Cover
Charles M. Ruggles Pipe Organs
Conifer, Colorado
Lakewood Presbyterian Church
Lakewood, Ohio
The organ for Wright Chapel at Lakewood Presbyterian Church
is the third instrument to be completed in our Conifer, Colorado workshop, and
our firm's opus 29. It was built for a congregation with an outstanding musical
tradition and a vision beyond any current fad or trend in worship. The church's
committee was a delight to work with and did their homework. They looked and
listened, then selected three builders to submit proposals.
The installation took place in June of 1999, during Vacation
Church School, which provided the children an opportunity to observe and learn
how a pipe organ is made. In addition, twice weekly open houses were held,
which gave opportunities for questions and progress reports, without
interrupting the work schedule. At the completion of the installation, I gave a
short, informal lecture-recital to demonstrate the resources of the instrument.
The formal dedication occured in September of 1999 and included works for organ
solo, organ duet, organ and instruments, and hymn singing. Performers included
Margaret A. Limkemann and Donald R. Schultzaberger, organ, and Brian J. Hottel,
trumpet.
The organ is located at the right front of the chapel, and
the visual design incorporates elements of the surroundings. The walnut pipe
shades were carved by Julia Von Evig of Bailey, Colorado. The leaded-glass
insert was created by Jean Griffith of Fort Collins, Colorado, mirroring the
recently re-discovered stained glass windows above the communion table.
Casework is made from white oak, stained to match the pews. The side panel,
music rack, and impost panels are of walnut. The triangular panel was laid out
with a computer program and cut with a laser engraver. Most components of the
organ were made in our workshop, including all interior pipes and the Octave 4'
in the facade. The Principal 8' is an open rank throughout, with low C–G
made in Haskell form. The Rohrflöte 8' is common to both manuals. The
pipes are located at the center of the windchest, with the pallets of Manual I
at the front of the organ and the pallets of Manual II at the rear. This allows
availability on an either/or basis by means of a single mechanical device which
pulls one stop in while the other is drawn. The lowest pipes of the Subbass 16'
sit behind the case. Behind them in a storage area are the bellows and blower.
The minister of music and I determined the stoplist. It is
small but versatile. For example, the Sesquialtera, beginning at middle C, is
useful for outlining the melody of a hymn. Early English voluntaries can be
played with both hands on Manual I (solo and accompaniment), freeing up Manual
II for the echo portions. Compass is 56/30; wind pressure 65 mm; suspended
mechanical key action; mechanical stop action; AGO pedalboard; metal pipes with
soldered-on caps or cone tuned.
Building this new organ for Lakewood Presbyterian Church has
been a rewarding experience. I extend my personal thanks to Dana Hull of Ann
Arbor, Michigan, for her assistance in assembly and voicing, and to Keith Berr
for the photography.
Charles Ruggles
13641 W. Cedar Dr.
Conifer, CO 80433
303/838-0065.
From the organist
Lakewood Presbyterian Church is an urban congregation of 600
members, located in the downtown area of Lakewood, a near west suburb of
Cleveland. The facilities include a 42-rank Holtkamp organ in the sanctuary,
two vintage Steinway pianos, and a harpsichord. There are choirs and ensembles
for everyone from age 3 on up. These include singing choirs for all ages as
well as Orff instruments, handbells, strings, brass, and flutes.
Adding a pipe organ to our Wright Chapel began as a dream of
Dr. Jane P. McCollough, who left a bequest in 1983. This gift was augmented
over the years by Betty Jacobs. When the chapel needed refurbishing, Betty
Twist came forward and made that possible, and then made a generous donation
for the organ. The vision grew to include gifts from over 100 of the
congregation.
A committee was formed, organs were explored and heard, and builders
were chosen for bids. A unanimous choice resulted in a contract with Charles
Ruggles. The tonal design is perfect for our needs. There is amazing
versatility, and the voicing is never overpowering for the small room. Most
literature is playable, and the action is user-friendly, never heavy. The flute
is warm and round, the principal is strong when it leads hymn singing but is
not too assertive, and the trumpet is strong enough for a processional.
The fund-raising went over the goal and allowed us to set up
a maintenance fund. The dedication concert was sold out so fast that we added a
second concert which also sold out. A work, Leslie Adam's Infinitas, was
commissioned and premiered and has been heard often since.
