Schoenstein organ for Atlanta Cathedral

Raising the roof will not be necessary

Schoenstein & Co. Opus 147
First United Methodist Church, Birmingham, Michigan

Fact: An organ’s most important stop is the room in which it plays.
Lesser-Known Fact: Improvement opportunities exist for churches with poor acoustics that go beyond dismissing the carpet and pew cushions.

When First United Methodist Church of Birmingham, Michigan received a generous gift for the replacement of its aging Möller organ, the church quickly realized a careful study of all aspects of the sanctuary should be undertaken. It was felt the new instrument, as well as their entire worship experience, would benefit from an improved acoustical environment.

Church renovation
Our first visit to Birmingham found a 1952 building of fine materials that enveloped an acoustically dead sanctuary. Jack Bethards, Schoenstein & Co. President and Tonal Director, reported that “When I first looked at this room, I wondered if there was any hope. The room had hardly any resonance, and there were frequency hot spots that added a kind of harshness to musical tone. Worst of all, it was tough to sing in the room because people felt isolated from one another.“
The new organ could only achieve its potential if the acoustic of the building were improved. Every possible idea was discussed, including raising the roof to increase cubic volume. This would have added millions of dollars to the project, and it was hoped that significant enough improvement could be attained through less invasive methods.
Ultimately a plan of action was decided upon to:
• Install a beautiful and reflective hard-tile floor in the chancel.
• Install new chancel walls with increased organ tone-opening area.
• Change the height of the chamber ceilings to eliminate sound-defeating pockets.
• Install an Electronic Reflected Energy System (ERES) by the Jaffe-Holden Company.

The project also grew in scope to address other needs:
• Improve sight lines for the congregation by raising the chancel floor, along with other changes enabling flexibility for a variety of programs in addition to Sunday morning worship.
• Install an improved, quieter, HVAC system.
• Updates to lighting, the public address system, walls and floor coverings.

The result is one of the finest sanctuary renovations we have seen. The reflective flooring in the chancel has provided a pleasant natural bloom of resonance, and the Jaffe-Holden system has added a tasteful and subtle acoustical ambiance only otherwise possible with a roof raising. The new HVAC system is accurate, well balanced, and above all, silent. The improved temperature and humidity control will positively affect the stability and longevity of the organ. The renovation team did a magnificent job of freshening up and improving the visual elements of the room.

Fact: An organ’s most important stop is the room in which it plays.
Lesser-Known Fact: A properly designed and built organ can make a room sound better than its acoustic.

The Schoenstein organ
In the organ dedication program notes, Jack Bethards addressed the organ and its relationship to the church. “With all of the elements working together to enhance music, a logical question would be why was a new organ necessary? Certainly the sound of the old organ would have been enhanced, but would it have been enough to solve the various musical problems that faced Doris and Chris Hall (organist and director of music respectively) when they called us in to study the situation? Simply put, the old organ was designed to match a particular approach to a limited part of the organ solo repertoire; the new organ is designed to accompany the church service.”
The new organ (three manuals, 38 voices, 46 ranks) has a vastly different effect in the room from the previous instrument, despite its similar physical layout. The unenclosed Great is divided on either side of the altar and takes advantage of its favorable location, speaking down the axis of the church. The Choir is located in one side chancel chamber and the Swell in the other. A small Antiphonal division across the balcony wall complements the organ by drawing the sound of the chancel organ rearward to support congregational singing.
According to Bethards, “The biggest concern in a church organ is to have a large variety of different tone qualities. There are two reasons for this. First, the organ is played by and heard by the same people week after week, year after year. To sustain musical interest, the sound can’t be the same all the time. Second, a good choir sings just about every kind of choral music written. This demands great subtlety in accompaniment with different tone colors at a multitude of volume levels.”
Eight-foot diapasons of various types were used throughout to provide richness and warmth of tone in both melody and bass pitch. The old organ overemphasized upperwork, and the effect of the ensemble was harsh. With the goal being an effect of nobility, full choruses were maintained, but less upperwork was planned and more foundational stops were added to lower the tonal center of gravity and provide contrasting color. Note the Great with its four eight-foot stops, a Harmonic Flute and Gamba in addition to the Open Diapason and Bourdon.
True string stops of varied character complement each division, with an additional hybrid or muted Corno Dolce in the Swell. A wide variety of flutes were employed with the emphasis on full and double-length open construction rather than half-length stopped flutes that are less successful in rooms with drier acoustics.
Solo reeds, including the Oboe and Clarinet, are more orchestral in character than the old organ. There are four chorus reeds, ranging in volume from mezzo forte of the Choir Trumpet, through the Swell Trumpet and Contra Fagotto’s forte to the Tuba’s fortissimo, vital especially for festive services and weddings.
Schoenstein’s double expression system is used in the Swell organ. The softest and loudest stops of the division are grouped in the Inner Swell chamber, behind a second set of expression shades controllable by a separate shoe. This allows for very smooth and dramatic crescendos with a minimum of stop changes.
The new instrument is six ranks smaller than the old, but projects far more effectively due to its energized tone that enables more effective egress from enchambered installations. The highest wind pressure on the previous organ was four inches; this pressure is still found in the new unenclosed Great. Five inches is the lowest pressure for enclosed stops. Enchambered offset basses are on still higher pressure to further help them project, as are the unenclosed Pedal Subbass and Double Open Diapason (the bottom octave of which is an Open Wood).
The double-enclosed Swell chorus reeds and Mixture are on ten inches, as is the Choir Tuba. As Jack Bethards points out, “Pressure does not necessarily affect loudness, but it certainly affects carrying power and smoothness of tone. A selection of stops that are highly energized in tone and, therefore, can project their sound over a long distance, is one of the keys to a successful enchambered organ.”

Fact: An organ’s most important stop is the room in which it plays.
Lesser-Known Fact: The design elements that favor acoustical projection also favor the variety of tone needed in a church organ.

