New Schoenstein for Charleston, SC

Schoenstein & Co. Pipe Organ Builders, Benicia, California; Bishop Gadsden Episcopal Retirement Community, Charleston, South Carolina

The masked organ man

After installing more than seventy new pipe organs and dozens of rebuilds and renovations in almost every condition and environment I could think of, a new challenge was thrown into the mix, Covid! Installing a pipe organ at its best is a logistics challenge. Finding a time when we can take over a church six days a week for a month or more, being sure the organ (in a huge 18-wheeler), our crew, and hoisting equipment all arrive at the same hour, arranging for transportation and good lodging of our men who work a 63-1⁄2-hour week can be a coordination nightmare.

We were supposed to begin the installation of Opus 179 in the chapel of Bishop Gadsden Episcopal Retirement Community in May 2020, but with Covid’s emergence and the fact we were working with an obviously vulnerable population, we were forced to postpone the installation to give the client and us time to prepare for the new Covid challenges. Finally all agreed we could begin in August 2020, and we set out to take every precaution we could to protect ourselves and the Bishop Gadsden community. We had facemasks, hand sanitizer, and implemented our own temperature monitoring system each morning before even departing the hotel.

Bishop Gadsden also instituted many layers of safety, beginning with mandatory masking and daily temperature checks at the parking lot gate. We would have to return to the hotel if we failed to pass. We were given color-coded stickers for our name badges to let others know we had been cleared to work. Management installed an electronic automated temperature station inside the chapel that we could use to monitor ourselves during the day. We were even not allowed to use the existing restrooms and instead had a porta-potty and a garden hose with dish soap. The portable restroom outside in the summer was one of the most unpleasant parts of the job for obvious reasons, but in addition to the hot and humid conditions, each time we would go out, we would come back in with dozens of mosquito bites! The hotel had its own set of policies in place, such as masking in common areas, the gym was closed, and even the complimentary breakfast was changed to just a simple paper bag with an apple, a muffin, and a carton of milk. Hard to imagine but I sure did miss the mystery meat and reconstituted eggs that we regularly get.

Just traveling from California to Charleston was challenging with Covid screening and facemask mandates in the airport and on the plane. In some ways, however, travel was a bit easier as there was almost no one traveling! There is a silver lining in everything if you look for it.

Even with the logistical challenges and the inconveniences that Covid thrust upon us, the installation was a total success. However, Covid still wasn’t done with Opus 179. The dedication of the organ was put off indefinitely! Nigel Potts kindly offered to give a preview concert on October 22, 2020, for those who could safely attend. The formal dedication and blessing of the Fei Family Organ took place on November 18, 2021. On the next day Jeffrey Smith, music director of St. Paul’s Parish K Street in Washington, D.C., played a recital covering a wide range of repertoire plus exuberant hymn singing by the happy audience.

—Chris Hansford

Schoenstein Installation Foreman

Design for versatility

When one thinks of a chapel at a retirement community, even a very nice one, what first comes to mind is a small, heavily carpeted room on the first floor with a piano and, possibly, a digital instrument played by a local keyboardist. The chapel at Bishop Gadsden in Charleston, South Carolina, could not be any more different. On the other end of the spectrum, their Southern-Colonial-style chapel is of generous size (approximately 50 by 70 feet and 25 feet tall), with tile floor, traditional padded pews, tall windows, an elevated pulpit, gold leaf engravings of The Lord’s Prayer, Credo, and Ten Commandments, and a painting of “The Presentation in the Temple” behind the altar. In the back of the room, an elevated gallery serves as the home for a free-standing instrument.

The challenge ahead of us lay in designing an instrument within limited space and height while also providing an array of color that will fulfill the needs of this community chapel and occasional visiting recitalists. The room, while sizable for the typical retirement home, has the quality of intimacy without feeling claustrophobic. The organ needs to fit the same bill: colorful intimacy without overpowering the space.

The result is Schoenstein & Co. Opus 179, a three-manual, fourteen-voice instrument. On paper, one may notice similarities to the color palette of Opus 153 at Christ & Saint Stephen’s in New York City (See Nigel Potts’s tonal demonstration on YouTube @ tinyurl.com/4eumtt3c). However, Opus 179 stands apart in how it is adapted to the room’s acoustic and tonal properties. The Bishop Gadsden Chapel accentuates the high-middle frequencies above 1⁄2′ (think page turns, clapping, and human speech), with an adequate distribution of bass tone; reverberation time around 1-1⁄2–2 seconds. Christ & Saint Stephen’s is a wide, low ceiling room with very little reverberation.

Were Opus 153 transplanted to the home of Opus 179, it would not be successful. After all, the room is as much the instrument as the pipes. Especially with the chapel at Bishop Gadsden, care was taken when pre-voicing this organ in the shop. A conservative approach allowed us to more easily bring the ranks up to their final mark instead of having to reign them in.

Another aspect of Opus 179 that we have found successful in previous instruments is the use of a third keyboard as, in essence, a coupling manual. Instead of relying on a plethora of couplers, however, they have dedicated drawknobs. Here one will find solo, accompaniment, and ensemble voices. Employing this technique makes the organ more versatile and enables the organist’s registrational creativity to shine. The third manual paired with double expression stops also gives the aural illusion of a third division! Sixteen ranks become that much more flexible.

Limited vertical height dictated a single-level instrument with a greater length than height. With the main chests lowered as much as possible into the mechanical level, the remaining space is not much more than six feet. The expressive Great division on the left houses the expected principal chorus of 8′, 4′, and 2′ Mixture III in addition to a softer 8′/4′ Corno Dolce/8′ Flute Celeste pairing, 8′ Harmonic Flute (Corno Dolce bass to tenor G), and Clarinet. Other than being hyper-conscious of Harmonic Flute windiness accentuation in the room, these ranks are consistent with previous instruments.

The Swell division, on the right side of the organ, has most of the instrument’s unification. The Bourdon serves as the Pedal Bourdon at 16′ (available in the Swell also) and continues as a Chimney Flute at 4′ C. The 8′/4′/2′ Salicional is the division’s unit echo diapason with a slight string edge as ample counterparts to both the Great chorus and Swell Gamba. The Oboe Horn serves as another color reed, a counterpart to the Great Clarinet, and also represents the softer 16′ reed available in the Pedal adding support without too much power. Inner shades regulate the 8′ Gamba, its Celeste (full compass), and the 16′/8′ Tuba Minor. Rounding out the instrument is an independent Pedal Violoncello and Contrabass unit sitting in front of the Great shades. Metal down to 16′ C, it provides independent foundational support for the entire instrument.

