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New Organs

January 31, 2003
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Rieger-Kloss Company, Krnov, Czech Republic

Madison Street United Methodist Church, Clarksville,
Tennessee

Madison Street United Methodist Church was in the main path
of the 1999 tornado that destroyed most of the downtown in Clarksville,
Tennessee. The church lost its historic 1890 Gothic building with its 1893
Jardine organ. There was a long period of recovery for the church. Under the
leadership of their minister, Dr. Douglas Norfleet, the congregation started
the tedious job of rebuilding their beloved church and the replacement of their
organ. The Jardine organ was no longer in its original state; it had been
rebuilt on several occasions with major alterations, but was still loved and
cherished by this congregation. It is thought to be the last organ built by the
Jardine Organ Company. There was not enough remaining of it to be worthy of
consideration for the foundation of the church's new organ.

The church requested a number of organ builders to bid on a
set stoplist for a new organ. A small committee was formed which included their
senior minister, church musicians, and building committee people to audition
instruments. One of the trips was scheduled to the Chicago area to hear two
Rieger-Kloss organs. After the auditions were completed, the committee
commissioned the Rieger-Kloss Organ Company to build their new organ.

Soon after the tornado, the architectural firm of Everton,
Oglesby and Askew was engaged to draw plans to rebuild the church. This firm
was already well underway with their plans, and construction was ready to begin
by the time a contract was signed with Rieger-Kloss. There was already a space
designated for the organ on the long axis of the room, above the choir loft.
The Lawrence Kirkegaard Company of Illinois had been contracted as the
acoustician. Because of the urgency of time, Rieger-Kloss was required to fit
the organ into the planned space with only minor changes. The church wanted the
flexibility of having the organ console movable in the chancel area, so it was
decided to use electric slider action with an English drawknob style console.

William E. Gray, Jr., representative for Rieger-Kloss in
design and sales, was assigned to coordinate and guide the organ project, to
draw up the final stop-list, to guide the visual design, to work with the
church committee, the church musicians and the church architects to see this
project through to a successful conclusion. The specification was immediately
revisited and redrawn by Mr. Gray in consultation with Luke Churchill, director
of music; Jill Whittinghill, associate director of music; Merrill Davis,
artistic director of Euro Musik; and Daniel Angerstein who was the tonal
consultant throughout the project. The specification of this instrument was
dramatically changed and expanded from its original concepts.

Early in the planning of the Madison Street organ, it was
decided to fully encase the instrument to give more musical focus to the sound.
The original plan was to just have a façade of pipes. It was evident
that a grand organ case was demanded by this room with its very high ceiling
and large cubic space. Mr. Gray worked with Marcel Kolarz, the Rieger-Kloss
architect, to design an organ case that would include open metal 32' pipes of
highly polished tin in the façade. Proportionally, it was more
appropriate to the scale of the room both visually and musically than a
smaller, 16' organ case. The solid oak organ case soars more than three stories
above the choir on the long axis of the room, providing the best possible
musical location. It is unusal for an organ of this size to possess three
complete 32' ranks of pipes, but this organ has a 32' Open Metal, a 32' Stopped
Wood and a 32' Bombarde. Although it is not the largest organ in the area, it
possesses many very large and high quality pipes not generally present in an
organ of its size, nor do they exist in most of the larger neighboring
instruments of Middle Tennessee. Careful attention was given to the tonal
design to make the instrument very eclectic, capable of playing various schools
and periods of organ literature. The Swell Organ is large with many 8'
foundation stops, similar to a fine English organ, and effective in choral
accompanying.

Three criteria were established for this instrument. The
first requirement was to accompany the liturgy of the church, especially great
Methodist congregational singing in hymns of many styles and moods. The second
was to provide choral accompaniments for varied periods, styles and moods of
music to support choirs of all ages. The third requirement was an instrument
capable of playing organ voluntaries in the worship service and to also be
capable of outstanding organ recitals. However, there is not a voice in this
organ that could not be used in a regular worship service. It has been designed
as an instrument of distinction, not copying any other organ, although many
historical influences are present in this design. For instance, a distinctive
feature is the inclusion of a Grand Choir Resonance division. This allows the
entire Pedal division to play on the first manual for the full 61-note compass
of the keyboard. This concept comes out of the French school of organ building;
this is the most extensive division of its type in the Southeast, and there are
only a handful of examples in the entire USA. Because of the rich resources of
this instrument, it has the ability to stand its ground admirably with a full
symphony orchestra.

The chief engineer for the Clarksville instrument was
Oldrich Hajek, the wood carving is by Petr Brodak, the tonal finishing by
Frantisek Kutalek and Tomas Fafilek under the direction of Daniel Angerstein.
Other master organ builders who were a part of the building team for this
instrument include Karel Uryga, Miroslav Kanok and Ondrej Trumpes.

