Muller Pipe Organ Company

Muller Pipe Organ Company, Croton, Ohio; Gay Street United Methodist Church, Mount Vernon, Ohio

Muller Pipe Organ Company, Croton, Ohio; Gay Street United Methodist Church, Mount Vernon, Ohio

Gay Street United Methodist Church reached out to our company for help with their failing pipe organ in 2000, shortly after I began working for Muller. Dr. David Tovey, director of music at the time, wanted ideas for a solution. The ensuing process did not occur in a straight-line manner but through directed and creative steps over the course of more than twenty years, resulting in a unique and colorful instrument with a storied history in its own right—truly a tale of Ohio organ building!

Votteler-Holtkamp-Sparling’s organ for Gay Street Church

The 1927 Votteler-Holtkamp-Sparling (VHS) was a modest three-manual organ of twenty-five ranks, utilizing pipework dating from the previous 1886 A. B. Felgemaker instrument, but on an entirely new mechanism. Installed in two chambers on either side of the choir at the front of the church, the VHS had a gentle presence. Tonally, it was as one might expect, with a plethora of flutes and strings but not much in the way of choruses.

Henry Holtkamp was an innovator and created a stop called “Ludwig’s Tone,” an open flute, essentially two pipes in one, tuned as a celeste. This delightful stop, copied by later builders, has been retained and incorporated into the new organ’s design.

The VHS organ served the church for decades. It was substantially enlarged and reconditioned in the 1970s and again in the 1990s by a local company. As part of that work, the Great division was brought out of the chambers on visually functional windchests and placed on the walls immediately in front of the organ.

Myriad problems became apparent after the 1990s project. Too many stopknobs had been placed in the art-deco console, and restoration of the ventil windchests was unsuccessful. The organ suffered greatly during the winter, resulting in ciphers and silent stops. Despite the incongruent tonal additions, a general sense of the VHS survived but not enough to guide a successful restoration.

Walter Holtkamp, Sr.’s organ for Christ Church, Cincinnati

In 1957 the successor firm to VHS installed Job No. 1695 in the newly constructed Christ Episcopal Church, Cincinnati. At sixty-eight ranks, five divisions, and three manuals, it was one of the later and larger instruments built by the Holtkamp Organ Company under the supervision of Walter Holtkamp, Sr.

This organ could not be more different from Gay Street Church’s 1927 instrument, although likely some of the same hands and tools produced it. The Christ Church organ possessed well-developed, clean and clear choruses and aggressive European style reeds, with all pipes visible and arranged by division in a side gallery.

The organ rose to prominence under the hands of Gerre Hancock, who began his professional career at Christ Church. It was often recorded, and for a time was the preferred instrument for recitals and masterclasses for students of Cincinnati Conservatory of Music. Christ Church was consecrated the cathedral church of the Episcopal Diocese of Southern Ohio in 1998, and the building was extensively renovated the following year.

Time had taken its toll. The organ’s unique tonal aesthetic had gone out of fashion, and its mechanism stood in need of extensive restoration. Renovations to the church had created some unfortunate acoustical issues. Although improving the sound of the choir, the organ became acoustically too far removed from choral forces to effectively provide accompaniment and support. In 2020 it was replaced by Richards, Fowkes & Co.’s Opus 24. (See cover feature, May 2021.)

A relocated Holtkamp for Gay Street Church?

Various options to improve the organ were considered when Muller assumed its care at Gay Street Church, but church leaders opted to keep the instrument working as best it could for as long as possible because of the recent renovations. As it declined, various steps were taken to improve playability.

The most important project was refurbishment of the unique VHS console. This presented a challenge since the cabinet was too small for the number of drawknobs needed. Jack Muller, then our principal cabinetmaker (currently shop foreman and project manager), carefully examined the console and suggested a creative approach to save the cabinet. To accommodate larger stopjambs, we increased the overall width of the console by constructing a new center panel with replica carvings. The cabinet was fitted with a new top, refinished, and all other components replaced.

Still, the problems eventually became untenable. Various options were explored, and finally the decision was made to use the resources of the Christ Church Holtkamp to create an entirely new tonal scheme.

One might ask why not relocate the Holtkamp as it was? As a historic instrument by an important American builder, aren’t we discarding history? The reality is that the organ as it was known at Christ Church could only exist there or in a similar space in an uncased aesthetic. Otherwise, it would not exist as a “Walter Holtkamp, Sr.” signature instrument.

An opportunity for relocating the organ did not materialize over the several years it was available for purchase. The cathedral needed it removed to begin renovations in preparation for the new organ. If a new home could not be found for the instrument, it would be discarded or broken up for parts. At the final hour, the Holtkamp was saved from destruction and donated to Gay Street Church by a longtime admirer of the instrument. Because any organ at Gay Street Church would be mostly chambered, we knew we would need to use the Holtkamp pipework carefully for the project to be successful.

A “new” Muller organ for Gay Street Church

Our new organ for Gay Street Church is three manuals and forty ranks and makes use of pipework from both the VHS and Holtkamp organs in a completely new tonal scheme. The electro-pneumatic mechanism and casework of the organ are new, and the recently updated console is retained.

Custom-built, quartersawn oak cases were designed to house the Great division and some Pedal pipework, including a façade of Great and Pedal principal pipes. The mirrored cases are placed on either side of the chancel, facing each other. Well into the project, the design of the casework had to be modified; structural analysis found that the church walls are soft clay tiles, necessitating the installation of a robust steel support structure. The casework was widened, and smaller “wings” were constructed to accommodate these changes.

