Cover
Grant Edwards, Portland,
Oregon
Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia
From the builder
The road from this organ's conception to its completion was
long, complicated, and a bit adventurous. It began as every organist's dream of
having a lovely pipe organ at home. Having worked at Bond Organbuilders since
June 1993, where I am now in my tenth year as a craftsman, I felt confident
enough by the fall of 1995 to begin design and construction on my own
instrument. This would have been impossible if not for the generosity and
patience of Richard and Roberta Bond and the rest of the crew, as the organ's
components would gradually take up a large portion of shop space--more space,
in fact, than I had initially expected. After constructing the coupler chassis,
I felt it had come at far too much cost to my free time for the 10 stops
originally planned. Soon, a solo flute, 16' reed, and other goodies had found
their way onto the drawing-board.
Temporary lodging
After three long years of work on evenings and weekends, the
organ was eventually complete, albeit homeless. And my colleagues desperately
needed their set-up room for another project. The First Congregational Church
(UCC) in downtown Portland, where I have been organist since 1995, was more
than happy to provide room and board for the new organ in their downstairs
chapel. Because of the small size of the chapel, the organ had to be voiced as
"dolce" as possible. A large panel of wood at the bottom of the swell
opening also served intentionally to block any direct sound egress from the
mouths of the interior pipes. These measures successfully bottled up the
organ's potency, and it was well received by the congregation and community.
From the Northwest to the Southeast
Having enlisted the Organ Clearing House to help find a buyer,
I received inquiries from around the country. In February of 2001, I received a
call from Bruce Fowkes, who said that the Episcopal Church of the Nativity was
interested in my Opus One, which they had become aware of via the OCH's web
site. The church subsequently invited me to visit their sanctuary, to determine
if it would indeed work well in their space. After measuring the available
area, we found that the organ would fit exactly as if it were meant for the
space. In addition, the church planned to remove the chancel carpeting and
install ceramic flooring throughout. The organ committee soon paid a visit to
Portland to see and hear the organ for themselves, and in June, 2001 a contract
was signed for installation in October. A few final details, including voicing
of the new Mixture pipes, were completed by the beginning of February, and
parish organist John Wigal played the inaugural recital on April 21, 2002.
Nips and tucks
John Wigal and the church's organ committee readily agreed
to a short list of modifications which we mutually felt to be desirable in the
given situation. The primary visual issue involved placement of the largest
open 8' and stopped 16' pipes, which were originally racked informally along
both sides of the case. The future corner location of the organ would obscure
the left side of the case while exposing the right side. The solution was to
create a side display of new flamed copper façade pipes, notes 1-9 of
the 8' Principal which had been too large for the swell box. The bottom octave
of the 16' could easily be stashed against the wall behind the organ. The new
display basses allowed the opportunity to rescale the 8' Principal three notes
larger (and the 4' Octave one note larger), for a fuller tone given the room's
capacity. The primary tonal change was addition of a new Mixture stop. So that
all the enclosed pipes might also be allowed to speak directly into the room,
the large "muting" board was removed from the shade frame and the
swell shades extended downward, creating an opening well below the level of the
pipe mouths.
Small is beautiful
Since this organ had been designed as a small yet tonally
complete chamber instrument, and since its eventual location remained a mystery,
it was kept as compact as possible. It measures only 91/2 feet tall at its
crown and 8 feet wide in the front, the compromise being that it is somewhat
deeper than might be expected. Many labor-intensive methods were employed to
save space in the interior, such as the hanging of bass pipes lengthwise along
the ceiling of the swell box. Tubular-pneumatic action is used for the largest
pipes of the 8' reed (which behave badly when tubed off) and 16' Sub Bass, thus
also reducing key pluck and wind consumption. An almost ridiculous number of
pipes (137) are tubed off the main windchest for the sake of spatial economy,
and the 16' pedal reed is planted behind the organ on its own valve box. A
single slider windchest of 112 note channels contains alternating pallets for
both manuals side by side, the pedal channels being divided out of the front
halves of the Upper Manual channels. The suspended manual key action is simply
splayed chromatically by means of squares towards the back of the organ. A
third arm on each of the pedal coupler rollers directly pulls open the pedal
pallets in the front of the windchest, requiring many vertical trackers to pass
through both manual keyboards.