Typically, with instruments of a modest size of sixteen ranks, organists are often “stuck” with ordinary combinations of a principal here, a flute there, and maybe a couple of reeds. They may resort to hand acrobatics to achieve a different sound or color they want. Flutes may sound the same—the reeds too close in character. At Bishop Gadsden, each of the fourteen voices is unique. They evolve as they move from low C to high C. No two ranks sound the same. The Solo (third) manual opens the door for organists to more easily achieve the sound they are looking for, and double expression adds another dimension of creativity for the organist. The result is an organ that sounds as though it has ten more ranks than it actually has. Each one plays a vital and equal role in its success.

—David H. Anderson

Schoenstein Service Manager & Voicer

Success = People who get things done!

In 2006 Bishop Gadsden Episcopal Retirement Community celebrated completion of its beautiful chapel modeled in the traditions customary to eighteenth-century South Carolina Anglican churches. The architect was Dan Beaman of the firm Cummings & McCrady. An organist with a custom digital instrument in his home, he would not leave the project without provision for a future pipe organ. The stout foundations for an organ gallery were key points on the first day of construction.

In fall of 2017, the dynamic and much beloved President/CEO of Bishop Gadsden, Bill Trawick, set about completing the chapel with the long-awaited pipe organ. He asked Nigel Potts, then canon organist and director of music at Grace Church Cathedral in Charleston, to work along with Dan Beaman as consultants on musical and architectural matters. Bishop Gadsden resident Patty Fei stepped forward to make the dream a reality by funding what was to become known as the Fei Family Organ in memory of her husband James and their daughter Christina.

While the organ was being built in California, Bill Trawick retired, and vice president, Sarah E. H. Tipton, became president/CEO. She and a fine staff supervised all the preparation for the organ’s installation. The architect in charge of designing the organ gallery and the organ casework was Ben Whitener of Cummings & McCrady. Our design director Glen Brasel worked closely with Ben and with Brett Gerbracht of JMO Woodworks, Charleston, in merging the organ’s inner works with the case. For steadfast support during the installation and continuing, we are ever grateful for the excellent help of Mike Anderson, facilities, and Catie Murphy, administration.

The continuing program of the chapel is under the direction of the Rev. Charles Jenkins. The chapel organist is Clara Godsell.

—Jack M. Bethards

Schoenstein & Co.

Builder’s website: schoenstein.com

Retirement community website: www.bishopgadsden.org

Photo credits: Louis Patterson and Bishop Gadsden Archive

GREAT (II - Expressive)

8′ Open Diapason 61 pipes

8′ Harmonic Flute  42 pipes (Corno Dolce bass)

8′ Corno Dolce 61 pipes

8′ Flute Celeste (TC) 49 pipes

8′ Vox Celeste II (Swell)

4′ Principal 61 pipes

4′ Corno Dolce (ext) 12 pipes

2′ Mixture III† 166 pipes

8′ Tuba Minor (Swell)

8′ Clarinet 61 pipes

Tremulant

Great Unison Off

Great 4′

†Mixture does not octave couple

SWELL (III - Expressive)

16′ Bourdon (wood, ext) 12 pipes

8′ Salicional 61 pipes

8′ Chimney Flute 61 pipes

8′ Gamba† 61 pipes

8′ Vox Celeste† 61 pipes

8′ Flute Celeste II (Great)

4′ Salicet (ext) 12 pipes

4′ Chimney Flute (ext) 12 pipes

4′ Flute Celeste II (Great)

2-2⁄3′ Nazard (from Chimney Flute)

2′ Fifteenth (ext) 12 pipes

16′ Bass Tuba† (ext) 12 pipes

16′ Contra Oboe (ext) 12 pipes

8′ Tuba Minor† 61 pipes

8′ Oboe Horn 61 pipes

Tremulant

Swell 16′

Swell Unison Off

Swell 4′

†In separate box inside Swell

SOLO (I)

SOLO STOPS

8′ Open Diapason (Great)

8′ Harmonic Flute (Great)

8′ Oboe Horn (Swell)

8′ Clarinet (Great)

16′ Bass Tuba (Swell)

8′ Tuba Minor (Swell)

ACCOMPANIMENT STOPS

8′ Corno Dolce (Great)

8′ Flute Celeste (Great)

8′ Gamba (Swell)

8′ Vox Celeste (Swell)

ENSEMBLE STOPS

8′ Salicional (Swell)

8′ Chimney Flute (Swell)

4′ Salicet (Swell)

4′ Chimney Flute (Swell)

2-2⁄3′ Nazard (Swell)

2′ Fifteenth (Swell)

Solo 16′

Solo Unison Off

Solo 4′

PEDAL

32′ Resultant

16′ Contrabass 32 pipes

16′ Bourdon (Swell)

8′ Open Diapason (Great)

8′ Violoncello (ext) 12 pipes

8′ Salicional (Swell)

8′ Chimney Flute (Swell)

4′ Octave (Great Open Diapason)

4′ Flute (Great Harmonic Flute)

16′ Bass Tuba (Swell)

16′ Contra Oboe (Swell)

8′ Tuba Minor (Swell)

4′ Clarinet (Great)

COUPLERS

Great to Pedal

Great to Pedal 4′

Swell to Pedal

Swell to Pedal 4′

Solo to Pedal

Solo to Pedal 4′

Swell to Great 16′

Swell to Great

Swell to Great 4′

Solo to Great

Great to Solo

Swell to Solo

MECHANICALS

Solid State Capture Combination Action:

5,000 memories

48 pistons and toe studs

3 reversibles

Programmable piston range

Piston sequencer

Record/Playback system

 

14 voices, 16 ranks, 995 pipes

Electric-pneumatic action

Schoenstein & Co. Pipe Organ Builders, Benicia, California, has installed its Opus 179 organ in the chapel at Bishop Gadsden Episcopal Retirement Community, Charleston, South Carolina. The new organ comprises 14 voices, 16 ranks, and 995 pipes on three manuals and pedal.

The expressive Great division on the left houses the expected principal chorus of 8′, 4′, and 2′ Mixture III in addition to a softer 8′/4′ Corno Dolce/8′ Flute Celeste pairing, 8′ Harmonic Flute (Corno Dolce bass to tenor G), and Clarinet.

The Swell division, on the right side of the organ, has most of the instrument’s unification. The Bourdon serves as the Pedal Bourdon at 16′ (available in the Swell also) and continues as a Chimney Flute at 4′ C. The 8′/4′/2′ Salicional is the division’s unit echo diapason with a slight string edge as ample counterparts to both the Great chorus and Swell Gamba. The Oboe Horn serves as another color reed, a counterpart to the Great Clarinet, and also represents the softer 16′ reed available in the Pedal adding support without too much power. Inner shades regulate the 8′ Gamba, its Celeste (full compass), and the 16′/8′ Tuba Minor.

Rounding out the instrument is an independent Pedal Violoncello and Contrabass unit sitting in front of the Great shades. Metal down to 16′ C, it provides independent foundational support for the entire instrument.

