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New Organs

March 5, 2003
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Marceau & Associates, Portland, Oregon


Chapel Hill Presbyterian Church,


Gig Harbor, Washington

History

While its new sanctuary was still in the planning stages,
Chapel Hill Presbyterian Church and its music director, Jeff Orr, contacted
Marceau & Associates with a request to find a historic "romantic-style" pipe organ that would support the congregation's eclectic
worship style. The ensuing search for a suitable instrument ended just eight
miles from the Marceau workshop when the company was contacted by a community
theater group in northwest Portland to evaluate an unplayable organ in the old
church building it occupied. There, behind a grille-screen at the front of the
1,100-seat auditorium of the former First Church of Christ Scientist, stood a
three-manual instrument built in 1910 by Hook & Hastings.

The Portland instrument, though suitable for Chapel Hill,
was not without problems. It had been unplayable for nearly 20 years. Both its
console and blower motor had been removed when the spaces they occupied were
converted to other uses. All the leather membranes of its original
electro-pneumatic mechanisms had dried out and cracked, and the entire
instrument had a thick coating of urban dust and grime. In 1956 the San
Francisco firm of Schoenstein & Co. (who had originally installed it) had
made several alterations to it. Its winding system was changed. Some of its
most characteristic "romantic" ranks were replaced with others of a
different character, and several new ranks were added to increase the organ's
resources.

However, it also had great potential. The instrument was
structurally sound. The 1910 Hook & Hastings windchests and pipework were
of excellent quality and, though filthy, virtually intact. With a thorough
cleaning and restoration, these historic materials could be made as good as
new.

Fortuitously, Marceau & Associates had in storage many
ranks of pipes from another historic instrument of identical style and vintage
(built in 1910 by the Estey Organ Company of Brattleboro, Vermont) which were
removed from First Presbyterian Church in Spokane, Washington. These would
provide re-placements for some missing Hook & Hastings ranks removed in
1956 and also supply sympathetic additions to the instrument. Having found a
suitable in-strument, Marceau & Associates proposed a plan to both restore
and augment the organ's tonal resources, creating an instrument to enhance and
inspire the dynamic musical needs of Chapel Hill's new generation of
worshipers.

Project

In November of 1997, the organ was disassembled and moved to
the Marceau workshop for restoration. All wooden pipes and parts were stripped
of their original shellac finish, cleaned and re-paired, and then coated with
new shellac. The Hook windchests were carefully disassembled, cleaned,
repaired, and fitted with new, custom-designed electropneumatic pull-down
actions to im-prove their performance and longevity. Then they were reassembled
and adjusted. In instances where original Hook components required modification
or replacement, new pieces were made from the same type of wood (poplar) and
finished with shellac.

All of the metal pipework, both original and replacement,
was washed and repaired, then regulated to restore original intonation and
tone. To allow the or-gan to be used with other instruments, all the pipework
was repitched to A-440.

To replace the Hook & Hastings pipework removed during
the alterations of 1956, quality historic pipework of similar style and vintage
was obtained from various sources. The missing Great 8' Trumpet and Swell 8'
Cornopean were replaced with similar ranks built in 1913 by C.S. Haskell of
Philadelphia, Pennsylvania for St. Patrick's Roman Catholic Church in
Philadelphia. Similarly, pipework from the 1910 Estey organ from the First
Presbyterian Church in Spokane, Washington, provided replacements for the
missing Great 8' Hohlflute and 8' Diapason F ranks, as well as some of the
added stops in the Great (16' Diapason), Swell (16' Bourdon), Choir (2'
Piccolo), and Pedal (16' Trombone).

To increase the organ's musical versatility without
sacrificing its original historic character a new fourth manual division--the
Grand Choir (playable from the bottom keyboard)--was added to the instrument.
It contains stops that augment the tonal palette of the Hook & Hastings
organ for the interpretation of a wider range of organ literature, and adds
contrasting pitches, brighter sounds, piquant colors, commanding power and
special effects to the instrument's resources.