Todd Wilson played the organ dedication concert in November 2005. Other recent recitalists in the church’s Live at First concert series include Frederick Swann, Doris Hall, and Tom Trenney.
As is nearly always the case, the success of this project is due to the efforts of too many people to name in this limited space. We had wonderful support in every area and would like to especially thank the church staff and the dedicated volunteers who worked under organ committee chairperson Dale Parker and project manager Darrell White. We are also appreciative of the church’s fine musicians, Doris and Chris Hall, who make the new organ shine.
And raising the roof was not necessary.
—David Beck
Installation crew leader &
assistant voicer
Schoenstein & Co.

First United Methodist Church, Birmingham, Michigan
Three manuals and pedal
38 voices, 46 ranks
Electric-pneumatic action

GREAT (II – In Display)
16′ Contra Viola (Choir)
8′ Open Diapason 61 pipes
8′ Harmonic Flute 61
8′ Gamba 61
8′ Bourdon 61
4′ Principal 61
4′ Spire Flute 61
2-2⁄3′ Twelfth 61
2′ Fifteenth 61
2′ Mixture (III–IV) 187
8′ Tuba (Choir)
8′ Trumpet (Choir)
8′ Clarinet (Choir)
Chimes (Deagan in Choir box)
25 tubes

SWELL (III – Enclosed)
16′ Bourdon (wood) 12 pipes
8′ Open Diapason 61
8′ Stopped Diapason (wood) 61
8′ Echo Gamba 61
8′ Gamba Celeste (TC) 49
8′ Corno Dolce 49
(Stopped Diapason bass)
4′ Gemshorn 61
4′ Harmonic Flute 61
2′ Flageolet 61
8′ Oboe 61
Tremulant
Stops Under Double Expression
2′ Mixture (III–IV) H 209
16′ Contra Fagotto H 61
8′ Trumpet H 61
H = Heavy Wind
Swell 16′
Swell Unison Off
Swell 4′

CHOIR (I – Enclosed)
16′ Contra Viola 12 pipes
8′ Viola Pomposa 61
8′ Viola Celeste 61
8′ Concert Flute (wood) 61
8′ Lieblich Gedeckt 49
(Concert Flute bass)
4′ Fugara 61
4′ Lieblich Flute 12
2-2⁄3′ Nazard (from Lieblich Flute)
2′ Harmonic Flute 61
1-3⁄5′ Tierce (TC) 42
2′ Mixture (II–III) 173
8′ Trumpet 61
8′ Clarinet 61
Tremulant
16′ Ophicleide H 12
8′ Tuba H 61
4′ Tuba Clarion H 12
H = Heavy Wind
Choir 16′
Choir Unison Off
Choir 4′

ANTIPHONAL (Floating – In Display)
8′ Open Diapason 61 pipes
8′ Dulciana (Bourdon bass) 49
8′ Bourdon 61
4′ Principal 61
Antiphonal 4′

ECHO (Prepared)

PEDAL (In Display with Great)
32′ Resultant
16′ Double Open Diapason 12 pipes
16′ Sub Bass 32
16′ Contra Viola (Choir)
16′ Bourdon (Swell)
8′ Principal 32
8′ Diapason (Swell)
8′ Flute (Great)
8′ Viola (Choir)
8′ Bourdon (Swell)
4′ Fifteenth 12
4′ Flute (Great)
16′ Ophicleide (Choir)
16′ Contra Fagotto (Swell)
8′ Tuba (Choir)
8′ Fagotto (Swell)
4′ Clarinet (Choir)

Couplers
Great to Pedal
Swell to Pedal
Swell to Pedal 4′
Choir to Pedal
Choir to Pedal 4′

Swell to Great 16′
Swell to Great
Swell to Great 4′
Choir to Great 16′
Choir to Great
Choir to Great 4′

Swell to Choir 16′
Swell to Choir
Swell to Choir 4′

Antiphonal on Pedal
Antiphonal on Great
Antiphonal on Choir

Echo on Swell
Echo on Choir

Note: Antiphonal and Echo intramanual couplers read through intermanual couplers.

Mechanicals
Solid state capture combination action with:
100 memories
61 pistons and toe studs
Programmable piston range for each memory
Multiple Crescendo and Full Organ programs
5 Reversibles including Full Organ
Adjustable bench

Mixture Compositions
Great 2′ (III–IV)
C1 D15 B36 G#45
15 12
19 15 12
22 19 15 12
22 19 15

Swell 2′ (III–IV)
C1 B24 F#43 C#50
15 12 8
19 15 12 8
22 19 15 12
22 19 15

Choir 2′ (II–III)
C1 A22 D#52
15 12
19 15 12
22 19 15

Tonal analysis of manual voices
Pitch summary
16′ 5 13%
8′ 19 50%
4′ 6 16%
2-2⁄3′ 1 3%
2′ 6 15%
Above 2′ 1 3%
38 100%

Tonal families
Diapasons 14 37%
Open Flutes 7 18%
Stopped Flutes 5 13%
Hybrids 1 3%
Strings 5 13%
Chorus Reeds 4 11%
Color Reeds 2 5%
38 100%

Michael Friesen, of Denver, Colorado, is an organ historian who specializes in the history of organbuilding in America in the 18th and 19th centuries. He was President of the Organ Historical Society from 2003 to 2007.