A tonal world where none exclude
I am a great admirer of historic instruments of diverse
times and places, and find many modern instruments modeled after these examples
to be a wonder to the eye as well as the ear. I have attempted to create a kind
of "melting pot" in which echoes of many past tonal ideas may be
perceived: the orchestral richness of the French Romanic, the colorful
brightness of the German Baroque, the refined simplicity of 19th-century
America, and even a bit of the pomp and bombast of Britain. I hope to create an
ensemble of voices which blend into one full, cohesive chorus while at the same
time retaining as much color and personality in each individual voice. I want
to build organs capable of performing the widest variety of music effectively
and convincingly, if not with that ever-elusive spirit of "historical purity."
When my Opus One was newly complete, I billed it as an
"American Classic Chamber Organ," by virtue of its attempt to be the
most musically flexible instrument possible within a limited number of tonal
resources. It has a refreshing, modern sound that is nevertheless strongly
reminiscent of 19th-century American instruments. I attempted to overcome some
shortcomings in this style that I otherwise admire by including upperwork and
colorful mutations that are rather brighter than in a typical 1883 Hook &
Hastings.
A firm foundation
The organ includes many features which I have found to be
advantageous in a small instrument, such as placing the 8' Principal inside the
single expression box rather than in the façade. Indeed, having almost
all the organ's pipes behind swell shutters allows a degree of control
especially useful for accompaniment purposes. The "full" complement
of unison stops may be somewhat unusual for modern instruments of this size,
and this is even more true of a manual Sub Bass. Despite appearances, it is the
mid-range of this 16' stopped rank that is displayed in the front of the case
instead of the Principal. When playing on full organ, the 16' does not
prominently stand out if the swell box is closed, since the shutters mute far more
treble frequencies than bass. Not only does the 16' lend a satisfying weight to
the full ensemble, but it is specifically called for in a great variety of
literature.
Features create flexibility
Another way in which I expanded the utility of the organ's
limited resources is through the duplexing of several stops, a practice that is
becoming almost commonplace in mechanical-action organs. Four stops of the
Lower Manual are available in the Pedal via a second position in the
corresponding drawknobs, if the organist intentionally pulls up and out.
Notches locate the usual first positions, into which the stop shanks fall
naturally with the aid of a spring. As originally built, the two manuals also
shared a 22/3' Quinte and a 2' Doublet, which together served as a sort of
ersatz Mixture. When the Mixture was added to the Lower Manual, its 2' pitch
was made available as a half-draw stop, rendering a shared 2' redundant. The
Quinte's duplexing was left intact, however, but its pipes were revoiced as a
fluty Nazard to better mate with the Tierce. The Upper Manual was given a new
2' Recorder where the principal-scaled Doublet had been, thus completing a full
consort of six flutes. These are varied in character, and include an open wood
Descant Flute (Melodia) singing out from behind the center façade pipes.
Since I was compelled to co-opt its drawknob for the Mixture addition, the 16'
Pedal Bassoon is now controlled solely by a hitch-down foot lever, convenient
for hands-free activation. The Hautboy functions well as a chorus reed and can
produce a Trumpet-like solo voice when assisted by "helper stops."
The mutation stops blend seamlessly, forming reed-like effects, and the gentle
Viola has been found to be especially popular with listeners.
Heavenly casework
The organ's casework is made of quarter-sawn white oak
finished with hand-rubbed tung oil and varnish. Metal façade pipes are
of flamed copper. Wood façade pipes, in a design uniquely created for
this organ, feature fronts of lacewood with ebony trim and oak mouthpieces
carved in Roman arch form. The lacewood and ebony detailing is repeated in the
key-cheeks and music desk. Pipe shades depict stars, moons, and comets. Stars
surrounding the Chi Rho-emblazoned sun represent the nine planets, in their
relative sizes and exaggerated colors. Above the keydesk, a violet inscription
reads "Earth & All Stars Sing."