Although the Rieger-Kloss Company is one of the largest
builders of pipe organs in the world, the personal care with each instrument is
similar to the highest quality small organ building shops. The organs are built
by a team of master organ builders who are assigned to the project at the
signing of the contract and who stay with the project to its completion. The
organ is engineered and built by these master organ builders. After all
components are built, the organ is assembled in the Rieger-Kloss erecting room
where all systems are completely checked, every pipe is racked and put on speech,
but no major tonal voicing is done. The team of master organ builders will then
dismantle, pack and ship the organ to its new home. The same team from Europe
meets the organ on its arrival at its new home and executes the installation.
The company operates the Rieger-Kloss School of Organ Building, a four-year
accredited degree program. The team of master organ builders has completed this
education and they have spent time as apprentices in the Rieger-Kloss organ
shop. The school furnishes many of the finest organ builders of Europe with
their most talented and highly trained young craftsmen. As far as we know, it
is the only school of organ building of its type in the world.

Only the highest quality materials are used in the building
of these instruments: the same high quality of thick metal, with a high content
of tin, is used in the metal pipes inside the organ case, as well as in the
façade. The expression boxes are made of thick wood and the expression
shades are also very thick in order to offer maximum expression with wide
dynamic range. The reeds have double reed blocks to keep the tuning wire more
stable.

The Rieger-Kloss Pipe Organ Company of the Krnov, Czech
Republic, has been building fine pipe organs since 1876. Rieger-Kloss pipe
organs are imported to the USA by Euro Musik of Bloomingdale, Illinois. Matthew
Bechteler is president of Euro Musik, Merrill Davis is vice president and
artistic director, and William Gray is the director of design and sales.

This instrument will have a lasting influence on the
cultural life of not only Madison Street United Methodist Church, Clarksville,
but will spread beyond these borders. We invite readers to order a CD of this
organ and also to visit Clarksville to experience and hear this outstanding
instrument.

William E. Gray, Jr.

Director of Design and Sales

GREAT (Manual II)

                                    Unenclosed:

                  16' style='mso-tab-count:1'>          Violone

                  8' style='mso-tab-count:1'>             Open
Diapason

                  8' style='mso-tab-count:1'>             Harmonic
Flute

                  8' style='mso-tab-count:1'>             Violoncelle
(ext)

                  4' style='mso-tab-count:1'>             Octave

                  22/3' style='mso-tab-count:1'>      Twelfth

                  2' style='mso-tab-count:1'>             Fifteenth

                  13/5' style='mso-tab-count:1'>      Seventeenth

                  11/3' style='mso-tab-count:1'>      Mixture V

                  16' style='mso-tab-count:1'>          Double
Trumpet

                  8' style='mso-tab-count:1'>             Trumpet
(ext)

                                    Enclosed/Expressive:

                  8' style='mso-tab-count:1'>             Chimney
Flute

                  8' style='mso-tab-count:1'>             Erzahler

                  8' style='mso-tab-count:1'>             Erzahler
Celeste (low C)

                  4' style='mso-tab-count:1'>             Koppelflute

                  8' style='mso-tab-count:1'>             Clarinet

                                    Tremulant

                                    Cathedral
Chimes (digital)

SWELL (Manual III,
enclosed)

                  16' style='mso-tab-count:1'>          Lieblichgedackt

                  8' style='mso-tab-count:1'>             English
Diapason

                  8' style='mso-tab-count:1'>             Stopped
Diapason (ext)

                  8' style='mso-tab-count:1'>             Viola
da Gamba

                  8' style='mso-tab-count:1'>             Voix
celeste (low C)

                  4' style='mso-tab-count:1'>             Principal

                  4' style='mso-tab-count:1'>             Harmonic
Flute

                  22/3' style='mso-tab-count:1'>      Nasard

                  2' style='mso-tab-count:1'>             Octave

                  2' style='mso-tab-count:1'>             Harmonic
Piccolo

                  13/5' style='mso-tab-count:1'>      Tierce

                  2' style='mso-tab-count:1'>             Mixture
IV

                  16' style='mso-tab-count:1'>          Fagotto

                  8' style='mso-tab-count:1'>             Trumpet

                  8' style='mso-tab-count:1'>             Oboe
(ext)

                  4' style='mso-tab-count:1'>             Clarion

                  8' style='mso-tab-count:1'>             Vox
Humana

                                    Tremulant

                                    Vox
Humana Tremulant

                                    Harp
(digital)

                                    Celesta
(digital)

                                    Zimbelstern
(digital)

GRAND RESONANCE
(Manual I, pedal registers extended 29 notes)

                  32' style='mso-tab-count:1'>          Violonprestant

                  32' style='mso-tab-count:1'>          Grand
Bourdon

                  16' style='mso-tab-count:1'>          Open
Wood

                  16' style='mso-tab-count:1'>          Violone
(Gt)