The Great chorus is independent and complete from 8′ Principal to IV Mixture. An 8′ Bourdon and 4′ Spire Flute complete the division’s independent stops, while the Open Flute and Gemshorn are borrowed from the Choir division for flexibility. The Pedal Principal is located in the casework, while the 16′ Bourdon and Trombone are located in a chamber immediately behind.

The Swell division returns to the chamber of the VHS Swell organ. Tonally, the hand of Walter Holtkamp, Sr., is apparent, with the Swell division’s specification largely intact from the Christ Church organ. An independent chorus is here, a foil to the larger chorus in the Great, as is an abundance of string and flute color. Other hands are also apparent; new English-style reeds color the division, a 4′ Principal replaces Holtkamp’s 4′ Gemshorn, and the Harmonic Flute and Vox Humana of the VHS organ are retained to provide different colors.

The Choir division is in the chamber that originally housed the VHS Great, Choir, and Pedal. Using available resources in a new scheme, the design of this division is where our tonal signature becomes obvious. An Open Flute is the workhorse of the division, with a Gemshorn and Celeste as the “main strings.” The Gemshorn is extended to 16′ for use on the Great division. VHS’s “Ludwig’s Tone” returns to the division (renamed the more common Ludwigtone) as a secondary undulating stop. A tertiary principal chorus exists here, as do various mutations and flutes. A lovely vintage 8′ Clarinet rounds out the specification, and a new 8′ Festival Trumpet provides the triumphant culmination of the full organ’s sound.

Ordinarily when specifying a three-manual organ of this size, we prefer a more substantial and independent Pedal division. Indeed, I suspect that Holtkamp, Sr., would have chastised us for only providing three ranks! The reality of space precluded this, as did the wish to have as much color throughout the manual divisions as possible. Complemented by judicious use of digital 16′ and 32′ stops, these three stops are the most important in any Pedal division, and certainly provide the independence desired.

So, what kind of organ is this? Is it a Muller? Is it a VHS? Is it a Holtkamp, Sr.? I suppose it is representative of Muller, though it is not the organ we would design if built completely from scratch. The new organ is classically American and represents the work of three important Ohio organbuilders of different eras, brought into cohesiveness and harmony through intelligent and artistic voicing, traditional and well-designed mechanics, and a touch of happenstance that brought it all together.

The new organ was dedicated during worship on December 3, 2023, and an inaugural concert was presented on May 19, 2024. We are honored to be a small part of the longstanding musical heritage at Gay Street United Methodist Church and sincerely thank the many people who worked with us over the years. It is because of their persistence and uncompromising commitment to excellence that this organ will continue to sing praises for generations to come.

—Scott G. Hayes

Scott G. Hayes is the tonal director for Muller Pipe Organ Company and has been with the firm for nearly twenty-five years. He is also director of music at All Saints Episcopal Church in Richmond, Virginia.

Muller staff

John W. Muller

Jack Muller

Scott G. Hayes

Brad Ashbrook

Ryan J. Boyle

Jesse Braswell

Taylor Hendershott

Mike Hric

Ryan Jones

Jane Muller

Stan Osborn

Sol Rizzato

Assisted by: David R. Beck

Photo credits: Jesse Braswell

Builder’s website: www.mullerpipeorgan.com/

GREAT

16′ Gemshorn (Ch, 1–12 digital)

8′ Principal* 61 pipes

8′ Gemshorn (Ch)

8′ Open Flute (Ch)

8′ Bourdon* 61 pipes

4′ Octave* 61 pipes

4′ Spire Flute* 61 pipes

2′ Super Octave* 61 pipes

IV Mixture* 244 pipes

8′ Tromba (Ped)

8′ Festival Trumpet (Ch)

Zimbelstern

Great 16, UO, 4

SWELL (expressive)

16′ Chimney Flute 73 pipes

8′ Geigen Principal* 61 pipes

8′ Chimney Flute (ext 16′)

8′ Gambe* 61 pipes

8′ Voix Celeste* (TC) 49 pipes

4′ Principal 61 pipes

4′ Harmonic Flute§ 61 pipes

2-2/3′ Quint* 61 pipes

2′ Doublette* 61 pipes

III Mixture* 183 pipes

16′ Bassoon 73 pipes

8′ Trumpet 73 pipes

8′ Oboe (ext 16′)

8′ Vox Humana§ 61 pipes

4′ Clarion (ext 8′)

Tremulant

Swell 16, UO, 4

CHOIR (expressive)

8′ Open Flute* 61 pipes

8′ Gemshorn* 61 pipes

8′ Gemshorn Celeste* (TC) 49 pipes

8′ Ludwigtone§ 49 pipes

4′ Principal* 61 pipes

4′ Chimney Flute* 61 pipes

2-2/3′ Nazard* 61 pipes

2′ Flute* 61 pipes

1-3/5′ Tierce* 61 pipes

III Mixture* 183 pipes

8′ Clarinet 61 pipes

8′ Festival Trumpet 61 pipes

Chimes (digital)

Harp (digital)

Tremulant

Choir 16, UO, 4

PEDAL

32′ Bourdon (digital)

16′ Open Wood (digital)

16′ Bourdon* 44 pipes

16′ Chimney Flute (Sw)

16′ Gemshorn (Ch, 1–12 digital)

8′ Principal* 44 pipes

8′ Bourdon (ext 16′)

8′ Chimney Flute (Sw)

8′ Gemshorn (Ch)

4′ Choral Bass (ext 8′)

4′ Open Flute (Ch)

32′ Trombone (digital)

16′ Trombone 73 pipes

16′ Bassoon (Sw)

8′ Tromba (ext)