Summary >
I am deeply satisfied with the
outcome of this, my first organbuilding endeavor. My subsequent trips to
Chattanooga and Fort Oglethorpe since the installation never cease to uplift my
spirits, with credit due as much to the wonderful friends I have met there as
to the success of the new organ. I am especially grateful to the members of the
Church of the Nativity, who took a leap of faith in commissioning a major work
of art from an unknown builder, and also to John Wigal for bringing the
instrument so skillfully to life through music.
--Grant Edwards
Acknowledgments: Matthew
Bellochio, installation and tonal finishing assistant; Michael Wheeler,
installation assistant; Robert Hubatch, execution of central sun carving
(replacement of vanished original); Ralph Richards, Bruce Fowkes & Co.,
supportive local organ builders.
Very special thanks to Richard
and Roberta Bond and the entire Bond staff for tireless encouragement, advice,
and a pretty darn enviable organ building shop.
From the organist
In October of 2000 I began as
interim organist/choirmaster for the Episcopal Church of the Nativity in Fort
Oglethorpe, Georgia. The congregation is a relatively young one, having built
its nave in the early 1960s. The church was using a four-rank unit organ, over
sixty years old and in very bad need of repair. The organ was first housed in
the Chattanooga Funeral Home, then made an interim stop before settling at Nativity.
A 4' Octave replaced a soft string rank when the organ was installed in the
church to assist in hymn playing. The instrument, all in one unit, except for
the blower and reservoir, was placed at a 45-degree angle on the floor level of
the nave behind and to the outside of the pulpit. This had been accomplished by
removing a section of the elevated choir floor. Consequently, the organ was 18
inches lower than all of the surrounding floor and was partially hidden from
the congregation by a solid wall about 5 feet in height. The blower and
reservoir, intended for installation in another room, had been installed in the
corner behind the organ, making them very noisy all the time.
The rector and vestry were aware
of the poor state of the instrument prior to my arrival, but had not been able
create a plan or the funding to deal with the situation. The possibility of
replacing the organ was significantly due to the generosity of Arthur Yates,
who left an endowment to the congregation upon his death. The organ and its
accompanying remodeling in the nave were financed entirely through the Nativity
Endowment Fund. In early 2001 after some educational discussions with the
vestry, a committee was formed to investigate the replacement of the
instrument. Because the Church of the Nativity is a small congregation seating
only 140 in the nave, we began a search for a small unit-style instrument.
During this investigation period, a local organ builder noted the Grant Edwards
organ on the Organ Clearinghouse website and contacted me having felt the
instrument was appropriate for our space. Subsequent phone calls with John
Bishop and Grant Edwards led to a visit to our church by Mr. Edwards and a
return visit by three members of our committee to Portland in May of 2001. The committee
was immediately struck with the beauty and craftsmanship of the casework. The
sound of the instrument, particularly of the varied flutes and the 8'
Principal, led the committee to quickly recommend the purchase of the organ
with some modifications agreed on by both committee and builder.
The vestry then charged the
organ committee to institute changes which would enhance the worship space and
the organ installation. This allowed for the removal of carpeting in the aisle
and the choir space. The pews were removed and the entire floor area was
covered with 18" ceramic tile. In order to allow for better egress of
sound, the raised floor was returned under the organ and the organ was
installed on the long axis of the nave. The previous solid railings were
replaced with a wrought iron and oak railing. New lighting around the choir and
organ was installed as well as increased general lighting in the entire nave.
It is very easy to see that the
organ has exceeded everyone's expectations. The church's worship has been
enhanced, hymn singing has been markedly improved, and many in the community
have been welcomed into the church for the first time. The Church of the
Nativity has kept its endowment funds for use on special projects only. This
has not only allowed for the completion of the organ, but also for many mission
projects, both local and international. The leadership of this small church and
the craftsmanship and work of Grant Edwards deserve recognition and praise.