The new organ is featured on the cover of the September 2022 issue of The Diapason: 
https://www.thediapason.com/content/cover-feature-schoenstein-cobishop-gadsden-retirement-community

For information: schoenstein.com

Paul Fritts & Company Organ Builders, Tacoma, Washington; Hillsdale College, Hillsdale, Michigan

From the builder

Paul Fritts & Company Organ Builders has recently completed the last of two new significant organs, the firm’s Opus 44 and Opus 45, for Christ Chapel at Hillsdale College in Hillsdale, Michigan. The chapel was completed in 2019 and provides seating for 1,350 within the 27,500-square-foot building. Designed by architect Duncan Stroik, the interior of the classically inspired chapel is modeled after St. Martin-in-the-Fields in London and Christ Church, Philadelphia. The 64-foot-high barrel vault ceiling, stone columns, wooden pews, and polished marble floors provide the space with excellent acoustics, especially in the elevated chancel at the front of the nave. In addition to regular services, the chapel provides space for college ceremonies and concerts. Consultant for the organ projects Dr. Paul Thornock and the builder worked extensively together with the architects throughout all phases of the project to insure the best possible musical and logistical results.

The design phase for these two projects was extensive. Never before were we tasked with building cases designed by the architect of the building where they stand. This requires a unique collaboration due to the tonal and structural requirements of an organ often unfamiliar to architects. The work ended well, problems were solved, and we are proud of the collaboration and how it has expanded our design scope.

Early on when the building was being designed it was determined that rather than making one very large organ, the needs of the program would be better served by two organs. Opus 44, completed concurrently with the new building in 2019, is conceived as a “choir” organ and speaks from the side of the chancel where it is in close proximity to small and large ensembles. Its 30 stops are divided between three divisions: the Great at impost level, the Swell above, and the Pedal divided on either side. The organ case is made of sapele mahogany to match all of the woodwork throughout the chapel. Its musical resources are designed to support a wide variety of service music and organ repertoire. The organ serves admirably as a solo and concert instrument in its own right, and it was dedicated with a concert by Nathan Laube on April 15, 2021.

To provide support for singing for a full congregation and to serve as a concert instrument, the Gallery Organ, Opus 45, has three manuals and pedal. Installation and tonal finishing were recently completed in October 2022. It, too, is housed in a sapele mahogany case with a large “broken” pediment, columns, and architectural capitals. The polished tin façade pipes are the lowest notes of the Great and Pedal Principal 16′ stops, both of which are independent. The en fenêtre keydesks of both organs are in the front center of the cases.

Both organs feature suspended mechanical key actions providing a light but easily controlled touch while sending tactile feedback to the player. Stop actions are mechanical with the inclusion of “intelligent” solenoids and 999-memory-level combination actions. General and divisional pistons, coupler and 32′ reversible toe studs, and a sequencer with multiple “forward” pistons and studs are part of both combination systems.

The stoplists were drawn up by the consultant and the builder. Both organs have substantial principal choruses on each of their divisions along with a variety of flute and string stops and are capped with a generous array of reed stops. The Gallery Organ includes both a large-scale 32′ Subbaß and an independent 32′ Posaune. Both French and German Trompets at 8′ reside in the Great, and a French-style 8′ Cromorne in the Positive as well as a Cavaillé-Coll inspired 8′ Hautbois in the Swell and 8′ Flûte Harmonique in the Great. There is also a Renaissance-style 8′ Trompet with duck-billed shallots included in the Swell. All are voiced with full-length resonators for a full yet colorful sound that blends appropriately with the overall organization of voicing style and related pipe design throughout. Compact design with reasonable access was important for space reasons and focus of the sound.

The Gallery Organ is similar in its layout to the Choir Organ, with the organ’s three manual divisions triple decked in the center with the Positive at the lowest (impost) level, the Great above, and the Swell at the top of the 38-foot-tall case. The Pedal division is divided on either side of the manual divisions. The 32′ Subbaß bass octave is placed on two windchests (C and C-sharp) at floor level at the rear of the case. Directly in front of the large Subbaß pipes, the 32′ Posaune stands on two windchests at floor level, the tallest of the tin resonators reaching to the top of the case.

The large pipes in the center façade are the lowest nine pipes (C to G-sharp) of the Great 16′ Principal. The largest four pipes of the Pedal 16′ Principal (C to D-sharp) are wooden, made of sugar pine, mounted inside the case. The Pedal façade pipes begin at E and continue to tenor f. The four smaller façade pipes in the outer fields and closest to the center field continue the Great 16′ Principal up to tenor e.

The pipes for both organs were made entirely in the Fritts workshop, the metal ones constructed of two alloys—high lead and high tin—that have been cast on sand. The process dates to ancient times and was the method used for the pipe making of Gothic and Renaissance organs and continued in some instances well into the Baroque period. The very rapid cooling of the pipe metal on the sand bed (compared to a relatively long cooling period on a cloth-covered table) produces material with a smaller crystalline structure, which has discernible benefits to the sound of the pipes. The speech of the pipes is enhanced with the pipes reaching their steady-state tone seemingly more quickly with less fuss, and with less obtrusive harshness and speech noise. Windways can be generous and pipe toes open encouraging a free, colorful, and unforced sound on relatively low wind pressures. The overall impact of the organs can then be determined by wind pressure and to a lesser degree pipe scales.

The Gallery Organ has five wedge-shaped bellows, all positioned within the case. The Great and Positive divisions share two bellows that have been carefully balanced to work together for good support of these divisions. The Pedal division makes use of one similarly sized bellows for the C and C-sharp sides and the Swell has its own bellows. The bass octave pipes of the 32′ Subbass are directly winded from the blower’s static pressure windline, which provides them with 120 mm (4¾ inches) of wind pressure. The Great and Positive divisions are winded at 74 mm, the Swell on 70 mm and the Pedal division on 76 mm.

The two organs are pitched identically at 440hz @ 70°F. Both utilize Kellner’s “Bach” temperament.

The Gallery Organ is provided with a dedicated air conditioning system that was planned at the outset and built as a part of the chapel construction. During summertime, air-conditioned air is circulated throughout the organ case and is regulated by a thermostat high in the Swell. During the heating season, air will continue to circulate throughout the case to control temperature stratification. Experience with similar systems in our organs has shown this to be critical for keeping vertically separated divisions in tune with one another.

The success of an organ project, or in this case, two projects, depends upon a great number of contributing factors. Chief among them is installing the organs in advantageous locations in a great space. A well-developed design and tonal plan along with meticulous craftsmanship and expert voicing and tonal finishing lead to outstanding results. The melding of the countless and seemingly disparate elements into a cohesive whole that is greater than the sum of its parts is the special alchemy that is superb organ building.