4′ Oboe (Sw)

8′ Festival Trumpet (Ch)

* Holtkamp

§ Votteler-Holtkamp-Sparling

Couplers

Great to Pedal 8, 4

Swell to Pedal 8, 4

Choir to Pedal 8, 4

Swell to Great 16, 8, 4

Choir to Great 16, 8, 4

Swell to Choir 16, 8, 4

 

Thumb Pistons

General 1–10

Swell 1–8

Great 1–8

Choir 1–8

Swell to Pedal reversible

Great to Pedal reversible

Choir to Pedal reversible

Next

Previous

Set

Cancel

 

Toe Pistons

General 1–10

Pedal 1–5

Swell to Pedal reversible

Great to Pedal reversible

Choir to Pedal reversible

Zimbelstern reversible

32′ Bourdon reversible

32′ Trombone reversible

Next

 

Wind Pressures

Great: 3.5′′

Swell: 5′′

Choir: 5′′

Pedal: 4′′

Festival Trumpet: 7′′

40 ranks

2,418 pipes

Muller Pipe Organ Company, Croton, Ohio; Saint Joan of Arc Catholic Church, Toledo, Ohio

Quite understandably, the Muller Pipe Organ Company is sometimes mistaken for the now defunct M. P. Möller Organ Company. We have answered countless emails and phone calls from across the country that begin with “We have one of your organs from . . .,” and we very politely explain that we are not the same company. It is possible the confusion may have been magnified had our ancestors decided to keep the umlaut over the “u”!

Our company has been in business in Ohio since 1919, so area organists and churches are rarely confused by the similarity in name. Certainly, Saint Joan of Arc Catholic Church of Toledo, Ohio, was aware of the difference when we were asked to inspect the pipework from Möller’s Opus 10357. This small three-manual organ was originally built for Mount Olive Evangelical Lutheran Church in Madison, Wisconsin, and provided a fine foundation on which to build a new instrument for the parish in Toledo. While it might be tempting to call this instrument a “Möller-Muller” organ, it now bears little resemblance aurally, mechanically, or visually to the organ known in Wisconsin. Indeed, this instrument is a new Muller organ in every way.

The dream of a pipe organ was first explored by parish leadership as part of a comprehensive project to modify the original 1980s-era interior decor to align with current ecclesiastical ideals. In a leap of faith and with guidance from Paul Monachino, diocesan liturgical music director, the parish purchased the Möller pipework, and it was placed in climate-controlled storage pending completion of fundraising and the planned renovations.

The pipe organ portion of the project was undertaken in two phases. To coincide with renovations to the sanctuary, which included improvements to the acoustic, the initial phase was completed in 2018 and consisted of the installation of casework. The beautiful, mirror-image cases were constructed of cherry by Muller’s woodworking team using traditional mortise and tenon joinery. The overall design has a traditional feel, while the impost and tower crown moldings are more contemporary in appearance to complement the church’s architecture. The gold-lacquered façade pipes feature polished Romanesque mouths to enhance the beauty of the room.

When funding became available for the second phase, a specification was designed using available pipework where appropriate. The plan for a two-manual, sixteen-rank organ to fill the two empty organ cases was quickly adopted.

The Great is housed in the right case and possesses five ranks. The new façade allowed for moderate rethinking of this chorus’s scales and overall concept. The resulting 8′ Principal is warm and articulate, but not particularly loud. The 4′ Octave sings beautifully over this foundation and additionally serves as the 2′ of the chorus. The 8′ Rohrflöte is of moderate scale and wonderfully colorful. Independent mutations allow for multiple effects. The obvious combination is a cornet that works either with flutes or principals. A “composed” mixture created by using the 8′ Principal, the 4′ Octave, the 2-2⁄3′ Quint, and the super coupler is particularly convincing. Borrows from the Swell division serve to provide flexibility in registration.

The Swell is home to nine ranks and is located in the left case. A contrast to the Great Rohrflöte, the Swell Gedeckt is the workhorse of the division. In unit stops such as this, we voice the different “ranges” to serve in the way each will be most used. The lowest octave features a healthy dose of “quint” partial, which is a delightful change of pace from the Pedal’s Subbass. Continuing up the compass, this “quint” effect is not particularly useful in a small instrument, so we allow the stop to bloom into a lovely and full capped flute. Near the top, the scale reduces to promote brightness. This stop also functions as the basis for a small principal chorus, capped with a three-rank Mixture at 2′ pitch. A set of beautiful vintage strings serves as the organ’s only string stops.

While part of the Swell, the organ’s two reeds are available on both manuals. The small but feisty Trompette is perhaps the one “tell” of the organ’s Hagerstown heritage. It serves best as a chorus reed and, when used with the Great Principal, can be a convincing solo stop. The Oboe is a vintage stop from the 1930s and has a hauntingly beautiful English capped sound. These stops fit well with the organ’s aesthetic and are remarkable for their consistency and stability.

The Pedal division, as in most small instruments, is but two independent stops. The Subbass resides with the Great division and benefits greatly from its placement against a solid exterior wall. In contrast with many instruments where one can never have enough 16′ tone, we found ourselves voicing this stop with restraint and care lest it overpower the entire instrument. The Principal is located in the left case, where it forms part of the façade. It is voiced to complement the Great chorus, but also acts as a wonderful Pedal solo stop. The rest of the Pedal stops are borrowed to promote registrational flexibility.