St. John’s Episcopal Cathedral, Denver, Colorado, has announced that Spencer Organ Company, Inc. of Waltham, Massachusetts will restore the cathedral’s historic 5,949-pipe organ built by W. W. Kimball of Chicago. The four-manual, 96-rank Kimball organ, Op. 7231 of the firm, was dedicated on May 18, 1938, and was the last major instrument constructed before Kimball ceased organ-building operations in 1942 after the outbreak of World War II.
Founded in 1857, Kimball was a major manufacturer and supplier of musical instruments, primarily pianos and reed organs. Pipe organ manufacture began in 1891. Altogether, the company built and installed 7,326 organs throughout the United States and abroad. Most of the firm’s large instruments have been replaced, neglected, or substantially rebuilt. The Denver Kimball is now prized because of its completely original condition (not a pipe has been changed), preserving a rich English Cathedral aesthetic popular between the wars.
Although the instrument has been well maintained during its 71 years, it has developed the mechanical problems that come to all pipe organs with age and wear through heavy use. To preserve the instrument and keep it in optimal condition, the cathedral has committed to a comprehensive restoration process. Much of the organ was removed in June 2009, not only for restoration, but also to allow repairs and improvements to the organ’s chamber (built in a part of the cathedral intended as a temporary brick structure that has since become permanent). The organ restoration will include replacement of leather components, repair and renewal of mechanisms, and a thorough cleaning and re-regulation of all pipes.
The Spencer Organ Company, Inc., founded in 1995 by Joseph Rotella, specializes in the restoration of electro-pneumatic pipe organs. The Spencer firm, with eleven employees, has been entrusted with the restoration and maintenance of numerous Skinner, Aeolian-Skinner, and Kimball organs. The Denver project is a two-year program of staged work, beginning with the June removal and scheduled for completion in fall 2011.
The Kimball restoration is part of an effort at St. John’s to improve several aspects of the building in commemoration of its 150th anniversary in 2010–11, which includes the 100th anniversary of the cathedral building itself. (The parish was founded in 1860; the current cathedral building was dedicated in 1911.) Fund-raising for those projects and anniversary programs is underway. The cathedral is considering the commission of new organs for the rear gallery and St. Martin’s Chapel, details of which will be announced later. Throughout this process, St. John’s will continue its extensive music program without interruption.
St. John’s has purchased an instrument built in 1869 by the Boston, Massachusetts firm of E. & G. G. Hook, its Op. 476, for use as a temporary instrument while the 1938 Kimball organ undergoes restoration. The Hook was formerly in the First Methodist Church of Lawrence, Massachusetts, its original home. The congregation currently using that building did not need the Hook for their worship and offered it for sale through the Organ Clearing House.
The Hook is a two-manual, 17-stop, tracker-action instrument, contained in a free-standing walnut case with Victorian-stencilled façade pipes. Co-restorers are Richard C. Hamar of Norwich, Connecticut and Susan Tattershall of Denver, with additional materials and/or labor furnished by Norman Lane and Rick Morel of Denver, Rubin Frels of Victoria, Texas, Barbara Owen of Newburyport, Massachusetts, and Michael Quimby of Warrensburg, Missouri. In addition, over 1,400 hours have been contributed to the project by many parish volunteers and non-parishioner friends, from youth to adult, who have helped with various tasks, ranging from making new trackers, cleaning all parts of the organ, sanding the old varnish off the case, and re-stencilling the decorative components.
The restoration project follows the Organ Historical Society’s Guidelines for Conservation and Restoration for pipe organs. The pedal action, which was converted to tubular-pneumatic action in 1911 by the Hutchings Organ Company of Waltham, Massachusetts, has been returned to mechanical action in Hook style. Subsequent tonal alterations had included substituting a 22⁄3′ mutation stop and a 2′ flute for the 8′ Keraulophon and 4′ Violina ranks in the Swell, respectively, and a 4′ Flute d’Amour displaced the 16′ Bourdon on the Great, which was moved to a jump slide. The Keraulophon pipes were found in the organ, and have been repaired and restored to their original place; the jump slide and the Flute d’Amour were removed, with the Bourdon being returned to its original location, which required a redesign of the toeboard. The 2′ principal rank will remain in the organ for the time being until suitable replacement Violina pipes are found. The case has been given a new traditional shellac finish, and the façade pipes are being restored to their original color scheme. Thus the original musical aesthetic, mechanical functioning, and appearance of the Hook is being restored to the greatest extent possible.
Coincidentally, St. John’s had previous relationships with the Hook firm, purchasing two organs from them in succession: first, a small organ in 1875, which was used in its original church building in downtown Denver, and then a second, large three-manual organ in 1881 for the first cathedral located at 20th and Welton Streets, which burned in 1903.
The Hook organ has been placed on the floor of the nave in the back of the cathedral while repairs and refurbishing of elements of the cathedral chancel are undertaken. St. John’s began offering a recital series on the Hook in January 2010. Further concert dates will be announced. For additional information, contact the Cathedral Music Office at 303/577-7717. 

St. John’s Episcopal Cathedral
Denver, Colorado
W. W. Kimball Company
Chicago, Illinois
Op. 7231, 1938
4 manuals, 96 speaking stops, 96 ranks, 5,949 pipes

Great (61 notes, Manual II, unenclosed, except as noted *)
16′ Double Diapason
16′ Quintaton*
8′ First Diapason
8′ Second Diapason
8′ Third Diapason*
8′ Harmonic Flute*
8′ Bourdon*
8’ Gemshorn*
4′ First Octave
4′ Second Octave*
4′ Flute Harmonique*
22⁄3′ Octave Quint
2′ Super Octave
IV Fourniture
III–V Full Mixture
16′ Contra Tromba*
8′ Tromba*
4′ Clarion*
Tremolo (for enclosed labial stops)
Chimes (Solo)

Swell (61 notes, enclosed, Manual III)
16′ Contra Salicional
16′ Echo Lieblich
8′ Geigen Principal
8′ Hohl Flöte
8′ Salicional
8′ Voix Celeste
8′ Rohrflöte
8′ Flauto Dolce
8′ Flute Celeste
8′ Aeoline
8′ Aeoline Celeste
4′ Octave Geigen
4′ Traverse Flute
22⁄3′ Twelfth
2′ Fifteenth
III Cornet
V Plein Jeu
16′ Waldhorn
8′ Trumpet
8′ Cornopean
8′ Oboe
8′ Vox Humana
4′ Clarion
Tremolo
Chimes (Solo)
Harp (Choir) 8′
Celesta (Choir) 4′

Choir (61 notes, enclosed, Manual I)
16′ Contra Dulciana
8′ Diapason
8′ Concert Flute
8′ Viola
8′ Dulciana
8′ Unda Maris
4′ Prestant
4′ Lieblich Flöte
4′ Viola
22⁄3′ Nazard
2′ Piccolo
13⁄5′ Tierce
16′ Bassoon
8′ Trompette
8′ Clarinet
8′ Orchestral Oboe
Tremolo
Harp (8′, 61 bars)
Celesta (4′, from Harp)
Chimes (Solo)