Special thanks go to the administration of Hillsdale College for their foresight and vision in commissioning these instruments and to project advisor, Dr. Paul Thornock. Thanks and appreciation also go to the staff of Paul Fritts & Company: Greg Bahnsen, Zane Boothby, Rain Daley, Paul Fritts, Raphi Giangiulio, Erik McLeod, Andreas Schonger, Bruce Shull, Ben Wooley, and to our bookkeepers and business managers, Robyn Ellis and Marlon Ventura. Carving work was provided by Dimitrios Klitsas. 

The completion of the Gallery Organ will be celebrated with an inaugural concert by Nathan Laube on April 13, 2023.

—Paul Fritts

From the consultant

The Hillsdale organ project began with a phone call from the architect who expressed the desire for a new organ to be as special and specialized as the building itself. The desire for mechanical action was in place before the consultant was hired.

An organ in the new Christ Chapel would be required to do many things, including playing for academic ceremonies, accompanying the college’s choirs and orchestras, playing repertoire, and serving as a teaching instrument. Hillsdale College President, Dr. Larry P. Arnn, believes that, “To elevate the hearts and minds of the faithful, Christ Chapel must be a home for musical beauty of the highest order.” Further, his desire to create a regularly sung evensong in the chapel was given considerable weight. The college’s large symphony orchestra also had to fit in the chancel.

The available space in the chancel precluded building a single large instrument in the front of the building that would completely fulfill the musical mission. Further, there was no appetite for placing an organ on the main axis at the front of the building. The only solution was two organs of complementary but distinct characters.

This visionary project was truly an “if you build it, they will come” affair. The college wished to build a sacred music program, and the administration understood that the infrastructure had to be in place to do it. Therefore, an organ professor was not yet in place during the design phase. The committee, which consisted of the architect, consultant, and various administrators, traveled throughout the Midwest to see and hear dozens of instruments by six of North America’s distinguished builders. It is fascinating how committees often have an “Aha!” moment in visiting a particular organ; this moment happened when they visited the Fritts organ at the DeBartolo Performing Arts Center at the University of Notre Dame. 

The result is a workhorse two-manual organ in the chancel with an efficient but developed Swell division that enables the organist to render choral accompaniments convincingly and to play the many liturgical events in the chapel, including evensong. The instrument also has sufficient power to pair with the orchestra. The Gallery Organ is the heroic instrument the college desired for large convocations and concerts.

Dr. Arnn’s ideals are borne out in these examples of the organ art: “There never has been a great university unconcerned with the question of the Divine. More than one-third of our students are involved in music—an invaluable gift that helps us to contemplate beauty, harmony, and meaning. To that same end, our splendid organs will help point man’s thoughts toward God.”

—Paul Thornock

From the architect

Christ Chapel at Hillsdale College, Michigan, is the first freestanding chapel in the college’s 175-year history. Located on the main axis of campus and forming a new quadrangle, the classical brick and limestone exterior features a domed circular entrance portico with Doric columns. Three concave entry doors lead into an elegant barrel-vaulted nave with limestone columns and mahogany side balconies. Large arched windows fill the space with natural light. 

The Choir Organ is located along the side wall of the chancel and framed by a limestone arch and Doric columns engaged to the wall. The case is 24 feet tall by 13 feet wide. Carved mahogany Corinthian columns divide the façade of the organ case into a taller central section and two side wings. This architectural motif (called a “Serliana”) is found throughout the chapel, such as on the second level of the main exterior façade, and the window above the altar in the chancel. A gold leaf inscription in the frieze of the entablature of the organ case reads: Laudate eum in Chordis et Organo (“Praise him with strings and pipes,” Psalm 150). Carved mahogany laurel wreaths punctuate the pedestal of the organ. Limestone relief panels in the chancel show a harp, trumpets, cymbals, and floral swags, visually depicting the praise of God called for in the psalm.

The Gallery Organ case harmonizes with the Choir Organ but is much larger, 30 feet tall by 30 feet wide. Its overall shape is also a Serliana motif. It has four 15-foot-tall fluted composite columns. An elaborate entablature and broken pediment with a receding apex are above. It also has an inscription across the pulvinated frieze: Cantate Domino Canticum, Novum Quoniam Mirabilia Fecit (“Sing to the Lord a new song, for he has done great wonders,” Psalm 98). 

While there are some examples of college chapels with two organs in the United States, there are few examples of the organs being conceived together. The architect has designed five other cases in the United States for both new and historic organs, and was inspired by the Saint-Sulpice grand orgue case by the architect Jean-François Chalgrin. The two new organs will be the centerpieces of Hillsdale’s expanding music program.  

—Duncan G. Stroik 

 

Builder’s website: www.frittsorgan.com

Architect’s website: www.stroik.com

College website: www.hillsdale.edu

 

Choir Organ, Opus 44

GREAT (Manual I)

16′ Bourdon

8′ Principal

8′ Salicional

8′ Rohrflöte

4′ Octave

4′ Spitzflöte

2-2⁄3′ Quinte

2′ Octave

Mixture IV

8′ Trompet

4′ Trompet

SWELL (Manual II)

8′ Principal

8′ Gamba

8′ Voix celeste

8′ Gedackt

4′ Octave

4′ Rohrflöte

2-2⁄3′ Nasard

2′ Gemshorn

1-3⁄5′ Tierce

Mixture III–IV

16′ Fagott

8′ Trompet

8′ Basson/Hautbois

PEDAL

16′ Subbass

8′ Principal

8′ Bourdon*

4′ Octave*

16′ Posaune

8′ Trompet

*Some pipes transmitted from other stops

Couplers

Swell to Great, Great to Pedal, Swell to Pedal

 

Polished tin front pipes

Suspended, direct mechanical key action

Mechanical stop action with electric pre-set system

Tremulant

Compass: Manual 58 notes; Pedal: 30 notes

Gallery Organ, Opus 45

GREAT (Manual I)

16′ Principal

8′ Octave

8′ Salicional

8′ Rohrflöte

8′ Flûte Harmonique

4′ Octave

4′ Spitzflöte

3′ Quinte

2′ Octave

Mixture VI–VIII

Cornet V

16′ Trompet

8′ Trompet

8′ Trompette

SWELL (Manual III)

8′ Principal

8′ Gedackt

8′ Baarpijp

8′ Violdigamba

8′ Voix celeste

4′ Octave

4′ Koppelflöte

2-2⁄3′ Nasat

2′ Octave

2′ Blockflöte

1-3⁄5′ Terz

Mixture V–VI

16′ Trompet

8′ Trompet

8′ Hautbois

8′ Vox Humana

POSITIVE (Manual II)

8′ Principal

8′ Gedackt

8′ Quintadena

4′ Octave

4′ Rohrflöte

2-2⁄3′ Nasat

2′ Octave

2′ Waldflöte

1-1⁄3′ Larigot

Sesquialtera II

Mixture VI–VII

16′ Dulcian

8′ Trompet

8′ Cromorne

PEDAL

32′ Subbaß*

16′ Principal

16′ Subbaß

8′ Octave

8′ Bourdon*

4′ Octave

4′ Nachthorn

Mixture VI–VII

32′ Posaune

16′ Posaune

8′ Trompet

4′ Trompet

2′ Cornet

*Some pipes transmitted from other stops

Couplers

Swell to Great

Positive to Great

Swell to Positive

Great to Pedal

Swell to Pedal

Positive to Pedal

 