The organ layout is very compact yet fully accessible for tuning and maintenance. Pipes are placed at impost height to maximize tonal egress and maintain a consistent temperature for tuning stability. The low-profile drawknob console allows for ease of play and good sight line to the choir and was constructed of cherry by our artisans. The console and the casework are finished with a clear lacquer to allow the wood to achieve the same rich patina as the existing sanctuary furnishings. New windchests, windlines, and support structure were custom designed and constructed in-house.

The dedicatory concert was given by Todd Wilson to an enthusiastic audience on September 26, 2021. Comments from area musicians reflect upon the pleasing balance and versatility of sound of this modestly sized instrument.

We especially thank Mr. Kevin Foos, director of sacred liturgy and music, for his dedication from conception to completion. We also express our gratitude to the Reverend Adam L. Hertzfeld, pastor, for his vision, perseverance, and encouragement. And to the individual benefactors who made this dream a reality, we believe it is a truly remarkable achievement that your contributions have provided a pipe organ as a musical legacy to enhance worship at Saint Joan of Arc Parish for many generations to enjoy.

—Scott G. Hayes and Mark A. Muller

Staff:

John W. Muller

Mark A. Muller

Jack Muller

Scott G. Hayes

Brad Ashbrook

Nathan Baker

Ryan J. Boyle

Jesse Braswell

Taylor Hendershott

Mike Hric

Jane Muller

Stan Osborn

Assisted by:

David R. Beck

Photography by Ryan J. Boyle and Jesse Braswell

Builder’s website: www.mullerpipeorgan.com

Church’s website: joanofarc.org

GREAT

8′ Principal 61 pipes

8′ Rohrflöte 61 pipes

8′ Salicional (Swell)

4′ Octave 61 pipes

4′ Rohrflöte (ext 8′ Rohrfl) 12 pipes

2-2⁄3′ Quint 61 pipes

2′ Doublette (ext 4′ Octave) 12 pipes

1-3⁄5′ Tierce (TC) 49 pipes

8′ Trompette (Swell)

8′ Oboe (Swell)

Chimes 21 bells

SWELL (enclosed)

16′ Gedeckt (ext 8′ Gedeckt) 12 pipes

8′ Gedeckt 61 pipes

8′ Salicional 61 pipes

8′ Voix Celeste (TC) 49 pipes

4′ Spitz Principal 61 pipes

4′ Gedeckt (ext 8′ Gedeckt) 12 pipes

2-2⁄3′ Nazard (from 8′ Gedeckt)

2′ Flute (ext 8′ Gedeckt) 12 pipes

2′ Mixture III 183 pipes

16′ Contre Trompette (ext 8′) 12 pipes

8′ Trompette 61 pipes

8′ Oboe 61 pipes

Tremolo

PEDAL

32′ Resultant (derived)

16′ Subbass 32 pipes

16′ Gedeckt (Swell)

8′ Principal 32 pipes

8′ Gedeckt (Swell)

4′ Octave (ext 8′ Principal) 12 pipes

4′ Gedeckt (Swell)

16′ Contre Trompette (Swell)

8′ Trompette (Swell)

4′ Oboe (Swell)

Couplers

Great 16 - Unison Off - 4

Swell to Great 16 - 8 -4

Swell 16 - Unison Off- 4

Great to Pedal 8 - 4

Swell to Pedal 8 - 4

 

16 ranks, 978 pipes

Trinity Episcopal Cathedral of Cleveland, Ohio once housed a magnificent Skinner pipe organ dating from 1906. The Skinner instrument fell into disuse and was eventually removed after a new Flentrop organ was installed in the west end nave in 1977. When world-renowned organist Todd Wilson joined the Cathedral staff, he dreamed of the possibilities for an instrument in the original organ chambers at the front of the Cathedral and a plan was set in motion.

First, Aeolian-Skinner Opus 1188 was acquired for the core of a new instrument. Then, select ranks of Skinner Opus 245 were salvaged from the former Emmanuel Episcopal Church in Cleveland and incorporated into the plan for the instrument. This material provided a fine foundation on which to build the eventual new instrument.

This high-profile project was entrusted to Muller Pipe Organ Company of Croton, Ohio. Now in its 103rd year, Muller is known for its work with historic electro-pneumatic instruments. Todd Wilson shares “I saw the present Muller Company (two active generations) work miracles in reconstructing Skinner Opus 647 . . . and was confident that they would be able to provide similar results at Trinity Cathedral . . . That they have done.”

The new Muller organ at Saint Joan of Arc Catholic Church, Toledo, Ohio, is featured on the cover of the February issue of The Diapason. 
https://www.thediapason.com/content/cover-feature-muller-pipe-organ-co-st-joan-arc-toledo

For information: https://www.mullerpipeorgan.com/

Muller Pipe Organ Company, Croton, Ohio

Saint Patrick Catholic Church, Columbus, Ohio

Muller Pipe Organ Company has installed a new two-manual, twenty-two-rank organ at Saint Patrick Catholic Church in Columbus, Ohio. The instrument utilizes select pipework from the church’s former organ—a 1935 Schantz—plus the façade and casework of an earlier Odell/Roosevelt instrument. The Schantz organ was typical for 1935 and served the parish for many years. In the 1980s, an ambitious plan of restoration and expansion commenced. A three-manual console was installed to accommodate several tonal additions that would “complete” the instrument, but the additions ultimately went unrealized.

Within the last decade, discussions about an organ project were reinitiated by Kathleen Tully, director of music of the parish. After considering a variety of options, it became apparent that, though the organ was beloved, it needed more color and the ability to support congregational singing. The favored approach was to establish a new tonal concept capable of supporting a wide variety of singing, to create a new organ mechanically, and to retain several signature sounds of the existing organ.