The most important step in the relocation process was to
create a suitable space for the organ in its new home. The instrument's
placement along the rear wall of the chancel area gives it a commanding
position from which it can support choirs and instrumentalists and sing to the
farthest corners of the sanctuary. The large shallow chamber (45' wide, 11'
deep, 25' high) was specially designed by the organbuilders to blend and
project the organ's sounds into the sanctuary. To further enhance sound
reflection the chamber walls were lined with six layers of plasterboard and
finished with a skim coat of hard plaster and enamel paint.

The organ's pipe façade serves both an artistic and a
functional purpose. Besides giving the instrument a visual identity and serving
as an attractive backdrop for the cross, it affords the largest metal pipes of
the organ an acoustically favorable placement. The 43 speaking pipes are the
lowest notes of three Great stops: 16' Open Diapason, 8' Diapason FF and 8'
Diapason F.

Hook & Hastings Opus 2257 was installed in Portland
behind a grille-screen and did not have a pipe façade. Fortunately,
Marceau & Associates also had in storage the pipe façade of the 1910
Estey organ from Spokane. Using a CAD system to manipulate the lengths and
positions of pipes, Marceau's design engineer, Mark Dahlberg, reconfigured the
Estey façade. This new design reinterprets the traditional
"pipe-fence" of romantic instruments in a contemporary idiom which is
expressive of the organ's new mission. Rising above the polished marble tiles,
the five pipe fields and the maple slats above them give a vertical emphasis to
the wide chancel area. The sloping lines created by the pipe tops and mouths
draw the eye to the large central cross.

Internally, the organ is laid out in three main sections.
The windchests and pipes of the three Hook & Hastings manual divisions are
on two levels behind the center section of the pipe façade. The main
Great windchest is at the level of the façade pipe feet. The Choir
division is behind it. On the upper level is a new windchest with the Great
reeds (8' Festival Trumpet and 8' Trumpet) just behind the grille screen, and
the Swell division at the rear.

The Grand Choir is housed in a new, two-level 16-foot-high
expression box, directly behind the two left-hand sections of the
façade. The Tuba, Fagott, Harp and Chimes are in the upper level. To the
left of the Grand Choir box, against the side wall of the chamber, are the low
12 pipes of the 32' Contra Bourdon, which speak beneath the windchests.

The windchests and full-length wooden 16' pipes of the Pedal
division occupy the space behind the two right-hand sections of the
façade. The 12 half-length pipes of the wooden 32' Contra Trombone are
along the right side wall of the chamber.

An entirely new wind system was designed for the instrument.
Wooden and PVC trunks convey the wind from the double turbine blower in the
room beneath the organ chamber to the eight reservoirs that regulate and supply
the wind pressure to the chests. A step-up blower increases the static pressure
from the blower to the 18" wind pressure required for the Grand Choir
Tuba.

The organ's resources are controlled from a three-manual and
pedal drawknob console, which combines traditional appearance with
state-of-the-art technology. The vintage white oak console shell, pedalboard
and bench were stripped, bleached, and refinished with multiple layers of hand
rubbed polyurethane to harmonize with the chancel woodwork. The all-new
interior woodwork of the keyboards and stop jambs is of African Bubinga--like
the chancel cross--stained in a red-mahogany finish. The manual keyboards have
bone-covered natural keys and eb-ony sharps. The pedal keys have maple-covered
naturals and ebony-capped sharps. Concealed internal casters allow the console
to be easily moved anywhere within the chancel area.

The manual keyboards are equipped with tracker-touch. The
console's electronic control system includes a combination action with 25
levels of memory, MIDI, and a sophisticated internal microprocessor, which
converts each key and stop movement into a digital data stream and transmits it
to the organ via a small six-wire data cable. A second microprocessor within
the organ chamber decodes these signals and sends them to the appropriate
windchest valves beneath the pipes.