Polished tin front pipes

Suspended, direct mechanical key action

Mechanical stop action with electric pre-set system

Swell Tremulant

Great & Positive Tremulant

Wind Stabilizer

Compass: Manual 58 notes; Pedal: 30 notes

 

 

Opus 44 Choir Organ: 

30 stops; 38 ranks; 1,854 pipes

Opus 45 Gallery Organ: 

57 stops; 85 ranks; 4,115 pipes

Schoenstein & Co., Benicia, California; The Church of the Redeemer, Chestnut Hill, Massachusetts

Two perspectives

Sterling Anglican music program, perfect acoustics, an engaged parish—heaven-on-earth for an organbuilder, but only if the right people are on board to help. Many of our projects have been aided by excellent professional consultants, but this one might not have happened at all without the steady hand of Sean O’Donnell. He was mentor, organizer, and problem solver. In addition to all the usual issues such as navigating the changing of the fabric of a beloved architectural gem to accommodate the organ, his diplomatic skill was an immense help to the rector in convincing the parish of the need for change even though the existing instrument was relatively new. We were very pleased when the parish extended Sean’s engagement to supervise all of the architectural, electrical, and mechanical preparations for our installation. A highly experienced and skilled organ technician, he knew exactly what we needed. He also followed the time-honored practice of the best organ consultants—leaving the musical decisions entirely to musician and builder.

—JMB

The consultant’s role

Next to the church building itself, a pipe organ is usually the most valuable and longest-lived asset a church will have. Acquiring or restoring one is a daunting task that has not likely been undertaken in recent memory, or even within living memory. There are a great many goals to discern, details to attend, and challenges to meet—to help with this process, the community will often hire a consultant. The consultant’s role is not to do this work for the community, but to provide the education, information, and tools the community needs to create an instrument that will serve their needs far into the future. The overall process is iterative: defining project goals will be followed by exploring instruments that meet those goals, but that exploration will inform, refine, and even change those goals.

As the project comes into tighter focus, the consultant recruits qualified firms to submit proposals, ensuring that the firms understand the unique needs and goals of the church. As the proposals are evaluated, the consultant guides the committee by providing resources to clarify concepts that may be unfamiliar, and by making sure that all aspects of the project have been clearly addressed. There are many musical options available, and many talented organbuilders. With the right information and a little guidance, a community can easily acquire a fine pipe organ well suited to their current and future needs, and even enjoy the process.

It was a great joy to work with Church of the Redeemer. They embraced the challenges and myriad details with enthusiasm and dedication as they worked through whether to restore or rebuild their existing instrument, acquire a vintage instrument, or, as they ultimately decided, commission a new instrument.

There was much to learn, and the first part of the process was a series of listening exercises, starting in their own church so that folks who sit in the same seats every Sunday (like so many of us) could listen from the organist’s perspective, from the choir’s perspective, and from various places in the nave. We even had a set of test pipes that we were able to install in two different instruments to hear how much the room affected their sound. From there we branched out, listening to organs in a variety of styles by current and historic builders. After each listening session, the organist and the committee spent a few minutes listing words or short phrases describing the instrument: words like clarity, mystery, clean, flexible, warm, etc. As they developed a vocabulary, we began to discuss which of those attributes they wanted in their pipe organ, and focused on those options. Through all of this the organs were demonstrated by the same organist, using the same set of pieces drawn from Redeemer’s repertoire.

Choosing from among the organbuilders who so eagerly shared their knowledge and creativity was the next challenge, and the committee ultimately commissioned the instrument from Schoenstein & Co. From start to finish it was important to ensure that potential builders understood both the possibilities and the limitations of the project, and that the organ committee had mastered the architectural and structural issues, scheduling and budgets, subcontracts and side jobs, and the many, many other details comprising a project of this magnitude.

With the solid support of the rector, Fr. Michael Dangelo, organist Michael Murray, and the church staff, and with the hard work and dedication of the organ committee chaired by the indefatigable Leslie Horst, The Church of the Redeemer has acquired a beautiful new pipe organ, supremely well suited to their style of worship. More importantly, it was a project they entered into with confidence and excitement and completed with pride, looking forward to generations of worship enhancing music.

­—Sean O’Donnell, Consultant

A great voicer is very much in the same musical plane as a first chair member of the woodwind section in one of the Big Five symphony orchestras. A great conductor in a great concert hall is nothing without great players. Just like artistic musicianship, voicing requires skill, practice, experience, and, most of all, good musical taste. Timothy Fink, an all-round skilled organbuilder, heads our pipe shop and shares voicing duties with Mark Hotsenpiller, our head voicer.

—JMB

A voicer’s vision

The Church of the Redeemer possesses a fabulous room for church music. The nave’s acoustic properties enhance sound in a way that leaves the listener overwhelmed, overjoyed, and ultimately sonically satisfied. What a treat for an organbuilder’s commission.

The room into which any organ sounds is its resonator. A guitar has a body, a piano has a soundboard, but the organ needs a room. The qualities that make this one so lovely are: cubic volume, proportions, materials of construction, and shape of reflecting surfaces. The room is of modest size allowing an organ of modest size to fill it with sound. The proportions are classic (the architecture is based on English Gothic), meaning they are not exaggerated in one dimension. Heavy masonry construction assures that the entire frequency spectrum is reflected and the variability of the reflecting surfaces breaks up these reflections, delighting our ears.

The result of these properties is a room with an ideal reverberation period—not a long reverberation period. The musical magic happens in the milliseconds immediately after the sound is produced. The length of time the high energy lingers is Early Decay Time. This is the portion of the reflected sound to which our musical minds respond. The nave at Church of the Redeemer reflects sound at nearly the full frequency spectrum for a generous portion of the total reverberation time.

The projection of sound into the room is important, too. The organ chamber is a modestly proportioned room in an elevated position at the nave’s crossing. The short side of its rectangular shape is open to the chancel with the long side open to the nave. It too is constructed of substantial masonry materials assuring all sound frequencies are reflected out of the chamber. Here we located the Great, Swell, and some of the Pedal organs. Below the chamber and in a space between the chancel and a side chapel, we located the Choir organ. The console resides on the opposite side of this arrangement giving the organist some hearing distance from the organ. Between these two the choir’s singers are arranged in the traditional academic style. Finally, 32′ and 16′ octaves of the Pedal Open Wood are located at the back wall of the nave and the south transept. This was done out of necessity since there was no room in the chamber for these large pipes. Much care was taken to harmonize these beauties with their surroundings. Sonically, they provide a thrilling musical “push” to the organ’s ensemble.