The project was a pleasure from beginning to end. The
committee truly worked as a team. My thanks go to Matt Majher, chair, and to
Sheryl Buckley, Zoe Harper, Brian Hottel, John Noran, Don Schultzaberger, Jan
Soeder, and Pastor J. Howard Reed.
--Margaret A. Limkemann
Minister of Music and Organist
MANUAL I
8' Principal
8' Rohrflöte
(Man II)
4' Octave
Sesquialtera
II (from c')
MANUAL II
8' Rohrflöte
4' Flute
8' Trumpet
(TC)
PEDAL
16' Subbass
(oak)
Couplers
Man
I/Man II
Man
I/Ped
Man
II/Ped
Schoenstein Builds Magnum Opus</h2<
Schoenstein & Co., organ
builders of San Francisco, recently completed a new organ for First-Plymouth
Congregational Church of Lincoln, Nebraska. This instrument is the fourth in a
series of large, symphonic "American Romantic" style instruments and
is their "Magnum Opus" to date. The design draws upon the great
traditions of Romantic organ building, incorporating them into a modern
framework with the resources necessary for a multifaceted, contemporary church
music program.
The concept of this instrument
is based on the conviction that the organ can and should have the same kind of
expressiveness as the symphony orchestra, all placed under the total control of
a single individual. On this subject, Jack Bethards, President and Tonal
Director of Schoenstein & Co. states: "The organ may even eclipse the
orchestra in accompanimental versatility and musical expression. In fact, it
must do so if it is to be the foundation of mainstream church music in the 21st
century."
Over a period of more than 25
years, Jack Levick, Minister of Music and Fine Arts at First-Plymouth, has
built one of the most respected music programs in the country. An important
contributor to that status is the ideal acoustic setting for music that the
church sanctuary provides.
To make this organ truly
"symphonic", Schoenstein incorporated five factors into its design:
1. Clarity--so that
compositional form and harmonic structure are obvious.
2. Tonal variety--to express the
widest spectrum of musical moods.
3. Wide dynamic range with
precise control--for terraced, continuous or suddenly accented changes.
4. Tonal structure that allows
for pitch and dynamic balance--for all registrations from delicate to dramatic.
5. Responsive action and
substantial wind--that accommodate all styles of rhythm and phrasing.
The sanctuary at First-Plymouth
is a wonderful example of 1930s modernism with some traces of the style now
known as Art Deco. Schoenstein design director Chuck Primich used this
inspiration in the design of the pipe façade and consoles. The main case
is divided internally into three sections, Great, Choir and Swell. All three
divisions are placed on two levels behind the façade. The pre-existing
organ chambers on each side of the chancel have been used, with one containing
the Pedal and the other the Solo and Celestial divisions. All chorus reeds are
on the upper level of their respective divisions to aid in tuning stability. A
triple turbine, 16-horsepower blowing plant provides wind through 30 individual
regulators for absolute stability. The Schoenstein Expansion Cell‘ Wind
Chest with individual electric-pneumatic valves is used throughout the
instrument.
The diapason choruses form the
foundation and signature of this instrument with a wealth of unison diapason
tone and a symphonic approach to the upperwork, which is scaled progressively
smaller at each pitch level. The large, unenclosed Great Organ offers a wealth
of 16', 8'and 4'stops; mf voices are on the upper level and are separately
coupleable as an Echo Great. Nine 8'and four 4'flues make possible a Great
buildup of kaleidoscopic color without the need of an expression system. Every
family of tone is represented at two dynamic levels.
The Swell division is compact
but is capable of a flawless, English-style "full swell" buildup
using the Cor Séraphique and Vox Angelique borrowed from the Celestial
division to introduce the flues and two distinctly different oboe stops to
bridge into the chorus reeds. As in the Great there are both mf and ff
mixtures.
The Choir includes a complete
chorus of mild but bright principal, unison and mutation pitches through 1'as
well as a cornet decomposé of wide scaled stops.
The Solo-Celestial division
employs a double expression system wherein an auxiliary expression box,
containing the loudest and softest voices of the division, is enclosed within
the main expression box. Additionally, the Vox Humana is in a third enclosure,
adjustable at the console. When not in use, the double expression system
interior shades are automatically set for normal balance. The largest Tuba
(there are a total of four on 15"wind) is unenclosed at the top of the
main case. The Solo division includes Schoenstein's latest development, the
8'Böhm Flute. This stop employs five pipe structures including double
mouth/double harmonic pipes and may be effected by a tremulant, variable in
both speed and depth on a balanced pedal.