Solo (61 notes, enclosed, Manual IV)
16′ Contra Gamba
8′ Flauto Mirabilis
8′ Gamba
8′ Gamba Celeste
4′ Orchestral Flute
4′ Gambette
2′ Piccolo Harmonique
8′ Tuba Mirabilis
8′ French Horn
8′ Cor Anglais
4′ Clarion
Tremolo
Chimes (25 tubular bells)
Harp (Choir) 8′
Celesta (Choir) 4′

Pedal (32 notes, unenclosed [except for enclosed borrows])
32′ Open Diapason (ext.)
16′ Open Diapason
16′ Principal
16′ Double Diapason (Great)
16′ Geigen
16′ Violone
16′ Bourdon
16′ Contra Gamba (Solo)
16′ Contra Salicional (Swell)
16′ Echo Lieblich (Swell)
16′ Contra Dulciana (Choir)
8′ First Octave (ext. Op. Diap.)
8′ Second Octave
8′ Geigen (ext.)
8′ Cello (ext. Violone)
8′ Flute (ext. Bourdon)
8′ Stillgedeckt (Swell 16′ Echo Lieblich)
8′ Dulciana (Choir 16′ Contra Dulciana)
4′ Super Octave
4′ Flute (ext. Bourdon)
IV Mixture
32′ Contra Waldhorn (ext.)
16′ Trombone
16′ Waldhorn
16′ Tromba (Great)
16′ Bassoon (Choir)
8′ Trumpet
4′ Clarion
Chimes (Solo)

Antiphonal (Manual IV; prepared for, 21 blank drawknobs)

Antiphonal Pedal (prepared for, 7 blank drawknobs)

Summary
Division Stops Ranks Pipes
Great 18 25 1,489
Swell 23 29 1,973
Choir 16 16 1,132
Solo 11 11 791
Pedal 28 15+7 ext. 564

Total 96 96 5,949

Couplers and Accessories
# = indicator light provided

Couplers (by tabs on coupler rail):
Great Sub 16′
Great Super 4′
Swell Sub 16′
Swell Unison Off
Swell Super 4′
Choir Sub 16′
Choir Unison Off
Choir Super 4′
Solo Sub 16′
Solo Unison Off
Solo Super 4′
Great to Pedal 8′
Great to Pedal 4′
Swell to Pedal 8′
Swell to Pedal 4′
Choir to Pedal 8′
Choir to Pedal 4′
Solo to Pedal 8′
Solo to Pedal 4′
2 blanks [intended for Antiphonal to Pedal 8′, 4′]
Swell to Great 16′
Swell to Great 8′
Swell to Great 4′
Choir to Great 16′
Choir to Great 8′
Choir to Great 4′
Solo to Great 16′
Solo to Great 8′
Solo to Great 4′
Choir to Swell 8′
Solo to Swell 8′
Swell to Choir 16′
Swell to Choir 8′
Swell to Choir 4′
Solo to Choir 8′
Great to Solo 16′
Great to Solo 8′
Great to Solo 4′
5 blanks [intended for Antiphonal division coupling to be determined]

Reversibles (by thumb piston and toe stud):
Great to Pedal
Swell to Pedal
Choir to Pedal
Solo to Pedal
Antiphonal to Pedal
Swell to Great
Choir to Great
Solo to Great
#Mezzo Sforzando (settable)
#Sforzando (settable)
#32′ stops off
#16′ stops off

Combinations (by thumb piston):
General 1–10
Great 1–8
Swell 1–8
Choir 1–8
Solo 1–8
Antiphonal 1–6
General Set
Cancel

Combinations (by toe stud):
General 1–10
Pedal 1–8
Pedal to Combinations On/Off (all manual divisions)
Pedal to Combinations 1st/2nd Touch
Pedal Movements:
balanced Enclosed Great expression pedal
balanced Choir expression pedal
balanced Swell & Master expression pedal
balanced Solo expression pedal
#balanced Crescendo pedal
#Chimes Soft (hitchdown)
#Chimes Sustain (hitchdown)
#Harp Sustain (hitchdown)

Accessories:
Expression Pedal Adjuster
#Signal Light
#Current Light

____________________________

St. John’s Episcopal Cathedral
Denver, Colorado
E. & G. G. Hook
Boston, Massachusetts
Op. 476, 1869
2 manuals, 17 speaking stops, 15 ranks, 772 pipes

Great (58 notes, CC–a3)
16′ Bourdon [TC]
8′ Open Diapason
8′ Stopped Diapason Bass
8′ Melodia [TC]
8′ Gamba [TC]
4′ Octave
2′ Fifteenth
II Mixture [11⁄3′ + 1′]

Swell (58 notes, CC–a3,
enclosed)
8′ Stopped Diapason Bass
8′ Stopped Diapason Treble [TC]
8′ Keraulophon [TC]
4′ Flute Harmonique
2′ Principal [originally 4′ Violina]
8′ Bassoon
8′ Oboe [TC]

Pedal (27 notes, CC–d1)
16′ Sub Bass
8′ Flöte

Couplers and Mechanicals
Swell to Great
Great to Pedal
Swell to Pedal
Swell Tremulant
Bellows Signal
Four Composition Pedals:
Great Forte
Great Piano
Swell Forte
Swell Piano

Robert William Wallace Pipe Organs, Newport News, Virginia
St. Mary of the Immaculate Conception Roman Catholic Church, Fredericksburg, Virginia