Tonally, the organ was commissioned to function in the Anglican tradition. Mr. Murray’s love of English Victorian and Edwardian tone provided focus to this scheme. It is in our tradition to provide new organs with plenty of foundation, but the multiple diapasons in the scheme might appear to be excessive. The idea here was to use a variety of Diapason tone for musical subtlety, not power. The acoustical environment highlights the subtle difference in timbres.

To make sense of this list of Diapasons consider the following: the Great Open Diapason No. 1 is the tonal center of the organ. It possesses the largest scale and mouth width and easily supports the chorus set above. Numbers 2 and 3 progress smaller in scale and mouth width providing subtlety of musical variation. This gives the musician exacting control over the tonal center of the organ. Choruses can be thinned or fattened, stop combinations adjusted for power, or the Diapasons can simply be appreciated for their sublime solo qualities. The No. 3 is also available at 16′ and 4′, further extending the possible combinations. Sitting above these stops is a proper Principal 4′ and Mixture 2′. These reduce in scale as the pitch rises assuring that these higher pitches are suggestions of the fundamental.

The Swell Horn Diapason “No. 4” is similar in scale to the Great No. 2, but with narrow tuning slots and higher wind pressure. These attributes give it a distinct quality that bends musically to the closing of the Swell shades. It supports a Gemshorn 4′, a tapered principal. Its hybrid tone quality allows chameleon-like abilities when combined with other Swell stops. Finishing the chorus is a Mixture 2′, small in scale and carefully pitched such that it will be properly subdued with the shades closed.

The Choir Dulciana 8′ “No. 5” is the smallest of the Diapasons but with a wider mouth. Its subdued yet singing quality coupled with its expressive location next to the singers begs them to sing along. Add the 4′ Dulcet and a mini chorus is formed.

The Pedal Open Wood 32′ serves as two stops. The 8′ portion is named Grand Open Diapason 8′ “No. 6” and is comparable in scale to the Great No. 1 but on higher wind pressure. Its noble solo demeanor demands independent appearance on the Great and Choir manuals. The 32′ and 16′ portions form the Pedal Open Wood producing a stunningly solid foundation for the entire organ.

With space diminishing, the organ’s flute stops are at a minimum but still well represented. Two harmonic flutes are provided. The Great Harmonic Flute 8′ soars down the nave to listener’s delight. The Swell Flageolet 2′ has harmonic trebles imparting its sound with both blending and power qualities expected of English full Swell effects. Three stopped flutes are available: one on the Great at 8′, one on the Swell at 16′ and 8′, and one on the Choir at 8′, 4′, and 22⁄3′. They find their distinction by varying the scale and construction. The Great Bourdon 8′ is the largest scale but made of metal. The next smaller scale is in the Swell and is made of wood with pierced stoppers. The Choir Leiblich Gedeckt is smallest in scale and made of metal with narrow chimneys.

Of course, space was left for the very necessary strings and celestes. The bite and warmth of the Swell Gamba 8′ combines seamlessly its neighbor stops. Add the complementary full compass Celeste 8′ (maybe a coupler or two), and heaven is in sight. Just for contrast, the expressive Choir Unda-Maris 8′ gives an added sonic dimension to the organ’s palate. While bringing the organ to a decrescendo another color can be receded to delighting the listener with unexpected beauty.

Six ranks of reeds were somehow incorporated into this organ. Three types of trumpets, a tuba, and two color reeds provide an extensive color palate. The Great Trumpet 8′ leans toward a French quality, assuring it will stand up with all those Diapasons. The Swell Posaune and Cornopean represent a time-tested Schoenstein combination. This uses a bright, larger Cornopean at 8′ with the smaller, darker Posaune at 16′ and 8′. (The 16′ octave and a 32′ extension, all under expression, are available in the Pedal.) The musical possibilities with this arrangement are endless. The final bit to sweeten the organist’s orchestrations, both stops can be drawn together on the Choir manual as the Tuben 8′. Countering this effect is a proper Tuba 8′—unenclosed. Its 16′ extension in the Pedal employs wood resonators of powerful full and dark character.

The Oboe and Corno di Bassetto are the color reeds. The Swell Oboe Horn 8′ combines with the flue stops yet retains the piquant treble quality necessary for solo passages. The Corno di Bassetto 8′ features well in its ability to render chordal effects along with piano solo melodies.

Rounding out the tonal palate is the Schoenstein action system. Each pipe is controlled by its own valve. This allows the transmission of entire ranks to another division without the use of couplers. Each division is designed to stand for its purpose. However, by carefully selecting stops to be playable on another division or extending beyond their assigned range opens a huge door to new tonal possibilities. It unlocks the musical value already built into the organ.

­—Timothy Fink, Schoenstein & Co.

—Jack M. Bethards, Schoenstein & Co.

Photo credit: Louis Patterson

 

GREAT (Manual II)

16′ Double Diapason 61 pipes

8′ Grand Diapason (Ch)

8′ Open Diapason No. 1 61 pipes

8′ Open Diapason No. 2 61 pipes

8′ Open Diapason No. 3 12 pipes (ext 16′)

8′ Harmonic Flute 49 pipes (Sw Horn Diapason bass)

8′ Bourdon 61 pipes

4′ Principal 61 pipes

4′ Octave (ext 16′) 12 pipes

2′ Fifteenth 61 pipes

2′ Mixture (III–IV) 187 pipes

8′ Trumpet 61 pipes

8′ Corno di Bassetto (Ch)

Cymbelstern

SWELL (Manual III, enclosed)

16′ Lieblich Bourdon (ext 8′) 12 pipes (unenclosed)

8′ Horn Diapason 61 pipes

8′ Stopped Diapason 61 pipes

8′ Echo Gamba 61 pipes

8′ Vox Celeste 61 pipes

4′ Gemshorn 61 pipes

2′ Flageolet 61 pipes

2′ Mixture (III–IV) 192 pipes

16′ Contra Posaune 61 pipes

8′ Cornopean 61 pipes

8′ Posaune (ext 16′) 12 pipes

8′ Oboe Horn 61 pipes

Tremulant

Swell Sub Octave

Swell Unison Off

Swell Super Octave

CHOIR (Manual I, enclosed)

8′ Dulciana 61 pipes

8′ Unda-Maris (TC) 49 pipes

8′ Lieblich Gedeckt 61 pipes

4′ Dulcet (ext 8′) 12 pipes

4′ Lieblich Flute (ext 8′) 12 pipes

2-2⁄3′ Nazard (fr Lieb Ged)

8′ Corno di Bassetto 61 pipes

Tremulant

8′ Grand Diapason 29 pipes (unenclosed, ext Ped 16′ Open)

8′ Tuba (unenclosed) 61 pipes

8′ Tuben II (Swell)†

8′ Trumpet (Great)