The Gallery Organ is more than
just an Antiphonal or Echo division. It has its own two-manual console and is
located in the balcony of the church. Although it has only eleven voices, the
double expression system, which contains a very bright, piquant string celeste
and a powerful, harmonically rich trumpet combined with a robust Pedal
including an open wood stop, offers a remarkable musical scope. The Harmonic
Trumpet is also an excellent foil to the Tuba Magna across the room in the
Chancel case.
Thomas Murray played the
dedication recital and has recorded Music of Schumann and Mendelssohn (JAV
Recordings, JAV 117).
--Larry Simpson
Schoenstein & Co.
The Lied Organ
First-Plymouth Congregational
Church
Lincoln, Nebraska
85 Voices--110 Ranks
Electric-Pneumatic Action
GREAT (33/4"and
4"wind)
16' Double
Open Diapason
16' Contra
Gamba
16' Lieblich
Bourdon (Chim.Fl.Treble)
8' Large
Open Diapason (61/2"wind)
8' Open
Diapason
8' Small
Open Diapason†
8' Gamba
8' Harmonic
Flute
8' Corno
Flute (Wood,Har.Fl.Bass)†
8' Chimney
Flute
8' Quintadena†
8' Erzähler†
4' Principal
4' Gambette†
4' Spire
Flute†
4' Fernflöte
(Stopped Metal)†
2' Fifteenth
22/3' Cornet (TC II)
2' Mixture
mf (III)
2' Mixture
f (IV)
8' Posaune†
Tremulant†
Choir
Reeds on Great
16' Bass
Horn
8' Trumpet
4' Clarion
Celestial
Reeds on Great
16' Ophicleide
8' Tuba
4' Tuba
Clarion
†Stops
on Echo Great Chest (31/2"wind)
SWELL (Enclosed - 4"wind)
16' Bourdon
(Wood) (12 pipes)
8' Open
Diapason
8' Bourdon
(Wood)
8' Gamba
8' Voix
Céleste (FF)
8' Cor
Séraphique (Celestial)
8' Voix
Angelique (Celestial)
4' Gemshorn
4' Harmonic
Flute
4' Cor
Séraphique (Celestial)
4' Voix
Angelique (Celestial)
2' Flageolet
2' Mixture
mf (III)
2' Mixture
ff (III-V)
16' Bassoon
8' French
Trumpet
8' French
Oboe (Bassoon Bass)
8' English
Oboe
8' Vox
Humana (Variable Tremulant)
8' Vox
Humana (Celestial)
4' Clarion
Tremulant
Gallery
Solo Stops on Swell
8' Open
Diapason
8' Harmonic
Flute
8' Oboe
8' Harmonic
Trumpet
CHOIR (Enclosed - 4"wind)
16' Éolienne
(12 pipes)
8' Dulciana
8' Concert
Flute (Wood-L.Ged Bass)
8' Lieblich
Gedeckt (Wood & Metal)
8' Éolienne
8' Éolienne
Céleste (GG)
4' Fugara
4' Forest
Flute (Open Metal)
22/3' Twelfth (TC)
22/3' Nazard
(Chimneyed)
2' Salicet
2' Harmonic
Piccolo
13/5' Tierce (TC)
11/3' Nineteenth (TC)
1' Twenty-Second
8' French
Cornet (TC V Ranks - 5"wind)
16' Bass
Horn
8' Trumpet
(51/2≤ wind)
8' Flügel
Horn
8' French
Clarinet
4' Clarion
(51/2"wind)
Tremulant
8' Tuba
Magna (Solo)
4' Tuba
Magna (Solo)
SOLO (Enclosed - 10"wind)
8' Stentor
Gamba (Flared, slotted)
8' Gamba
Celeste (Flared, slotted)
8' Böhm
Flute
8' French
Cornet (Choir)
16' Bass
Clarinet (51/2≤ wind)
8' English
Horn
8' French
Horn (15≤ wind)
8' French
Clarinet (Choir)
8' Corno
di Bassetto (51/2≤
wind)
4' Cor
Sopranino (51/2≤ wind)
8' Clarinetti (III)
Tremulant
(Variable)
8' Tuba
Magna