This new 49-rank organ is the centerpiece of a substantial renovation of the interior of the church (built in 1971). The east end of the church (behind the altar) was demolished and rebuilt to make room for the organ, and new flooring was installed in the nave to improve acoustics. The instrument resides behind large casework that doubles as the reredos of the altar. Flamed copper diapasons and dulcianas rest harmoniously amid sculptures and paintings of angels and saints. Organ chamber construction includes concrete block walls, cement board ceilings, and 2¾-inch-thick expression shutters with 45-degree bevels.
Through the guidance of tonal director Dr. William W. Hamner, Jr., the instrument unabashedly exhibits a neo-Romantic/neo-symphonic tonal palette, yet is equally capable of providing the color and contrapuntal clarity necessary to render even the most stylized of early literature. Moreover, scaling and voicing have been executed with liturgical collaboration fully in mind.
The three enclosed divisions include a partially enclosed Great and Pedal. Portions of the Choir and Swell are double-enclosed, utilizing Robert William Wallace inner-shade slide controllers, which are located at the forward end of the appropriate expression shoes. Wind pressures range from 5 inches in the outer Choir division and the unenclosed portion of the Great and Pedal, to 7 inches in the Swell division, 10 inches in the enclosed Great division, and 18 inches for the Pontifical Tuba. Fourteen vintage ranks, mid-1950s “Willis” Wicks pipes, were reclaimed from two older installations, reworked, and revoiced to integrate with the new choruses of the organ.
The action is electro-pneumatic and electric, and the movable English-style drawknob console was custom-designed to complement the church renovation. Console appurtenances include complete inter- and intramanual couplers, Gt.-Ch. transfer, pedal divide, all swells to swell, solid-state combination action with 128 memory levels per user, piston sequencer, playback, and MIDI.
The organ was blessed by Bishop Paul S. Loverde at a Mass on November 22, 2010, during which the new altar and renovated worship space were formally dedicated, and first played publicly by director of sacred music David Mathers. An inaugural concert featuring
Frederick Teardo, associate organist of Saint Thomas Church, New York, took place on June 17.
—Mary William Baines

GREAT
16′ Double Dulciana (ext)
16′ Violone (ext)
8′ 1st Open Diapason
8′ 2nd Open Diapason
8′ Harmonic Flute
8′ Stopped Flute
8′ Violoncello
8′ ’Cello Celeste (TC)
8′ Dulciana
8′ Dolcan
8′ Dolcan Celeste (TC)
4′ Principal (ext 1st Open Diapason)
4′ Octave
4′ Octave Dulciana (ext)
4′ Open Flute (ext Stopped Flute)
2 2⁄3′ Twelfth
2′ Fifteenth
2′ Chorus Mixture IV
2′ Harmonia Aetheria IV (from Dulciana)
8′ Pontifical Tuba (Ch)
8′ Tromba
8′ English Horn
4′ Tromba Clarion (ext)
Chimes (Ch)
Tremolo

SWELL
16′ Minor Bourdon (ext)
8′ Horn Diapason
8′ 2nd Diapason (from Octave)
8′ Stopped Diapason
8′ Salicional
8′ Voix Celeste (TC)
8′ Violin Celeste II (from Violina/Celeste)
4′ Octave Diapason
4′ Harmonic Flute
4′ Violina
4′ Violina Celeste
2 2⁄3′ Flute Twelfth (ext)
2′ Harmonic Piccolo (ext)
1 3⁄5′ Tierce (TC)
2 2⁄3′ Full Mixture V
2′ String Mixture IV (from Salicional)
16′ Double Waldhorn (ext)
16′ Bassoon (from Oboe)
8′ Cornopean
8′ Waldhorn
8′ Oboe
8′ Vox Humana
4′ Clarion (ext Oboe)
Tremolo

CHOIR
8′ Violin Diapason
8′ Chant Flute
8′ Bois Celeste (TC)
8′ Harmonic Flute (Gt)
8′ Viole
8′ Viole Celeste (TC)
4′ Octave
4′ Magic Flute
2 2⁄3′ Twelfth (ext Viole)
2′ Fifteenth (ext Viole)
2′ Recorder (ext Magic Flute)
1 3⁄5 ′ Seventeenth
1′ Fife (ext Magic Flute)
1 1⁄3′ Mixture IV (from Viole)
8′ Oboe Horn
8′ Clarinet
4′ Clarinet (ext)
8′ Pontifical Tuba
8′ Tromba (Gt)
4′ Tuba Clarion (ext)
4′ Tromba Clarion (Gt)
Chimes (21 tubes)
Tremolo

PEDAL
32′ Double Major Bass (resultant)
32′ Acoustic Bourdon (resultant)
16′ Open Diapason (ext Gt 2nd Open Diap)
16′ Major Bass
16′ Bourdon (ext Gt Stopped Flute)
16′ Minor Bourdon (Sw)
16′ Violone (Gt)
16′ Double Dulciana (Gt)
10 2⁄3′ Dolce Quint (Gt Dulciana)
8′ Principal
8′ Octave Wood (ext Major Bass)
8′ Stopped Flute (Gt)
8′ Violoncello (Gt)
4′ Fifteenth (Gt 2nd Open Diapason)
4′ Major Flute (ext Major Bass)
32′ Double Trombone (digital ext)
16′ Trombone (ext Gt Tromba)
16′ Double Waldhorn (Sw)
8′ Pontifical Tuba (Ch)
8′ Tromba (Gt)
8′ Clarinet (Ch)
4′ Clarion (Gt)
4′ English Horn (Gt)
Glockenstern (seven bells)