John E. Wigal
Organist/Choirmaster
Grant Edwards, Portland, Oregon, Opus 1
Episcopal Church of the
Nativity, Fort Oglethorpe, Georgia
16 ranks, 810 pipes
Mechanical key and stop action,
two manuals and pedal (56/30), balanced expression pedal, hitch-down couplers
Lower Manual
16'
style='mso-tab-count:1'> Sub
Bass
8' style='mso-tab-count:1'> Principal
8'
style='mso-tab-count:1'> Chimney
Flute
8'
style='mso-tab-count:1'> Descant
Flute (middle C)
4' style='mso-tab-count:1'> Octave
22/3'
style='mso-tab-count:1'> Nazard (from
Upper Manual)
2'
style='mso-tab-count:1'> Fifteenth
&
Mixture
III (double-draw)
8' style='mso-tab-count:1'> Hautboy
Upper Manual
8'
style='mso-tab-count:1'> Stopped
Wood
8' style='mso-tab-count:1'> Viola
4'
style='mso-tab-count:1'> Open
Flute
22/3' style='mso-tab-count:1'> Nazard
2' style='mso-tab-count:1'> Recorder
13/5 style='mso-tab-count:1'> Tierce
Tremulant
(affects entire organ)
Pedal
16'
style='mso-tab-count:1'> Sub
Bass (from Lower Manual)
8'
style='mso-tab-count:1'> Principal
(from Lower Manual)
4'
style='mso-tab-count:1'> Octave
(from Lower Manual)
16' style='mso-tab-count:1'> Bassoon
8'
style='mso-tab-count:1'> Hautboy
(from Lower Manual)
Lower
Manual to Pedal
Upper
Manual to Pedal
Manual
Coupler
Fenris Pipe Organ
style='font-weight:normal'>, Kilkenny, Minnesota, has built a new organ for
Ascension Lutheran Church in Albert Lea, Minnesota, where music director Eileen
Nelson Ness oversees a music program with adult, community, and youth choirs.
The new organ replaces an electronic simulator, and was part of a larger
construction project that consisted of bumping out the chancel to provide choir
space on one side and an organ chamber on the other. The two-manual and pedal
organ comprises 12 ranks, with provision for five more.
Our challenge, as organbuilders,
was to build a new instrument for an unconventionally shaped room with carpet
and padded pews. It also had to match the room and reuse pipework and some
components from an instrument the church had previously purchased as "seed."
The principal chorus is new,
façade pipes are from the earlier instrument. Casework and console are
new, made of red oak, with an oversized bench for teaching. The organ is
located in a pit; slab on frost footing with double 5/8 sheetrock taped and painted,
sloped ceiling. Chest action is electro-mechanical, with electro-pneumatic for
the 16' Subbass; switching system is Peterson. Wind pressure is 31⁄2
inches. Stoplist, scaling and voicing are by Bob Rayburn; design and
cabinetwork by Wes Remmey.
—Wes Remmey
Fenris Pipe Organ, Inc.
GREAT
8' style='mso-tab-count:1'> Principal
8'
style='mso-tab-count:1'> Rohr
Gedackt
8'
style='mso-tab-count:1'> Holzgedackt
(Sw)
4' style='mso-tab-count:1'> Octave
4'
style='mso-tab-count:1'> Rohr
Flute (ext)
22⁄3' style='mso-tab-count:1'> Quint (Sw)
2'
style='mso-tab-count:1'> Fifteenth
(ext)
IV
style='mso-tab-count:1'> Mixture
(wired, prep)
8' style='mso-tab-count:1'> Trumpet
4'
style='mso-tab-count:1'> Clarion
(ext)
Gt/Gt
4
Sw/Gt
16-8-4
SWELL
16'
style='mso-tab-count:1'> Lieblich
Gedackt (ext)
8' style='mso-tab-count:1'> Holzgedackt
8' style='mso-tab-count:1'> Viola
8'
style='mso-tab-count:1'> Voix
Celeste (T.C.)
4' style='mso-tab-count:1'> Principal
4'
style='mso-tab-count:1'> Gedackt
(ext)
22⁄3' style='mso-tab-count:1'> Nazard (T.C.)