(AA-Unenclosed-15≤ wind)
CELESTIAL (Enclosed -
15"wind)
In
separate enclosure inside Solo box
16' Ophicleide
(Hooded)
8' Tuba
(Hooded)
4' Tuba
Clarion (Hooded)
8' Tuben
(III)
8' Cor
Séraphique (51/2≤
wind)
8' Voix
Angelique (AA - 51/2"wind)
8' Vox
Humana† (51/2"wind)
2' Tierce
Mixture
(TC
IV-VI Ranks-51/2"wind)
†In
separate enclosure inside
Celestial
box
GALLERY (Enclosed -
4"wind)
16' Stopped
Bass (Wood) (12 Pipes)
8' Open
Diapason (Unenclosed)
8' Stopped
Diapason (Wood)
8' Harmonic
Flute (Bass unenclosed)
8' Salicional
4' Principal
4' Chimney
Flute (GG)
4' Salicet
(12 Pipes)
22/3' Nazard (From
Chimney Flute)
2' Fifteenth
(12 Pipes)
2' Mixture
(IV)
16' Contra
Oboe (12 Pipes)
8' Oboe
Tremulant
ETHEREAL (Enclosed -
4"wind)
In
separate enclosure inside Gallery box
8' Voix
Sérénissime (II)
8' Harmonic
Trumpet (71/2"wind)
GALLERY PEDAL (4"wind)
16' Contra
Bass (Wood) (12 pipes)
16' Stopped
Bass (Gallery)
8' Bass
8' Stopped
Diapason (Gallery)
4' Octave
Bass (12 pipes)
16' Contra
Oboe (Gallery)
PEDAL (Enclosed - 7"wind)
32' Major
Bass (Resultant)
32' Contra
Gamba (Unenclosed - 4≤ wind)
(12 pipes)
32' Sub
Bass (Resultant)
16' Open
Wood
16' Open
Diapason (Great)
16' Gamba
(Great)
16' Violone
(Wood)
16' Sub
Bass (Wood - 15≤ wind)
16' Lieblich
Bourdon (Great)
16' Éolienne
(Choir)
16' Bourdon
(Swell)
8' Open
Bass (12 pipes)
8' Principal
8' 'Cello
(12 pipes)
8' Flute
(Great)
8' Stopped
Bass (Wood - 15≤ wind)
(12
pipes)
8' Bourdon
(Swell)
4' Octave
(12 pipes)
4' Flute
(Great)
32' Contra
Trombone (15≤ wind) (12
pipes)
16' Trombone
(15"wind)
16' Bassoon
(Swell)
16' Bass
Clarinet (Solo)
16' Bass
Horn (Choir)
8' Tromba
(15≤ wind) (12 pipes)
8' Posaune
(Echo Great)
8' Corno
di Bassetto (Solo)
4' Octave
Tromba (15≤ wind)
(12 pipes)
4' French
Clarinet (Choir)
8' Pizzicato
Bass†
†Draws
8'Open Bass through Pizzicato
touch relay
Intramanual Couplers
Great
unison off
Swell
16', unison off, 4'
Choir
16', unison off, 4'
Solo
16', unison off, 4'
Gallery
16', 4'
Above
couplers read through Inter-manual Couplers
Intermanual Couplers
Echo
Great to Choir
Echo
Great off Great
Great
to Pedal
Swell
to Pedal
Choir
to Pedal
Solo
to Pedal
Swell
to Great
Choir
to Great
Solo
to Great
Choir
to Swell
Solo
to Swell
Great
to Choir
Swell
to Choir
Solo
to Choir
Pedal
to Choir
Gallery
to Pedal
Gallery
to Great
Gallery
to Swell
Gallery
to Choir
Gallery
to Solo
Special Couplers
Swell
to Great Sforzando
Solo
to Great Sforzando
Above
couplers activated by momentary touch toe lever
Pedal
Divide
All
Swells to Swell
Mechanicals
Solid
State Capture Combination Action with:
•16
memories
•80
pistons and toe studs
•programmable
piston range for each memory level
15
reversibles including Full Organ
Expression
shoe selector
Vox
Humana expression and Tremulant speed selector
16
Crescendo and Full organ programs
Adjustable
bench
Separate
two manual console for Gallery Organ