3,298 pipes
49 ranks
76 stops

Schoenstein & Co., Organ Builders, San Francisco, California
Christ Church Episcopal,
Cambridge, Massachusetts
Schoenstein & Co., Benicia, California, were honored to be invited by one of the nation’s oldest and most famous parishes to propose a new organ, but the situation gave us pause: a very dry acoustic; a convoluted, L-shaped, deep, side chamber with poor tone openings; an historic church that could not be changed; and a hard act to follow—Aeolian-Skinner. (The organ to be replaced was the Aeolian-Skinner where E. Power Biggs had served as organist and which had been featured on Aeolian-Skinner’s recording, Studies in Organ Tone.)
The organ chamber is located in an addition off of the right side of the chancel with an extension tone chute over an entry hall. The chamber speaks not directly into the chancel, but into the side aisle. It was a tonal prison cell. Given the need for strict historical preservation of the building, there was no opportunity to create space for a large free-standing instrument or a new chamber.
The client’s request was for an Anglo-American symphonic-style organ to lead and support their modern Anglican services. Obviously, the architecture and the nature of the parish called for tone of nobility and refinement. Getting the sound out of the chamber, without it sounding harsh and forced, was the problem.
Certain design principles produce successful enchambered sounds. These include stoplists emphasizing bright, colorful diapason tones, strings and open flutes, with the main power of the ensemble dominated by chorus reeds rather than high mixtures. High pitches do not travel well around corners! An acoustically dry room reacts well to tone that is smooth, warm and rich. It helps to make up for the lack of resonance. Adequate wind pressure to provide intensity and projection of tone—not loudness—is vital. Pipe scaling and voicing must be bold. Finally, the organ must be laid out so that the sound gets out of the chamber through a large, fully opening shade front.
To ensure the success of the new organ, major renovation work was accomplished in the existing organ chamber and blower room. The largest and most important division in the organ, the Swell, was placed along the entire front section of the chamber, parallel to the front wall of the chancel. The main Swell windchests are placed in the full-height area of the chamber, with the double enclosed Inner Swell behind this. The double expression system of the Swell makes available a very broad dynamic range without changing stops. It is possible to add just a touch of reed tone (so little that the youngest soloist would not be overpowered), to hush the Flute Celestes to less than a whisper, and to harness the 32′ reed so that it may accompany even gentle string-toned stops; and yet its batteries enable the organist to achieve enormous power when necessary. Such tools for subtle beauty and precise control elevate the value of the organ in accompanying a service.
The Great and Choir divisions are located at floor level parallel to the side aisle and partially below the case impost level. All but two of the Great stops are enclosed, adding to the versatility and dynamic range of the organ.
The large wood Pedal pipes are stacked horizontally on the roof of the organ. This allows the manual divisions a more spacious layout and puts the bass pipes in a favorable position for a direct line of sight projection into the church.
Of the finished result, Stuart Forster, the director of music and organist, said: “It is necessary to document what a pleasure it is to play, and to listen to, this organ. The splendor of its individual voices (note the variety of flutes!), the cohesion and clarity of its choruses, the many effects and, of course, its colossal variety of expression in timbre and dynamics unite to create a musical instrument surpassing every hope of the committees, parishioners, donors, musicians, observers and visitors involved in this organ’s creation and service.”
—William Vaughan

GREAT
16′ Gamba
8′ First Open Diapason
8′ Second Open Diapason
8′ Harmonic Flute
8′ Gamba
8′ Gamba Celeste (TC)
8′ Bourdon
4′ Principal
4′ Bourdon
22⁄3′ Twelfth
2′ Fifteenth
13⁄5′ Seventeenth
11⁄3′ Mixture III–IV
8′ Trumpet (Choir)
8′ Clarinet (Choir)
8′ Tuba (Choir)
Chimes (Walker)
Cymbelstern

SWELL
16′ Lieblich Bourdon
8′ Open Diapason
8′ Stopped Diapason
8′ Echo Gamba
8′ Vox Angelica
4′ Gemshorn
4′ Harmonic Flute
2′ Flageolet
8′ Oboe
Tremulant
Stops Under Double Expression
8′ Flauto Dolce
8′ Flute Celeste (TC)
4′ Flauto Dolce
4′ Flute Celeste
2′ Mixture III–V
16′ Contra Fagotto
8′ Cornopean
4′ Clarion
8′ Vox Humana

CHOIR
16′ Dulciana
8′ Open Diapason (Great)
8′ Concert Flute
8′ Lieblich Gedeckt
8′ Dulciana
8′ Unda-Maris (TC)
4′ Fugara
4′ Forest Flute
22⁄3′ Nazard
2′ Harmonic Piccolo
13⁄5′ Tierce (TC)
8′ Trumpet
8′ English Horn
8′ Clarinet
Tremulant
Tremulant B Variable
8′ Tuba
8′ Tuben (III)
Harp (Walker)
Celesta (Walker)

PEDAL
32′ Sub Bass
16′ Open Wood
16′ Sub Bass
16′ Gamba (Great)
16′ Dulciana (Choir)
16′ Lieblich Gedeckt (Swell)
8′ Principal
8′ Flute (Great)
8′ Stopped Diapason (Swell)
8′ Dulciana (Choir)
4′ Fifteenth
4′ Flute (Great)
32′ Contra Fagotto (Swell)
16′ Ophicleide (Choir)
16′ Contra Fagotto (Swell)
8′ Tuba (Choir)
8′ Trumpet (Choir)
4′ Tuba (Choir)
4′ Trumpet (Choir)