The new instrument is rooted in centuries of pipe organ tonal design but departs somewhat from the norm to provide maximum flexibility and color. Possessing independent principal stops in the Great division chorus and separate principal ranks in the Swell and Pedal divisions, the organ can render contrapuntal music effectively. Unification is employed to provide enhanced functionality and to encourage creativity. Both the Great and Swell are enclosed to inspire inventive use of the instrument’s resources.

The Great division boasts five 8′ flue ranks and has a dual nature. Aptly serving as a traditional Great division, it also assumes the role ordinarily assigned to a Choir division with its colorful flutes, strings, and Clarinet. The retained Open Diapason functions as both a solo stop and foundation tone.

The Swell division commands a formidable presence in the tonal scheme. Beginning with the restored Violin Diapason, a plethora of possibilities emerges as one explores the tonal palette. Two reed stops are available, including the powerful English-style Trumpet to crown the sound of full organ.

The Pedal division undergirds the entire instrument, with no fewer than five 16′ ranks on this modest instrument. A variety of unifications makes the accompaniment of any manual combination possible.

Building this instrument with a limited footprint so that all components would be readily accessible was an interesting challenge for our engineering team. Twenty-two ranks and five 16′ stops now reside where 14 ranks and one 16′ stop originally existed. Specially designed windchests were employed to take full advantage of the chamber, where horizontal space is more abundant than depth.

The 1980s console was replaced with a restored and updated two-manual preowned console. To complete the project, volunteer artisans from the parish painstakingly restored the façade pipes.

The organ was dedicated on November 22, 2019, during Solemn Vespers for the Memorial of Saint Cecilia.

—John W. Muller, president

Scott G. Hayes, tonal director

GREAT (Manual I, enclosed)

8′ Open Diapason (Ped, unenclosed)

8′ Principal (new) 61 pipes

8′ Chimney Flute 73 pipes (1–12 existing, 13–73 new)

8′ Dulciana (existing) 61 pipes

8′ Unda Maris (existing) 61 pipes

4′ Octave (new) 61 pipes

4′ Chimney Flute (ext 8′)

2′ Fifteenth (new) 61 pipes

Mixture III (new) 183 pipes

8′ Trumpet (Sw)

8′ Clarinet (new) 61 pipes

SWELL (Manual II, enclosed)

16′ Lieblich Gedeckt (existing) 97 pipes

8′ Principal (new) 73 pipes

8′ Gedeckt (ext 16′)

8′ Salicional (vintage) 61 pipes

8′ Voix Celeste (TC, vintage) 49 pipes

4′ Principal (ext 8′)

4′ Harmonic Flute (vintage) 61 pipes

2-2⁄3′ Nazard (ext 16′)

2′ Flute (ext 16′)

1-3⁄5′ Tierce (TC) 49 pipes

Mixture II (new) 122 pipes

16′ Bassoon (new) 73 pipes

8′ Trumpet 61 pipes

8′ Oboe (ext 16′)

Tremolo

PEDAL

32′ Bourdon (Peterson) 12 notes

16′ Open Diapason 73 pipes (1–12 vintage, 13–73 existing)

16′ Bourdon (existing) 44 pipes

16′ Gedeckt (Sw)

8′ Octave (ext 16′)

8′ Bourdon (ext 16′)

8′ Gedeckt (Sw)

4′ Super Octave (ext 16′)

4′ Chimney Flute (Gt)

16′ Double Trumpet (new) 12 pipes

16′ Bassoon (Sw)

8′ Trumpet (Sw)

4′ Oboe (Sw)

Standard intra- and inter-divisional couplers and pistons

Peterson ICS-4000 Control System

22 ranks, 38 stops, 1,409 pipes

Orgues Létourneau, St-Hyacinthe, Québec, Canada; First United Methodist Church, Lubbock, Texas

Even when measured by expansive Texan standards, First United Methodist Church in Lubbock is extraordinary in scale. The church’s Gothic bell tower is visible from just about anywhere in downtown Lubbock. The church campus sprawls over two city blocks and includes spacious wings for music, Christian education, youth, and even physical fitness. Completed in 1955, the sanctuary seats over 1,800 people, and its spectacular rose window is reportedly among the eight largest in the world. Confronted with such a voluminous space, organ enthusiasts and builders alike would be forgiven if their thoughts gravitated towards grand schemes. Nonetheless, First Methodist’s sanctuary opened its doors in March of 1955 with M. P. Möller’s Opus 8530, a positively ascetic instrument of 38 ranks spread over seven divisions and located in all four corners of the sanctuary. The organ was played by a three-manual console. Having studied the original pipework and seen the original wind pressure markings as part of this project, the Forrest Memorial Organ was surely understated in its effect.

Möller added a new Great division to the instrument in 1980, introducing visible pipework set on cantilevered chests bracketing the rose window. The original Great was repurposed as a Positiv division, and the other divisions were revised in the fashion of the day, largely replacing foundation tone with new mixtures, cornets, and mutations. Towards the end of the same decade, Möller replaced the 1954 console with a new four-manual console, which allowed the addition of several digital voices by Walker Technical Company.

Möller’s Opus 8530 arrived at its final form a few years later when two new stops built by A. R. Schopp’s & Sons were added to the Swell division, a 4′ Blockflöte and an 8′ Tuba. Now at 54 ranks and supplemented by nearly a dozen digital voices, the instrument could fill the church with sound. The Möller pipework was nonetheless uniformly under-scaled for the space and sounded forced as it was inevitably “pushed” for maximum output. For such a large room, the Pedal division was also curiously limited to two dedicated ranks, a skinny wooden Contrabass and a generous Bourdon.