2'
style='mso-tab-count:1'> Octave
(ext)
2'
style='mso-tab-count:1'> Block
Flute (ext)
13⁄5'
style='mso-tab-count:1'> Tierce (wired,
prep)
11⁄3' style='mso-tab-count:1'> Quint (ext)
IV
style='mso-tab-count:1'> Mixture
(wired, prep)
16'
style='mso-tab-count:1'> Bassoon
(T.C., ext)
8' style='mso-tab-count:1'> Oboe
4'
style='mso-tab-count:1'> Schalmei
(ext)
Sw/Sw
16-4
Tremolo
PEDAL
16' style='mso-tab-count:1'> Subbass
16'
style='mso-tab-count:1'> Lieblich
Gedackt (Sw)
8' style='mso-tab-count:1'> Principal
8'
style='mso-tab-count:1'> Bourdon
(Sw)
4'
style='mso-tab-count:1'> Choral
Bass (ext)
2'
style='mso-tab-count:1'> Octave
(ext)
16'
style='mso-tab-count:1'> Posaune
(prep)
8'
style='mso-tab-count:1'> Trumpet
(Gt)
4'
style='mso-tab-count:1'> Oboe
(Sw)
Gt/Ped
Sw/Ped
Lauck Pipe Organ Company
style='font-weight:normal'>, Otsego, Michigan, has built a new organ for St.
Peter's Cathedral, Marquette, Michigan. Our opus 54 is a three-manual organ
which replaces a small two-manual instrument. Several ranks of pipes from the
previous organ were incorporated into the new instrument. The painted casework
recapitulates the Romanesque architecture of the building. The tin
façade pipes are from the Great 8' Montre, Great 8' Flûte
Harmonique and, Pedal 8' Montre.
Space was at a premium as the
gallery is not large and we were not permitted to obstruct the windows. The
left case contains the Great with Choir above while the right case contains the
Pedal with Swell above.
St. Peter's Cathedral is an old
and historic building constructed of local brown sandstone. The huge interior,
hard surfaces, and ceramic tile floor provide excellent acoustics. With over 5
seconds of reverberation, a high gallery and long nave, this room is an
organbuilder's dream. The organ is generously scaled and voiced on moderate
wind pressures ranging from 3 to 4 inches, with the Swell reeds (parallel domed
shallots) on 5 inches, and the Great Trompette (tapered shallots) on 8 inches.
The voicing is transparent and not forced.
--James Lauck
Lauck Pipe Organ Company
GREAT
16'
style='mso-tab-count:1'> Bourdon
(ext)
8' style='mso-tab-count:1'> Montre
8'
style='mso-tab-count:1'> Flûte
à Cheminée
8'
style='mso-tab-count:1'> Flûte
Harmonique (49 pipes)
4' style='mso-tab-count:1'> Prestant
4'
style='mso-tab-count:1'> Flûte
Octaviante (ext Fl Harm)
2' style='mso-tab-count:1'> Doublette
IV style='mso-tab-count:1'> Fourniture
8'
style='mso-tab-count:1'> Trompette
de Fête
Gt/Gt
4
Sw/Gt
16-8-4
Ch/Gt
16-8-4
SWELL
8' style='mso-tab-count:1'> Bourdon
8'
style='mso-tab-count:1'> Viole
d'Gambe
8'
style='mso-tab-count:1'> Voix
Céleste (49 pipes)
4' style='mso-tab-count:1'> Prestant
4'
style='mso-tab-count:1'> Flûte
Harmonique
2'
style='mso-tab-count:1'> Flûte
Ouverte (ext)
IV
style='mso-tab-count:1'> Plein
Jeu
16' style='mso-tab-count:1'> Basson
8' style='mso-tab-count:1'> Trompette
8'
style='mso-tab-count:1'> Hautbois
(ext)
4'
style='mso-tab-count:1'> Clairon
(ext)
Tremulant
Sw/Sw
16-UO-4
CHOIR
8'
style='mso-tab-count:1'> Flûte
Couverte
8' style='mso-tab-count:1'> Viola
8'
style='mso-tab-count:1'> Viola
Céleste (49 pipes)
4' style='mso-tab-count:1'> Prestant