                  16' style='mso-tab-count:1'>          Bourdon

                  8' style='mso-tab-count:1'>             Octave

                  8' style='mso-tab-count:1'>             Violoncelle
(Gt)

                  8' style='mso-tab-count:1'>             Flute

                  8' style='mso-tab-count:1'>             Bourdon

                  51/3' style='mso-tab-count:1'>      Quint

                  4' style='mso-tab-count:1'>             Superoctave

                  4' style='mso-tab-count:1'>             Flute

                  2' style='mso-tab-count:1'>             Flute

                  22/3' style='mso-tab-count:1'>      Grand Fourniture
IV-VII

                  22/3' style='mso-tab-count:1'>      Mixture Major IV

                  2' style='mso-tab-count:1'>             Mixture
Minor IV

                  16' style='mso-tab-count:1'>          Bombarde

                  16' style='mso-tab-count:1'>          Double
Trumpet (Gt)

                  16' style='mso-tab-count:1'>          Fagotto
(Sw)

                  8' style='mso-tab-count:1'>             Trumpet

                  8' style='mso-tab-count:1'>             Oboe
(Sw)

                  4' style='mso-tab-count:1'>             Clarion

                                    Cathedral
Chimes (digital)

                                    Harp
(digital)

                                    Celesta
(digital)

PEDAL

                  32' style='mso-tab-count:1'>          Violonprestant
(ext Gt)

                  32' style='mso-tab-count:1'>          Grand
Bourdon

                  16' style='mso-tab-count:1'>          Open
Wood

                  16' style='mso-tab-count:1'>          Violone
(Gt)

                  16' style='mso-tab-count:1'>          Bourdon
(ext)

                  16' style='mso-tab-count:1'>          Lieblichgedackt
(Sw)

                  102/3' style='mso-tab-count:1'>   Quintbass (ext)

                  8' style='mso-tab-count:1'>             Octave

                  8' style='mso-tab-count:1'>             Open
Flute (ext)

                  8' style='mso-tab-count:1'>             Violoncelle
(Gt)

                  8' style='mso-tab-count:1'>             Bourdon

                  8' style='mso-tab-count:1'>             Stillgedackt
(Sw)

                  51/3' style='mso-tab-count:1'>      Quint

                  4' style='mso-tab-count:1'>             Choralbass

                  4' style='mso-tab-count:1'>             Solo
Flute

                  2' style='mso-tab-count:1'>             Descant
Flute (ext)

                  22/3' style='mso-tab-count:1'>      Mixture IV

                  32' style='mso-tab-count:1'>          Contre
Bombarde

                  16' style='mso-tab-count:1'>          Bombarde
(ext)

                  16' style='mso-tab-count:1'>          Double
Trumpet (Gt)

                  16' style='mso-tab-count:1'>          Fagotto
(Sw)

                  8' style='mso-tab-count:1'>             Trumpet

                  4' style='mso-tab-count:1'>             Clarion
(ext)

                                    Cathedral
Chimes (digital)

Fabry, Inc., Fox Lake,
Illinois, has added five new ranks to complete the pedal preparations and
create a new façade for the four-manual Welte-Tripp organ at Christ
Community Church, Zion, Illinois, bringing the total number of ranks to 64. The
firm completed a rebuild of the organ in 1996, at which time preparations were
made for additional ranks and a new façade. New façade pipes are
gold in color and all function. David G. Fabry constructed all new chestwork.
Four additional wind supply reservoirs were provided to help stabilize wind
pressures. David G. Fabry designed the new façade on AutoCad with the
assistance of church member Carl Klawonn. Joseph Poland of Fabry, Inc.
completed the installation.

Pedal additions: 16' Prestant, 16' Violone, 102/3'
Quint, 8' Principal, 4' Choral Bass.

GREAT

16' style='mso-tab-count:1'> Double
Open Diapason

16' style='mso-tab-count:1'> Bourdon

8' style='mso-tab-count:1'> First
Open Diapason

8' style='mso-tab-count:1'> Second
Open Diapason

8' style='mso-tab-count:1'> Doppel
Flute

8' style='mso-tab-count:1'> Bourdon
(ext)

8' style='mso-tab-count:1'> Grand
Viole

8' style='mso-tab-count:1'> Gemshorn

4' style='mso-tab-count:1'> Octave

4' style='mso-tab-count:1'> Harmonic
Flute

22/3' style='mso-tab-count:1'> Twelfth

2' style='mso-tab-count:1'> Super
Octave

Mixture
III

16' style='mso-tab-count:1'> Double
Trumpet

8' style='mso-tab-count:1'> Trumpet
(ext)