Schoenstein & Co. Organ Builders, Benicia, California
Grace Episcopal Church,
Sheboygan, Wisconsin
Founded in 1847, Grace Episcopal Church, an Anglo-Catholic parish, has had a distinguished musical history for over 130 years. The first organ, a Roosevelt, served until 1929. Over the years, the second organ began failing mechanically and was not up to the task of accompanying all of the music required in the Anglican choral tradition. The search for a new organ was initiated with generous financial support from the Charlotte and Walter Kohler Trust and the Hayssen Foundation.
In the intimate acoustical setting of a church that seats only 250, with a gallery where space was extremely limited, Schoenstein & Co. built a 20-voice, 23-rank symphonic organ. Powerful pedal bass, keen string tone, a big solo flute, and an heroic chorus reed can elevate an instrument into the symphonic category provided it is under extremely effective expression control and has a precise, responsive action. This is the concept that guided the design for Grace Church, which includes five 16′ stops, two contrasting keen-tone string celestes, two color reeds, a high pressure tuba, an ensemble of principal scale mutations, and three contrasting flutes—a French-style Harmonic Flute of metal, an English-style Claribel Flute of wood, and a Lieblich Gedeckt stop based on the famous one by Willis at St. Dominic’s Priory in London. The ’Cello/Double Bass extension of the Harmonic Flute follows the scaling pattern of the Schoenstein Symphonic Flute, imitating the effect of the orchestral traverse flute.
Of these elements, perhaps the expression boxes are the most important. Only the two Pedal stops and the two main solo voices of the Great are unenclosed. The Great chorus and accompaniment stops are in one box. All of the Swell stops are in another box next to the Great. The loudest voices of the Swell, the powerful Gambas, and the Tuba Minor (all on 10″ of pressure) are in a secondary expression box, which speaks into the Swell. This double expression control greatly increases the dynamic range of the Swell division. Thus, a crescendo from pp to fff is easily accomplished, an effect especially important to Benjamin Dobey, current organist and choirmaster. The organ is on three levels. The double-enclosed Swell is at floor level speaking up through a tone chute into the Swell division, which is on the second level along with the Great division. Pedal stops, many mounted horizontally, are on the third level.
The organ façade complements the subtle Victorian Gothic interior of the church. David Boysel, a prominent San Francisco decorative artist, and Chuck Primich, Schoenstein’s design engineer, created the façade with the objective of appearing as though it had been placed there by the original architect. The organ was dedicated to the memory of Charlotte Kohler on Friday, January 11, 2002, featuring Dr. R. Benjamin Dobey and a Schola Cantorum under the direction of Wayne Wildman. This is the most recorded of all Schoenstein organs, with three CDs by Dr. Dobey on the Pro Organo Label: The Intimate Reger; In Sweetest Joy; and Magnificat.
—William Vaughan

GREAT
16′ Double Bass+ 12 pipes
8′ First Open Diapason+ 61 pipes
8′ Harmonic Flute+ 61 pipes
8′ Second Open Diapason 61 pipes
8′ Aeoline 61 pipes
8′ Vox Angelica 37 pipes
8′ Lieblich Gedeckt (Swell)
4′ Principal 61 pipes
2′ Mixture IV 218 pipes
8′ Clarinet (TC) 42 pipes
+ Unenclosed

SWELL
16′ Lieblich Gedeckt 12 pipes
8′ Gamba* 61 pipes
8′ Gamba Celeste* 49 pipes
8′ Claribel Flute 49 pipes
8′ Lieblich Gedeckt 61 pipes
4′ Gemshorn 61 pipes
22⁄3′ Twelfth 12 pipes
2′ Fifteenth 61 pipes
13⁄5′ Seventeenth (TC) 42 pipes
11⁄3′ Nineteenth 54 pipes
16′ Bass Tuba* 12 pipes
8′ Tuba Minor* 61 pipes
8′ Flügel Horn 61 pipes
* Double enclosed

PEDAL
32′ Resultant
16′ Open Wood 12 pipes
16′ Bourdon 32 pipes
16′ Double Bass (Great)
16′ Lieblich Gedeckt (Swell)
8′ Principal 32 pipes
8′ Octave (Great)
8′ ’Cello (Great)
8′ Claribel Flute (Swell)
4′ Fifteenth 12 pipes
4′ Flute (Great)
16′ Bass Tuba (Swell)
8′ Tuba (Swell)
4′ Flügel Horn (Swell)

Schoenstein & Co., 

Benicia, California

Grace Episcopal Church,
Hartford, Connecticut

A Symphonic Church Organ??

What does “symphonic organ” mean? The definition of this often-misunderstood term is best prefaced by what it is not. The symphonic organ does not attempt to imitate precisely the instruments of the symphony orchestra. It is not designed specifically to render orchestral transcriptions. It is not a refined theatre organ! The term “symphonic” does not relate to specific sounds, but rather to an overall versatility in musical performance. Most will agree that the modern symphony orchestra is the ideal instrumental medium for interpreting musical images both emotional and intellectual. Shouldn’t an organ have these qualities?

In 1993 we completed our first symphonic-style organ for Wynne Chapel of Highland Park Presbyterian Church in Dallas, Texas. At 30 stops, 35 ranks, it was certainly a miniature in comparison to Yale University’s Woolsey Hall organ of 142 stops, 197 ranks, which is considered by most to be the premier American symphonic organ. Located in a small chapel and almost entirely enclosed, the Dallas organ was able to give the effect of a very large comprehensive instrument without excessive loudness. We thought we had gone as far as we could in miniaturizing the symphonic concept.

As part of his research on the Aeolian-Skinner Organ Co., Jonathan Ambrosino visited First Presbyterian Church in Spartanburg, South Carolina. Their chapel needed a companion to the Aeolian-Skinner in the church. Jonathan, having heard our Wynne Chapel organ, suggested that they might like something along the same lines although there was room for only 15 ranks. Holt and Marcia Andrews, associate music directors, contacted us and initiated an absolutely fascinating challenge, which we fulfilled in 1996.

The vital question we addressed for the Spartanburg project was, “what is the musical job to be done?” Why does a church, let alone a small chapel, need a symphonic-style instrument? After receiving hundreds of letters from organ committees over the years suggesting all the things they wanted their new organ to do, it became obvious to me that in most situations a symphonic-style instrument is exactly what they need. Above all, a church organ must wear well, and that means having a variety of tone under effective expression. This is especially vital in accompaniment, which is the church organ’s biggest single job.

Thinking like an Orchestrator

To start the design process, I tried thinking of each stop in an organ as a player in an orchestra. How do orchestrators reduce instrumentation and still produce a symphonic effect? The model for this, of course, is Hollywood and the great studio orchestras for pictures, radio, and recordings. Throughout the “Golden Age” of Hollywood music from the early ’30s to the early ’60s, orchestras limited by budget and studio size were able to produce effects in a wide variety of repertoire, sounding like an ensemble twice the size. How did they do it? A typical set-up would be: one flute (doubling piccolo), one oboe (doubling English horn), four players (doubling a combination of saxophones, clarinets, bass clarinet, flute, oboe, and bassoon); one horn; three trumpets, two trombones, tuba; piano, harp, percussion (one traps and one mallets/tympani); eight violins, three violas, two ’cellos, and two double basses. 

