midwestern American builders were producing for Catholic churches at the time the cathedral was built, and the latter was inspired by my walk-through of the permanent stage settings of Palladio’s Teatro Olimpico of 1585, in which he used classical architectural elements in forced perspective to create the illusion of greater height and depth in the built environment. Unconventional as this treatment may be, one has the sense that the portions of the instrument that flank the liturgical focus of the building were always in place and meant to be there. Rather than being imposed distractions, they tend to sweep the eye back toward the sanctuary.

Beyond the walls

When a church or synagogue asks its membership to contribute funds toward a major project, the campaign is most successful if it enhances the lives of those beyond the circle of donors. If pipe organs are heard only during religious services and are kept under lock and key at all other times, a barrier is erected between the institution and the inquisitive listener. The organ is one of many tools that can bring the surrounding community into the congregation’s sphere of ministry.

The area’s organists and academics have taken note of this instrument in part because it offers a new perspective on the performance of the post-Mendelssohnian organ repertoire without rejecting any of the structure of the golden age of the organ. In a region that until recently has favored the interpretive neoclassicism of the last century, organ students are welcomed to a new pipe organ of a more inclusive academic style.

Large-scale choral works and the hundreds of pieces written for organ with solo instruments or orchestra will be more authentically experienced in this peaceful, spiritual, resonant space. The Duluth Superior Symphony Orchestra, Twin Ports Wind Orchestra, Lake Superior Chamber Orchestra, Duluth-Superior Symphony Chorus, Superior Diocesan Chorale, and myriad collegiate ensembles have a new resource through which to expand and vitalize the musical life of the region.

—Sebastian Glück

Personnel:

Sebastian M. Glück, Artistic and Tonal Director

Albert Jensen-Moulton, General Manager

Robert Ahlborg

Joseph DiSalle

Keith Goss

Dominic Inferrera

John Kawa

Robert Rast

William Wildenberg

David Winek

 

Suppliers:

Organ Supply Industries, A. R. Schopp’s Sons, Syndyne, Peterson Electro-Musical Products

 

GREAT – Manual II

16′ Bourdon (ext 8′) 12 pipes

8′ Open Diapason 58 pipes

8′ Bourdon 58 pipes

8′ Harmonic Flute (a) 49 pipes

8′ Viole de Gambe Swell

4′ Principal 58 pipes

4′ Spire Flute 58 pipes

2′ Fifteenth 58 pipes

Chorus Mixture IV 232 pipes

8′ Trumpet (b) 14 pipes

Tremulant

8′ Clarinet Positiv

8′ Herald Trumpet Positiv

Great Silent

SWELL – Manual III – enclosed

8′ Open Diapason 58 pipes

8′ Stopped Diapason 58 pipes

8′ Viole de Gambe 58 pipes

8′ Voix Céleste (TC) 46 pipes

4′ Principal 58 pipes

4′ Harmonic Flute 58 pipes

22⁄3′ Nazard 58 pipes

2′ Quarte de Nazard 58 pipes

13⁄5′ Tierce 58 pipes

Mixture III 174 pipes

16′ Bassoon (ext 8′) 12 pipes

8′ Trumpet 58 pipes

8′ Oboe 58 pipes

  Tremulant

16′ Swell to Swell

4′ Swell to Swell

POSITIV – Manual I

8′ Viole de Gambe Swell

8′ Dulciana 58 pipes

8′ Holzgedeckt 58 pipes

4′ Principal 58 pipes

4′ Chimney Flute 58 pipes

2′ Recorder 58 pipes

Sharp Mixture II 116 pipes

8′ Clarinet 58 pipes

Tremulant

8′ Trumpet Great

8′ Oboe Swell

16′ Herald Trumpet (fr 8′) 

8′ Herald Trumpet 58 pipes

Positiv Silent

PEDAL

32′ Untersatz (c)

16′ Open Wood Bass 32 pipes

16′ Dulciana (ext Pos 8′) 12 pipes

16′ Sub Bass 32 pipes

16′ Bourdon Great

8′ Principal 32 pipes

8′ Sub Bass (ext 16′) 12 pipes

8′ Viola Swell

8′ Dulciana Positiv

8′ Bourdon Great

4′ Fifteenth (ext 8′) 12 pipes

4′ Flute Great

16′ Trombone 32 pipes

16′ Bassoon Swell

8′ Trumpet (ext 16′) 12 pipes

8′ Bassoon Swell

4′ Clarion (ext 16′) 12 pipes

4′ Clarinet Positiv

8′ Great to Pedal

8′ Swell to Pedal

4′ Swell to Pedal

8′ Positiv to Pedal

16′ Swell to Great

8′ Swell to Great

4′ Swell to Great

8′ Positiv to Great

8′ Swell to Positiv

Great/Positiv Transfer

(a) C1–G#9 from 8′ Open Diapason

(b) extension of Pedal Trombone unit

(c) C1–B12 resultant from Open Wood Bass

 

Three manuals, 37 ranks, 2,107 pipes

Positiv Sharp Mixture II

C1 19.22

C25 15.19

F#31 12.15

A46 08.15

 

Swell Mixture III

C1 15.19.22

C13 12.15.22

C37 08.12.15

C49 01.08.12

 

Great Chorus Mixture IV

C1 19.22.26.29

C13 15.19.22.26

G#33 12.15.19.22

F#43 08.12.15.19

C#51 05.08.12.15

 

Builder’s website: www.gluckpipeorgans.com

Cathedral website: https://superiorcathedral.org

Photo by John Kawa.

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