8' style='mso-tab-count:1'> Tromba

8' style='mso-tab-count:1'> French
Horn

4' style='mso-tab-count:1'> Clarion
(ext 16')

Chimes

Gt
16-UO-4

MIDI
I

MIDI
II

SWELL

16' style='mso-tab-count:1'> Lieblich
Bourdon

8' style='mso-tab-count:1'> Open
Diapason

8' style='mso-tab-count:1'> Geigen
Diapason

8' style='mso-tab-count:1'> Clarabella

8' style='mso-tab-count:1'> Stopped
Flute (ext)

8' style='mso-tab-count:1'> Viole
Celeste

8' style='mso-tab-count:1'> Viole
d'Orchestre

8' style='mso-tab-count:1'> Echo
Salicional

4' style='mso-tab-count:1'> Octave

4' style='mso-tab-count:1'> Flute
triangulaire

4' style='mso-tab-count:1'> Flute
d'Amour

22/3' style='mso-tab-count:1'> Nazard

2' style='mso-tab-count:1'> Fifteenth

13/5' style='mso-tab-count:1'> Seventeenth

11/3' style='mso-tab-count:1'> Nineteenth

16' style='mso-tab-count:1'> Posaune

8' style='mso-tab-count:1'> Trumpet
(ext)

8' style='mso-tab-count:1'> Cornopean

8' style='mso-tab-count:1'> Oboe

8' style='mso-tab-count:1'> Vox
Humana

4' style='mso-tab-count:1'> Clarion
(ext 16')

Tremulant

Vox
Vibrato

Sw
16-UO-4

MIDI
I

MIDI
II

CHOIR

16' style='mso-tab-count:1'> Contra
Dulciana

8' style='mso-tab-count:1'> Viola
Diapason

8' style='mso-tab-count:1'> Melodia

8' style='mso-tab-count:1'> Flute
Celeste

8' style='mso-tab-count:1'> Dulciana
(ext)

4' style='mso-tab-count:1'> Concert
Flute

4' style='mso-tab-count:1'> Dulcet
(ext)

2' style='mso-tab-count:1'> Concert
Piccolo

2' style='mso-tab-count:1'> Flageolet
(ext Dul)

8' style='mso-tab-count:1'> English
Horn

8' style='mso-tab-count:1'> French
Horn (Gt)

8' style='mso-tab-count:1'> Clarinet

Zimbelstern

Tremulant

Ch
16-UO-4

MIDI
I

MIDI
II

SOLO

8' style='mso-tab-count:1'> Diapason
Phonon

8' style='mso-tab-count:1'> Grosse
Gambe

8' style='mso-tab-count:1'> Gambe
Celeste

8' style='mso-tab-count:1'> Muted
Viole

8' style='mso-tab-count:1'> Viole
Aetheria

8' style='mso-tab-count:1'> Echo
Gedeckt

4' style='mso-tab-count:1'> Cor
de Nuit

4' style='mso-tab-count:1'> Fernfloete
(ext Echo Ged)

8' style='mso-tab-count:1'> Vox
Humana

8' style='mso-tab-count:1'> Echo
Horn

8' style='mso-tab-count:1'> French
Horn (Gt)

Tremulant

Solo
16-UO-4

MIDI
I

MIDI
II

PEDAL

16' style='mso-tab-count:1'> Contra
Basso

16' style='mso-tab-count:1'> First
Open Diapason

16' style='mso-tab-count:1'> Second
Open Diapason (Gt)

16' style='mso-tab-count:1'> Solo
O. Diapason (ext Solo)

16' style='mso-tab-count:1'> Prestant style="mso-spacerun: yes">

16' style='mso-tab-count:1'> Violone

16' style='mso-tab-count:1'> Bourdon

16' style='mso-tab-count:1'> Double
Dulciana (Ch)

16' style='mso-tab-count:1'> Still
Gedeckt (Sw)

102/3' style='mso-tab-count:1'> Quint

8' style='mso-tab-count:1'> Principal

8' style='mso-tab-count:1'> Octave
(ext 1st Open)

8' style='mso-tab-count:1'> Bass
Flute

8' style='mso-tab-count:1'> Violone
Cello

8' style='mso-tab-count:1'> Gedeckt
(Sw)

4' style='mso-tab-count:1'> Choral
Bass

4' style='mso-tab-count:1'> Octave
Flute (ext 1st Open)

16' style='mso-tab-count:1'> Trombone

16' style='mso-tab-count:1'> Ophicleide
(fr Dble Trumpet)

16' style='mso-tab-count:1'> Posaune
(Sw)

8' style='mso-tab-count:1'> Tromba
(ext)

8' style='mso-tab-count:1'> Trumpet
(fr Dble Trumpet)

4' style='mso-tab-count:1'> Clarion
(ext)

MIDI
I

MIDI
II

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