--Rene A. Marceau

President and tonal director

Marceau & Associates

Chapel Hill Presbyterian Church, Gig Harbor, Washington

Hook-Hastings Opus 2257, c. 1910

Marceau & Associates Opus XV, 1998

GREAT

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

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

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

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

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

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

                  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'>             Fifteenth

                  11⁄3' style='mso-tab-count:1'>      Mixture IV

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

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

                                    Chimes
(Ch)

SWELL

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

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

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

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

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

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

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

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

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

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

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

CHOIR

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

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

                  8' style='mso-tab-count:1'>             Unda
Maris

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

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

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

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

                                    Chimes

PEDAL

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

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

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

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

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

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

                  102⁄3' style='mso-tab-count:1'>   Quint (ext Subbass)

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

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

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

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

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

                  32' style='mso-tab-count:1'>          Contra
Trombone (ext)

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

                  16' style='mso-tab-count:1'>          Contra
Fagott (Gr Ch)

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

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

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

                                    Chimes
(Ch)

GRAND CHOIR

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

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

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

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

                  8' style='mso-tab-count:1'>             Erzähler
Celeste (tc)

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

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

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

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

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

                  11⁄7' style='mso-tab-count:1'>      Septieme

                  2' style='mso-tab-count:1'>             Plein
Jeu V

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

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

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

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

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

                  8' style='mso-tab-count:1'>             Solo
Tuba

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

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

                                    Cymbelstern

51 stops

58 ranks

3558 pipes

Fabry, Inc., Fox
Lake, Illinois, has completed the renovation and installation of a Möller
organ for St. Mary's Catholic Church, Spring Lake, Michigan. The organ was
originally built in 1975 as M.P. Möller opus 11012 for Holy Family
Catholic Church in Rockford, Illinois. Fabry, Inc. removed the organ in
January, 2001. The console and related equipment were converted to solid state,
including multi-memory combination system, coupler relay with additional
couplers, new oak interior, additional rocker tablets for preparations,
automatic transposer, MIDI, and other items. The leather was found to be in
excellent condition, and with the exception of updating the DC wiring system,
the organ needed no further repairs. The chamber relay was converted to solid
state and prepared for future additions. The original pneumatic expression
motors and tremolos have been changed to solid state controlled electric units.
A new quiet blower was installed directly in the bottom of the organ chamber. A
set of 21 Mayland chimes was added.

The original free-standing instrument was re-engineered to
fit into an existing alcove of the church. The front was reduced in width,
sides were cut to fit the front of the alcove, and a new top was produced. The
new location gained more room in the Swell division. The dedication was played
on May 11 by John Gregory of Christ Community Church, John Howe of Fort
Lauderdale, and Diane Murray, organist of St. Mary's Catholic Church. Crew
leaders on the project were David Gustav Fabry and Joseph W. Poland.
Photography by Barbara Berens of Photography of Grand Haven, Michigan.

GREAT

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

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

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

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

                                    Fourniture
III-IV

                  8' style='mso-tab-count:1'>             Trompette
(prep)

                                    Chimes

                                    Tremolo

                                    Gt
16-UO-4

                                    Sw/Gt
16-8-4

                                    MIDI/Gt

SWELL

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

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

                  8' style='mso-tab-count:1'>             Viola
Celeste (TC)

                  4' style='mso-tab-count:1'>             Spitz
Prinzipal

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

                                    Scharf
III

                  16' style='mso-tab-count:1'>          Trompette
(new wiring)

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

                                    Tremolo

                                    Sw
16-UO-4

                                    MIDI/Sw

PEDAL

                  32' style='mso-tab-count:1'>          Untersatz
(resultant, prep for electric)

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

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

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

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

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

                                    Mixture
III (new)

                  32' style='mso-tab-count:1'>          Bombarde
(resultant, prep for electric)

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

                  8' style='mso-tab-count:1'>             Trompette
(new)

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

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    MIDI/Ped

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