By the mid 2010s, parts of the instrument were failing. Some of the organ’s larger reed pipes were collapsing, wind reservoirs were audibly leaking, expression mechanisms were unreliable, and the instrument’s electro-pneumatic windchests were ciphering with regularity. The church’s organ committee, ably led by Mr. Danny Johnston, explored options to replace the obsolete Möller mechanisms while retaining as much of the pipework as was practical. The committee travelled to listen to various instruments in Texas, and four companies were invited to submit proposals. Two instruments convinced the committee that Létourneau was the right choice: our Opus 88 at Saint Andrew United Methodist Church in Plano (four manuals, 77 ranks) and our Opus 127 at Saint Mark’s School of Texas in Dallas (three manuals, 61 ranks).

After listening to the church’s aspirations for the project, studying the situation carefully, and surveying the Möller organ’s pipework, we developed a proposal for First United Methodist in several phases that retained nearly thirty ranks from the previous instrument. The project kicked off in the spring of 2019 with the replacement of the Antiphonal Great and Antiphonal Swell organs on either side of the gallery with new Antiphonal and Echo divisions totalling eleven ranks; the voicing was completed later that summer. Independently expressive, these two divisions served as a small but capable instrument for over a year, proving their ability to accompany the church’s adult choir of over seventy voices. With the completion of the chancel organ, these divisions draw sound from the chancel through the long nave, surrounding the congregation with sound without drawing attention to themselves.

As soon as the gallery organ and its two-manual console were ready for service, the dismantling of the chancel organ began. In all parts of the organ, pipes slated for reuse were repaired, cleaned, and in the case of the Möller pipework, liberally rescaled for the new instrument. For example, the scales of the Swell and Antiphonal 8′ Open Diapason stops were enlarged by three and four pipes, respectively. Two of the Möller’s narrow stopped basses were replaced with new wooden pipes for a fuller sound in the 8′ octave. After the addition of seven new pipes at various points in the tenor through soprano octaves, the Möller 8′ Harmonic Flute was completely transformed into the present Antiphonal 4′ Traverse Flute.

The first portion of the chancel organ arrived in Lubbock towards the end of 2019, and a second shipment arrived in early 2020. As the full extent of Covid-19 made itself known, how to continue the organ’s installation became a preoccupation as lockdowns and international travel restrictions sidelined our company’s Québec-based organ builders. After some logistical reshuffling, we engaged a crack team led by Samantha Koch and Daniel Hancock to continue the installation in Lubbock that included the talents of Ryan Boyle, Brian Seever, and Jon Lester. (Daniel and Samantha subsequently joined our team in Québec at the end of 2020.) This last phase of the installation included the Great division and the four 16′ tin façades with their oak casework around the church’s chancel area.

Our Opus 135 is playable from two new consoles. There is a large and traditional four-manual stopknob console in the chancel, and a two-manual console in the gallery with touchscreen controls. The gallery console offers the same stop controls as its larger brother at the other end of the sanctuary, giving organists complete control of the instrument in real time. Both consoles also share the same capture system, allowing the organist to move from one end of the building to the other without concern for registrations. The system boasts 999 levels of memory, as well as an independent sixteen levels of memory for the divisional pistons. Using Solid State Organ System’s powerful MultiSystem II platform, the switching system in all four organ chambers is linked by fiber optic cable for effortlessly rapid communication. Further, the organ has SSOS’s Organist Palette, an iPad interface allowing wireless record-playback throughout the sanctuary, a transposer, and a clock with stopwatch. The Organist Palette offers controls to adjust the General piston sequencer, the various Sostenuto functions, and the point of division for the Pedal Divide feature. Both consoles also use a programmable expression matrix, a concept we borrowed from Richard Houghten, which allows all five of the organ’s expressive divisions to be interchanged between any of the consoles’ three expression pedals.

The new organ’s tonal design took shape in a comfortably English mold, based on a large and noble Great division. Split between the two chancel façades, the Great offers colorful foundation stops, an elegant 16′ principal chorus topped with a six-rank mixture, and large-scale trumpets at 8′ and 4′ pitches. The 16′ Double Diapason is extended to play as the 8′ Open Diapason No. 2; the rank’s slotted pipes are voiced for a harmonically richer timbre to contrast with the larger, more foundational Open Diapason No. 1.

The Swell offers all the dynamic and tonal range one would expect for choral works or organ repertoire. Its specification is disciplined, containing the organ’s secondary principal chorus, a richly colored string and celeste, and a lighthearted chorus of flutes. The Swell foundations smooth the buildup between the Choir and Great divisions but equally reinforce the Great in orchestrally minded registrations. The Swell’s battery of trumpets with English shallots dominates the division without stretching above their station; they enrich the Great ensemble with nuance and color.

The Choir is the tertiary division, with a range of mezzo foundations, from its slotted principals to the open Concert Flute to the delicate Lieblich Gedackt rank. The organ’s softest stops, the Erzähler and Erzähler Celeste, possess more character than a typical Flute Celeste. When used in tandem with the Echo division, the effect is an ethereal shroud over the sanctuary, ideally proportioned to introduce solo colors from the Great, Swell, or Solo. With all the harmonic vibrancy and carrying power of a solo stop, the Choir’s cornet décomposé is still controlled in power such that its mutations can reinforce the principals for smaller contrapuntal works or in alternatim passages with other divisions. Möller’s 8′ English Horn from 1954 was thoroughly revoiced, and its hollow, peaky timbre contrasts beautifully with the Swell’s warm 8′ Oboe. The new Clarinet was fitted with teardrop shallots for a slightly bolder timbre than a prototypical English example without limiting its utility. Both reeds are balanced for use in dialogue with each other against the Swell, but they too can also be strengthened with elements from the cornet.