What does this show us? First, the huge string section and full woodwinds of the symphony orchestra can equal the brass and produce a mighty ensemble ff. In the reduced instrumentation, the brass section has to take the stage and be the power center. Second, there is at least one of every symphonic tone color including the three that always make a small orchestra sound big—horn, harp, and tympani. Using different tone colors than one would find in a traditional chamber orchestra of the same size gives the illusion of a much larger ensemble. The use of doubling, which we might compare to unification in an organ, adds even more variety with only slight additional expense. Third, to produce solid bass, the tuba is generally written with the double basses rather than with the brasses.

Here is how we adapted these ideas to the organ.

Tonal Qualities

1. Diapasons. The most important element of organ tone is the diapason. Even in a small organ it is best to have two contrasting characters of diapason tone and at least one well-developed chorus. However, in small rooms or dry acoustics, powerful upperwork can be very unattractive.

2. Trumpets. The ultimate power of the full ensemble is the organ’s “brass”—8′ and 16′ tone representing the trumpet and trombone of the orchestra. In smaller acoustics, power is best achieved with unison tone of great warmth and intensity. The proper character is usually achieved through high wind pressure.

3. Flutes. Of prime importance is vividly differentiated tone color including mutations and one powerful, open solo flute.

4. Strings and hybrids. What seems a luxury is really practical—two celeste stops: a pair of genuine orchestra strings, and a pair of soft ethereal voices. Most small organs rely on one compromise celeste pair to do these two very different jobs. Such stops usually tend toward flute or diapason tone. Although they may be attractive, they do not elevate an instrument into the symphonic class. Keen strings are absolutely necessary, but so are the less assertive, dolce tones. Both should be represented, and the string pair should be full compass to low C.

5. Color reeds. Normally a small organ would have just one color reed, such as an oboe. To enter the symphonic class, a contrasting tone such as clarinet is more important than a second mixture, for example. Color reed tone is useful in both solo and accompanimental roles. 

6. Powerful Pedal bass. The symphonic organ has representatives of each tone color in the Pedal department. A Bourdon is not enough; there must also be open flue tone and reed tone to provide clarity, point, and drama. If possible, 32′ tone should be included.

7. Effective expression. A symphonic organ must be able to produce a crescendo from ppp to fff. It should also be able to produce full organ effects at less than full organ volume. Part of this has to do with the proper terracing of voices, but solid expression boxes with responsive shades are vital, too.

8. Contrasting expression. There must be at least two divisions under expression for an organ to start claiming symphonic status. In a small instrument, as many voices as possible should be under expression. In the symphonic concept, unexpressive voices are a luxury normally reserved for large instruments. In some cases layout demands that certain voices be unexpressive, for example where the Swell must be behind the Great, but this should be an exception.

A full exposition of these ideas was presented in an article with several sample stop lists titled “Organ Design and the Kraft Music Hall” in the October 2002 issue of The Diapason. Since then, in addition to Antiphonal divisions at First-Plymouth Congregational Church, Lincoln, Nebraska, and Park Cities Presbyterian Church, Dallas, Texas, we have completed similar instruments for Georgetown University and our organ at Christ and St. Stephen’s Church in New York City, which was given a thorough narrated demonstration on YouTube (search “Schoenstein Tonal Demonstration”).

Grace Episcopal Church, Hartford, Connecticut

Our latest instrument along these lines is blessed with the most ideal environment an organbuilder could wish. The room is small seating only 112 but has a very pleasant, appropriately resonant acoustic producing clarity along with warmth of tone. The organ is situated on the main floor at the west end projecting straight down the nave. There are no transepts. The choir is in stalls at the rear of the nave. The liturgy is Anglo-Catholic with an excellent music program headed by Kyle Swann, who is also Lecturer in Opera at Yale University School of Music.

The organ is entirely enclosed with the exception of the open wood Double Diapason, a wonderful luxury in an instrument of this size. The Great chorus is 8′ Diapason, 4′ Principal, and 2′ Mixture. Although it is most desirable to have an independent 2′ Fifteenth, choices must be made, and we elected instead to have a Celeste to the Corno Dolce, which is a tapered hybrid stop of flute quality with a tinge of string edge. It is unified at 16′ and 4′ pitches. The Harmonic Flute uses the Corno Dolce as a common bass, the break point of which is very hard to determine by ear. The Clarinet offers a strong contrast to the Swell Oboe Horn.

The doubling principle is carried into the Swell where we have a Salicional, which is a small-scale diapason unified at 8′/4′/2′ pitch, a wood Stopped Diapason, a highly contrasting narrow-scaled metal Chimney Flute, and a Tierce. The capped Oboe Horn is a very versatile color reed. Two orchestral-style strings and a 16′/8′ Tuba Minor, which is in the trumpet family but of darker tonal character, are under double expression within the Swell. In hymn playing, for example, it is possible to introduce the 8′ Tuba Minor without notice while playing only the 8′ Diapason and 4′ Principal on the Great. A dramatic Full Swell effect can be achieved with ease. The same is true with the strings that change to a mild, almost Aeoline character with both boxes closed and then bloom smoothly as they are brought into full power.

A major element of playing flexibility comes from a third manual that borrows stops from both the Great and the Swell. These are both Solo stops and ensemble stops for maximum contrasting possibilities with either Great or Swell. In addition, a few stops from the Great appear on the Swell and vice versa.

The Pedal has four 16′ stops representing each tonal family: diapason, flute, string-hybrid, and reed, a luxury not usually found on organs this size, but important in the symphonic concept.

The instrument was completed on June 26, 2017, and will be heard in a dedicatory recital by Thomas Murray on October 29, 2017. The priest-in-charge is the Rev. Rowena J. Kemp, and the director of operations in charge of preparing the installation site was parishioner Tom Phillips. This was a project we enjoyed thoroughly, especially due to the strong cooperation, encouragement, and enthusiasm of the entire parish.

— Jack M. Bethards

President and Tonal Director

Schoenstein & Co.

Schoenstein website: 

www.schoenstein.com

Grace Episcopal Church website: 

http://gracehartford.org