4'
style='mso-tab-count:1'> Flûte
à Fuseau
22/3' style='mso-tab-count:1'> Nazard
2'
style='mso-tab-count:1'> Doublette
(ext)
13/5' style='mso-tab-count:1'> Tierce
11/3' style='mso-tab-count:1'> Larigot (ext)
8' style='mso-tab-count:1'> Cromorne
Tremulant
Ch/Ch
16-UO-4
Sw/Ch
16-8-4
PEDAL
32'
style='mso-tab-count:1'> Contrebourdon
(resultant)
16' style='mso-tab-count:1'> Contrebasse
16' style='mso-tab-count:1'> Soubasse
16'
style='mso-tab-count:1'> Bourdon
(Gt)
8'
style='mso-tab-count:1'> Montre
(ext)
8'
style='mso-tab-count:1'> Bourdon
(ext Soubasse)
8'
style='mso-tab-count:1'> Flûte
à Cheminée (Gt)
51/3'
style='mso-tab-count:1'> Quinte (from 16'
Bourdon)
4'
style='mso-tab-count:1'> Prestant
(ext)
II style='mso-tab-count:1'> Fourniture
16'
style='mso-tab-count:1'> Bombarde
(ext Gt)
16'
style='mso-tab-count:1'> Basson
(Sw)
8'
style='mso-tab-count:1'> Trompette
(Gt)
4'
style='mso-tab-count:1'> Clairon
(Gt)
Gt/Ped
8-4
Sw/Ped
8-4
Ch/Ped
8-4
J. Zamberlan & Co
style='font-weight:normal'>., Wintersville, Ohio, has built a new organ for St.
Andrew's Episcopal Church, Greencastle, Indiana. The firm's Opus 1 comprises 18
stops, 23 ranks, over two manuals and pedal. Three normal couplers, Gt/Ped,
Sw/Ped and Sw/Gt, are controlled by hitchdown pedals. There is one general
tremulant affecting the entire organ. A cymbelstern is installed on top of the
center tower. Pedal lights are wired into the blower switch. Great at impost
level, Swell in the bottom rear, Pedal above that (behind Great). The key action
is entirely mechanical, as is the stop action, except for the two pedal stops
which are activated by slider solenoids. Casework of red oak, with hinged
panels allowing easy access into most parts of the instrument. Keydesk area in
butternut; keyboard naturals of bone with sharps of ebony; pedal keys rock
maple, sharps ebony-capped; stopknobs, hitchdown pedals, etc. of bocote;
stopknob disks of certified legal ivory. Total number of pipes is 1,182. Old
pipes extensively repaired, including new languids for several stops; slide
tuners, temperament is Kellner. Manual/pedal compass 58/30.
GREAT
8'
style='mso-tab-count:1'> Open
Diapason (new, façade, 28%)
8'
style='mso-tab-count:1'> Stopped
Diapason*
4' style='mso-tab-count:1'> Octave*
22/3' style='mso-tab-count:1'> Twelfth*
2' style='mso-tab-count:1'> Fifteenth*
4'
style='mso-tab-count:1'> Cornet
IV (new, from c13-c49, 28%)
11/3'
style='mso-tab-count:1'> Mixture III-IV (new,
28%)
8'
style='mso-tab-count:1'> Trumpet
(new, zinc & 52% resonators)
SWELL (enclosed)
8'
style='mso-tab-count:1'> Geigen
Diapason+ (1-12, stp fl)
8'
style='mso-tab-count:1'> Stopped
Flute+ (1-6 new, cypress)
8'
style='mso-tab-count:1'> Voix
Céleste*
4' style='mso-tab-count:1'> Principal+
4' style='mso-tab-count:1'> Flute+
2' style='mso-tab-count:1'> Flautino+
16'
style='mso-tab-count:1'> Bassoon
(new, 52% resonators)
8'
style='mso-tab-count:1'> Hautboy
(new, 52% resonators)
PEDAL (flat pedalboard)
16'
style='mso-tab-count:1'> Bourdon
(new, soft maple)
16'
style='mso-tab-count:1'> Trombone
(new, zinc & 28% resonators)
* E. & G.G. Hook, 1870
+ Stevens & Jewett, 1856