The Solo division stands out with a strong Doppelflöte and a pair of warm reverse-tapered gambas. The 8′ Tuba pipes by A. R. Schopp’s & Sons merit special mention for their resonators’ enormous scale, as well as their early jump to harmonic length at 4′ C. The Tuba rank was revoiced on nearly seventeen inches pressure with a round, fundamental tone that works beautifully as a solo voice—especially when employed in octaves—but can also buttress the whole ensemble. It will contrast magnificently as the darker foil to the future Trompette en chamade to be installed above the rear gallery. We also added a new 16′ octave to the Tuba using shallots and heavy zinc sheets supplied by Schopp’s for seamless cohesion. Intended to give the pedals the last word in extraordinary circumstances, the 16′ Ophicleide’s effect is especially astonishing from the chancel console!

The organ’s twelve-rank Pedal division features independent metal principals at 16′, 8′, and 4′. A five-rank mixture completes the Pedal chorus, with the mixture incorporating a soft tierce rank for a subtly distinctive timbre. The pedals are reinforced by a large 16′–8′ Open Wood rank and the restored Möller 16′–8′ Subbass, as well as a 16′ Trombone and 8′ Trumpet on nearly six inches pressure. The Pedal is also augmented by four digital 32′ stops provided by Walker, including a penetrating Contra Bass, a subtle Bourdon, a vibrant Contra Trombone, and a milder Contra Fagotto, with this last voice usefully enclosed within the Swell division.

As with any Létourneau instrument, a great deal of reflection went into how Opus 135 could best serve a host of musical needs, whether it is supporting a modern worship service, accompanying a grand choral anthem, or serving as the vehicle to present the organ’s repertoire. We believe the specification bears this out. With 75 ranks and five expressive divisions, there are endless possibilities for creative registration without having to turn the instrument on its head.  Each of the main divisions is based on foundations appropriate to the space, with incisive 16′ ranks that enhance their respective choruses without opacity. At the other end of the spectrum, great attention was paid to the role of upperwork with the happy result that the mixtures and higher pitches add presence and texture without overwhelming the balance of the chorus. The overall effect is one of grandeur, cohesion, and warmth.

We have thoroughly enjoyed working with so many fine people at First United Methodist Church during the course of this thrilling project, despite some unexpected twists and turns. Our work has been greatly helped at various points along the way by Danny Johnston, Dr. Seung-Won Cho, David Warren, Keith Bell, and the Reverend Todd Salzwedel. We are also grateful to Mrs. Mary Frances Baucum and the church’s Board of Trustees who were so supportive of the organ committee’s work and recommendations.

In the broader context of the Létourneau company, our Opus 135 for First United Methodist Church is the first instrument completed under the proprietorship of Dudley Oakes (Read about this here). This pipe organ is simultaneously the logical continuation of the artistic evolution that the company was already on and a first expression of our renewed pursuit of tonal excellence. Within the company, there is a growing sense of being in a strong position. The second generation of leadership has many lessons from the past to guide us into the future while still having the freedom to advance in new and exciting directions. With several exciting projects in the years ahead, we invite you to watch this space!

—Orgues Létourneau

Builder’s website

Church’s website

GREAT – Manual II – 95mm pressure

16′ Double Diapason, 12 pipes new, extension of Open Diapason No. 2

16′ Lieblich Gedackt — from Choir

8′ Open Diapason No. 1, 61 pipes new, 70% tin

8′ Open Diapason No. 2, 61 pipes new, 70% tin

8′ Harmonic Flute, 61 pipes new, 56% tin

8′ Salicional, 61 pipes new, zinc and 56% tin

8′ Chimney Flute, 61 pipes new, wood and 40% tin

4′ Principal, 61 pipes rescaled Möller pipes

4′ Open Flute, 61 pipes Schopp’s pipes

2-2⁄3′ Twelfth, 61 pipes new, 56% tin

2′ Fifteenth, 61 pipes new, 56% tin

1-1⁄3′ Mixture IV–VI, 306 pipes new, 56% tin

16′ Double Trumpet — from Swell

8′ Trompette, 66 pipes, new, 56% tin

4′ Clairon, 78 pipes, new, 56% tin

8′ Tuba — from Solo

Great Sub Octave

Great Unison Off

Great Octave

Chimes (from Solo)