Choir Sub Octave

Choir Unison Off

Choir Super Octave

† Draws Sw Cornopean and Posaune

PEDAL

32′ Double Open Wood† 12 pipes

16′ Open Wood 32 pipes

16′ Open Diapason (Gt)

16′ Lieblich Bourdon (Sw)

8′ Open Bass (ext 16′ Open) 12 pipes

8′ Dulciana (Ch)

8′ Stopped Diapason (Sw)

4′ Harmonic Flute (Gt)

32′ Contra Posaune 12 pipes (ext Sw 16′)

16′ Ophicleide 12 pipes (ext Ch 8′ Tuba)

16′ Posaune (Sw)

8′ Tuba (Ch)

Gt & Ped Combinations Coupled

†Stopped quint pipes 1–5, open pipes 6–12. Resultant 1–5

Intermanual couplers

Swell to Great

Swell to Choir

Choir to Great

Great to Pedal

Swell to Pedal

Choir to Pedal

Notes

Intramanual couplers read through Intermanual couplers; for example thus: when the Swell Super Octave coupler is drawn, Swell stops will sound at Unison and Super Octave pitch on the Great if Swell to Great is drawn.

Manual Sub Octaves do not couple to the Pedal.

Mechanicals

Solid state capture combination action:

100 memories

52 pistons and toe studs

5 reversibles

Programmable piston range

Record/playback system

TONAL ANALYSIS

PITCH SUMMARY

16′ and below 3 12%

  8′ 16 64%

  4′ and above 6 24%

25 100%

TONAL FAMILIES

Diapasons 12 48%

Open flutes 2 8%

Stopped flutes 3 12%

Strings 2 8%

Chorus reeds 4 16%

Color reeds 2 8%

25 100%

Three manuals, 25 voices, 31 ranks

Electric-pneumatic action

Builder’s website: https://schoenstein.com

Church website: www.redeemerchestnuthill.org

Dobson Pipe Organ Builders, Ltd., Lake City, Iowa

Bruton Parish Church, Williamsburg, Virginia

Bruton Parish Church is immediately recognizable as an important and large edifice among eighty-eight original and intact eighteenth-century structures in Colonial Williamsburg where hundreds of other early houses, shops, and public buildings have been reconstructed. Founded in 1674, the name of the parish comes from the town of Bruton, in the English county of Somerset, which was the ancestral home of several leading Colonial figures. Construction of the present building began in 1712 to a design of Governor Alexander Spotswood and was completed three years later. It was enlarged in 1752 when the Vestry voted to make the east end as long as the west, extending the chancel by twenty-five feet. The tower was added in 1769. It was Bruton’s rector, the Reverend William A. R. Goodwin, D.D., who first conceived the restoration of Williamsburg to its colonial state. Goodwin removed Victorian changes to the church early in the twentieth century, and his work was later taken up by the Colonial Williamsburg Foundation in its restoration of the building between 1938 and 1941. It was designated a National Historic Landmark in 1970.

Bruton has a lengthy organ history. In 1729, Governor William Gooch wrote to an unidentified English Lord:

I am prevailed upon by Gentlemen of the Country to Beg the favor of your Lordship to intercede with His Majesty for an organ for our church at Williamsburg . . . . As such gifts my Lord have sometimes been made by royal Bounty to other places in America; the subjects here most humbly presume to hope, that they may have as just a claim . . . as any people in any part of his Majesty’s Dominions.

The parish’s unrequited interest found expression in the 1741 Journals of the Virginia Legislature, where it was asked: “whether an organ, to be bought by the Public, and appropriated to the Use of Divine Service, at the Church where the Seat of Government shall be, will not add greatly to the Harmony of Praise to the Supreme Being?” Further disappointment followed until finally, in 1752, the Assembly passed an act authorizing “the purchase of a musical organ, for the use of, and to be placed and kept in the said church.” Still, three years elapsed before an organ was ordered from London, its maker unknown to us today.

The new organ was played by Peter Pelham, who was born in England but raised in Boston, where he studied with Charles Theodore Pachelbel and eventually served as organist of Trinity Church following a sojourn of several years in Charleston, South Carolina. He moved to Williamsburg around 1750, where he not only became Bruton’s organist but also ran a music store, gave keyboard lessons, supervised the printing of currency, and was appointed keeper of the Public Gaol. He conveniently merged this last activity with his playing, frequently pressing a prisoner into service to pump the organ.

The instrument Pelham knew was replaced in 1835 with an organ by Henry Erben, about which little is known apart from its installation in a newly built gallery in the church’s east end, now the liturgical west after a re-ordering of the space earlier in the decade. In 1856, Erben’s organ was in turn replaced by Pomplitz & Rodewald of Baltimore.

At the dawn of the twentieth century, the Hutchings-Votey Organ Co. provided a new instrument, installed in the chancel, which by this time had been returned ad orientem. Some of its pipes were retained in Opus 968 of the Aeolian-Skinner Organ Co. That instrument, rebuilt on six occasions since its construction in 1937 and growing from 12 ranks to 105, was crowded into the attic, into the east galleries (including inside a 1785 organ case by Samuel Green set up there in 1939), and within the church tower. Faced with increasing mechanical unreliability and advised by consultants that a new, smaller organ more advantageously sited would yield both musical and maintenance benefits, the parish undertook a search for an organbuilder. That process came to its conclusion in February 2016 with the signing of a contract between Bruton Parish Church and Dobson.

This organ, the ninety-sixth new instrument our workshop has created, stands in the east gallery, in the space formerly occupied by the Green organ case and multitudes of concealed pipes from the previous organ. It takes its visual cues from the reredos, recreated in the 1939–1940 restoration of the church, extending its design upward in a way that honors the older material without copying it. It is built of yellow poplar that is painted to match the existing woodwork. The front pipes of 75% tin are drawn from the Great Principal 8′ and the Pedal Octave 8′, and are overlaid with 22-karat gold leaf.

The organ console, like the pulpit, is constructed of black walnut. Most walnut sold commercially today is steamed to even out its color, a process that trades richness for consistency. Instead, we obtained locally grown lumber from a sawmill in Albert City, Iowa, that was dried in the traditional way; its varied colors are complemented by the Carpathian elm burl that enriches the console interior. Unlike the bulky previous console, the new one is movable, supported by an integral dolly that needs no space-consuming platform. It normally lives in the front box on the south side, but it can easily be moved by a single person into the central aisle or transepts for recitals or concerts. The manual keys have bone naturals and ebony sharps, while the pedal keys have hard maple naturals and rosewood sharps. An adjustable bench and 300-level combination action is provided.