Zimbelstern

ANTIPHONAL (enclosed) – Manual II – 115mm pressure

16′ Contra Geigen, 12 pipes new, extension of 8′ Geigen

8′ Open Diapason, 61 pipes rescaled Möller pipes

8′ Chimney Flute, 61 pipes Möller pipes with new wood bass

8′ Geigen, 61 pipes new, zinc and 56% tin

4′ Principal, 61 pipes rescaled Möller pipes

4′ Traverse Flute, 61 pipes rescaled Möller pipes

2′ Fifteenth, 61 pipes Möller pipes

Tremulant

Antiphonal Sub Octave

Antiphonal Unison Off

Antiphonal Octave

8′ Trompette en chamade — prepared for future addition

SWELL (enclosed) – Manual III –– 115mm pressure

16′ Contra Gamba, 12 pipes new, extension of 8′ Gamba

8′ Open Diapason, 61 pipes rescaled Möller pipes

8′ Gamba, 61 pipes Möller pipes

8′ Voix Celeste, 54 pipes from g8, Möller pipes with new zinc bass

8′ Bourdon, 61 pipes Möller pipes

4′ Principal, 61 pipes Möller pipes

4′ Harmonic Flute, 61 pipes new, 40% tin

2′ Piccolo, 61 pipes new, 40% tin

2′ Mixture III–V, 247 pipes new, 56% tin

16′ Double Trumpet, 61 pipes new, 56% tin, harmonic at c49

8′ Trumpet, 66 pipes new, 56% tin, harmonic at c37

8′ Oboe, 61 pipes new, 56% tin, capped resonators

8′ Vox Humana, 61 pipes new, 56% tin

4′ Clarion, 78 pipes new, 56% tin, harmonic at c25

Tremulant

Swell Sub Octave

Swell Unison Off

Swell Octave

ECHO (enclosed) – Manual III – 115mm pressure

16′ Bourdon, 12 pipes Möller pipes, extension of 8′ Bourdon

8′ Viole de gambe, 61 pipes Möller pipes

8′ Voix Celeste, 54 pipes from g8, Möller pipes with new zinc bass

8′ Bourdon, 61 pipes Möller pipes

4′ Violon, 61 pipes new, 56% tin

8′ Cor d’amour, 61 pipes Möller pipes, capped resonators

Tremulant

Echo Sub Octave

Echo Unison Off

Echo Octave

CHOIR (enclosed) – Manual I – 110mm pressure

16′ Lieblich Gedackt, 12 pipes new, extension of 8′ Lieblich Gedackt

8′ Geigen Diapason, 61 pipes Möller pipes

8′ Concert Flute, 61 pipes Casavant pipes with new treble

8′ Erzähler, 61 pipes Möller pipes

8′ Erzähler Celeste, 54 pipes from g8, new, zinc and 56% tin

8′ Lieblich Gedackt, 61 pipes Möller pipes with new wood bass

4′ Geigen Principal, 61 pipes new, 56% tin

4′ Koppelflöte, 61 pipes Möller pipes

2-2⁄3′ Nazard, 61 pipes rescaled Möller pipes

2′ Flageolet, 61 pipes rescaled Möller pipes

1-3⁄5′ Tierce, 61 pipes rescaled Möller pipes

1′ Fife, 61 pipes rescaled Möller pipes

8′ English Horn, 61 pipes Möller pipes

8′ Clarinet, 61 pipes new, 56% tin

Tremulant

Choir Sub Octave

Choir Unison Off

Choir Octave

8′ French Horn — from Solo

16′ Ophicleide — from Solo and Pedal

8′ Tuba — from Solo

4′ Tuba — from Solo

8′ Trompette en chamade — from Antiphonal

Harp — from Solo

SOLO (enclosed) – Manual IV – 255mm pressure

8′ Doppelflöte, 61 pipes new, wood and 40% tin

8′ Viola, 61 pipes new, zinc and 56% tin

8′ Viola Celeste, 54 pipes from g8, new, zinc and 56% tin

Tremulant

8′ French Horn, 49 pipes from c13, new, 56% tin, 425mm pressure

8′ Tuba, 85 pipes Schopp’s pipes, 425mm pressure

Solo Sub Octave

Solo Unison Off

Solo Octave

8′ Trompette en chamade — from Antiphonal

Chimes digital Walker Technical Co.

Harp digital Walker Technical Co.

Glockenspiel digital Walker Technical Co.

PEDAL – 105mm pressure

32′ Contra Bass, digital Walker Technical Co.

32′ Contra Bourdon, digital Walker Technical Co.

16′ Open Wood, 32 pipes new, wood

16′ Open Diapason No. 1, 32 pipes new, 70% tin

16′ Open Diapason No. 2 — from Great

16′ Subbass, 32 pipes Möller pipes

16′ Gamba — from Swell

16′ Lieblich Gedackt — from Choir

8′ Open Wood, 12 pipes new, extension of 16′ Open Wood

8′ Principal, 32 pipes new, 56% tin

8′ Subbass, 12 pipes Möller pipes, extension of 16′ Subbass

8′ Gamba — from Swell

8′ Lieblich Gedackt — from Choir

4′ Choral Bass, 32 pipes new, 56% tin

3-1⁄5′ Mixture V, 160 pipes new, 56% tin

32′ Contra Bombarde digital Walker Technical Co.

32′ Contra Fagotto digital enclosed with Swell, Walker Technical Co.

16′ Ophicleide 12 pipes new, zinc and 56% tin, ext. of Solo 8′ Tuba

16′ Trombone 32 pipes new, 145mm pressure

16′ Trumpet — from Swell

8′ Tuba — from Solo

8′ Trumpet 32 pipes new, 145mm pressure

4′ Tuba — from Solo

8′ Trompette en chamade — from Antiphonal

Chimes (from Solo)

ANTIPHONAL PEDAL

16′ Geigen — from Antiphonal

16′ Bourdon — from Echo

8′ Geigen — from Antiphonal

8′ Bourdon — from Echo

97 total stops; 75 ranks; 4,233 pipes

Great Mixture IV–VI

c1 to b12 19 22 26 29

c13 to b24 15 19 22 26

c25 to f#31 12 15 19 22 26

g32 to b36 8 12 15 19 22

c37 to f#43 1 8 12 15 19 22

g44 to e53 1 5 8 12 15 19

f54 to c61 1 5 8 8 12 15

Swell Mixture III–V

c1 to e17 15  19 22

f18 to b36 12 15 19 22

c37 to e41 8 12 15 19

f42 to b48 1 8 12 15 19

c49 to c61 1 8 8 12 15

Pedal Mixture V

c1 to g32 17 19 22 26 29

 

Read about Létourneau Opus 132 here.