An organ of the size of Opus 96 is anachronistic in a North American Colonial building, as most instruments from that era were modest chamber organs like the 1785 Green organ. We sought to accommodate an instrument of the size expected for a present-day church music program by placing as much of the organ as possible in a traditional, line-of-sight relationship with the nave. Thus, the Great, Positive, and part of the Pedal are located in the new case. The Swell and largest Pedal pipes are in the attic directly above the case and speak through grilles. Portions of the old organ were similarly installed in the attic, but we have constructed much heavier walls around the Swell for a more effective swell when the shades are closed and better reflection of sound into the church when they are open. Equally important, a dedicated HVAC system for the attic organ area keeps the temperature up there comparable to that around the pipes in the case below, giving a stability of tuning that was never possible before.

Each of the four divisions of the organ is built around traditional principal choruses. These are augmented by colorful flutes, those in the Great and Positive being more classical in nature, while those of harmonic construction in the Swell recall romantic examples. Each division is rounded out by characteristic reed stops. The pipes standing within the case are voiced on a wind pressure of 3½ inches, the Swell is voiced on 5 inches, and the larger Pedal stops above are on 4½ inches. Because the organ so often accompanies historic instruments tuned one half step below modern pitch, there is a transposer to allow the organ to play at A–415 Hz in addition to the normal A–440 Hz. Four Positive stops have an additional 415 bass pipe so that low C will play when the transposer is in use; these pipes are also utilized for the low Cs of other stops throughout the organ when it is played at low pitch. The organ is tuned to equal temperament.

Like all instruments we build with electric action, the main windchests are of slider and pallet design, which supports a natural style of voicing and speech. Unlike simple versions that have a single large pulldown magnet per note for electric operation or some sort of pneumatic apparatus that relies on extensive amounts of leather, our design provides an electro-mechanical valve in addition to the main pallet, permitting a smooth pressure rise in the key channel analogous to a mechanical action played legato, with none of the abruptness of what are sometimes derisively termed “yank-down” actions. This design allows the main pallet springs to be quite strong, yielding extremely prompt note repetition—since good repetition depends not only on a speedy opening of the valves but also a prompt closing. When individual valves are required in electric-action organs for large bass pipes, for duplexing, or for high wind pressures, we use traditional electro-pneumatic windchests.

Though smaller in number of pipes than the previous organ, Opus 96’s simple layout and straightforward placement allow it to speak with greater presence and authority in the church, and makes tuning and maintenance far easier than before.

First used in worship on August 25, 2019, the new organ was celebrated in a series of September 2019 events. On the September 7 and 8, Gordon Stewart, Borough Organist of Huddersfield Town Hall, presented identical back-to-back inaugural recitals. On September 15, the parish musicians offered a service of Choral Evensong, with premieres of music by Philip Stopford and Sondra Tucker. On September 21, a program of music for organ and instruments was presented by Rebecca Davy and JanEl Will, organists; Susan Via and Susannah Livingston, Jennifer Edenborn and Brady Lanier, strings; Amy Miller, baroque flute; Suzanne Daniel, bassoon; and Wendell Banyay, trumpet. And on September 28, Rebecca Davy and JanEl Will presented a program featuring new music, including commissioned pieces by Dan Locklair, Aaron David Miller, and Tom Trenney. Beyond these celebratory events, Bruton continues a tradition begun by Peter Pelham of offering recitals and concert programs throughout the year, more than 130 in all, presented by choirs, instrumentalists, and keyboardists.

The Reverend Christopher L. Epperson is the rector of Bruton Parish Church. Rebecca Davy is music director and organist, and JanEl Will is organist; James Darling is choirmaster-organist emeritus.

It has been a privilege and joy to work with everyone at Bruton Parish Church to create this individual work of art. May it long serve and encourage God’s people in Williamsburg and beyond.

—John A. Panning, Vice President and Tonal Director, Dobson Pipe Organ Builders, Ltd.

For information regarding the history of Bruton’s earlier organs, the author acknowledges with gratitude the contributions of William T. Van Pelt, Stephen Pinel, and Jonathan Ortloff. For further information, readers may wish to seek out James S. Darling’s book, Let the Anthems Swell: Musical Traditions at Bruton Parish Church, published in 2003.

Dobson Pipe Organ Builders, Ltd.

William Ayers

Abraham Batten

Kent Brown

Lynn A. Dobson

Donald Glover

Randy Hausman

Dean Heim

Donny Hobbs

Deana Hoeg-Ryan

Ben Hoskins

Albert Meyers

Arthur Middleton

Dwight Morenz

Ryan Mueller

John A. Panning

Kirk Russell

Robert Savage

Jim Streufert

John Streufert

Jon H. Thieszen

Pat Thieszen

Adam Ullerich

Sally J. Winter

Dean C. Zenor

Laurent Robert, wood carving

Christopher Swan, gilding

GREAT (Manual II)

16′ Bourdon 61 pipes

8′ Principal 61 pipes

8′ Gamba 61 pipes

8′ Chimney Flute 61 pipes

4′ Octave 61 pipes

4′ Flute 61 pipes

2-2⁄3′ Twelfth 61 pipes

2′ Fifteenth 61 pipes

1-3⁄5′ Seventeenth 61 pipes

2′ Mixture IV 244 pipes

8′ Trumpet 61 pipes

Swell to Great

Positive to Great

Tremulant

SWELL (Manual III, enclosed)

8′ Diapason 61 pipes

8′ Bourdon 61 pipes

8′ Viole 61 pipes

8′ Viole Celeste 61 pipes

4′ Octave 61 pipes

4′ Harmonic Flute 61 pipes

2-2⁄3′ Nasard 61 pipes

2′ Octavin 61 pipes

1-3⁄5′ Tierce 61 pipes

1-1⁄3′ Mixture III 183 pipes

16′ Bassoon 61 pipes

8′ Trumpet 61 pipes

8′ Oboe 61 pipes

4′ Clarion 61 pipes

Tremulant

POSITIVE (Manual I)

8′ Principal 61 pipes

8′ Gedeckt 62 pipes*

4′ Octave 62 pipes*

4′ Chimney Flute 62 pipes*

2′ Super Octave 62 pipes*

1-1⁄3′ Larigot 61 pipes

1⁄2′ Sharp Mixture II 122 pipes

8′ Clarinet 61 pipes

Tremulant

Swell to Positive

PEDAL

16′ Principal 32 pipes

16′ Subbass 32 pipes

16′ Bourdon (Gt)

8′ Octave 32 pipes

8′ Gedeckt (ext 16′) 12 pipes

4′ Super Octave 32 pipes

16′ Trombone 32 pipes

8′ Trumpet 32 pipes

Great to Pedal

Swell to Pedal

Positive to Pedal

Zimbelstern

Great/Positive Manual Transfer

A-415/A-440 Transposer (* denotes stops with an extra low C pipe for A-415)

Summary

39 Registers

41 Stops

45 Ranks

2,587 Pipes

Builder’s website: www.dobsonorgan.com

Church website: www.brutonparish.org

Cover photo credit: Wm. T. Van Pelt