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New Organs

March 7, 2003
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B. Rule and Company,

New Market, Tennessee

First Presbyterian Church,

Columbia, Tennessee

The First Presbyterian Church of Columbia, Tennessee, makes
its home in a handsome Greek Revival structure of solid limestone built in
1916. When I first began correspondence with the building committee in 1998,
the church was already gearing up for a long overdue renovation of the
building. The structure had remained essentially unchanged through the years;
the old post and tube wiring was still powering everything in the building,
though most of the insulation had actually fallen off. The fact that the
edifice had needed so little attention over the years is certainly a testimony
to the care taken by the builders.

The organ was similarly in need of serious attention. The
original organ, Felgemaker #1269 of 1916, consisted of 15 stops over two
manuals and pedal; the old chests were discarded in 1963 and the organ rebuilt
by a local builder using new pitman chests and some additional new pipework. It
had never worked well, and by 1998 was becoming unusable. Additionally, the
1963 rebuild had obviously left tonal matters entirely to chance, with the
result being an instrument which was capable of producing some of the most
peculiar and unmusical sounds one could imagine. A drastic solution for the
instrument was definitely in order, with conflagration being suggested as a
possibility by several parties. Since this did not seem to be a practical
solution, the church engaged John Brock, organ professor at University of
Tennessee, as organ consultant, and the church began the search for an organ
builder. In September of 1999, the church signed a contract with B. Rule &
Co. for a new 27-stop instrument.

In 1999, the sanctuary and chancel were particularly
unsympathetic to musical concerns; "harvest gold" carpet from the
1970s covered the original hardwood floor completely, and a low ceiling in the
chancel created an uninviting space in which to build an organ. In addition, a
low arch of solid brick covered with plaster separated the chancel from the
sanctuary, creating a particularly egregious acoustical trap. After much
discussion among the architect, engineers, organ consultant and organ builder,
the church agreed to the removal of the arch, provided that an arch could be
incorporated into the architectural design of the organ case. In addition, the
ceiling of the chancel was raised to the same height as the sanctuary ceiling.
Finally, the carpet was removed and the hardwood floors refinished. The room,
which had been virtually an acoustical netherworld, became live and resonant,
with good response to all frequency ranges. The eventual introduction of pew
cushions dampened the reverberation some (one can't win all the battles),
but the present acoustical state of the room is nonetheless a vast improvement.
It has resulted not only in better congregational singing, but also in a
remarkable increase in choir size. It seems that the improved acoustics have
made singing in the choir "a lot more fun," as one member put it.

The organ itself is essentially new, but with a significant
amount of old (mostly 19th century) pipework inside. Three ranks are from the
1916 Felgemaker, three more from the 1963 rebuild. In 1963 the new pipes were
dropped into the organ barely voiced, so using these ranks was almost like
voicing new pipework. Ten ranks of new pipes were made by Paul Byron,
pipemaker, and four ranks of 19th-century pipework were provided by B. Rule.
The rest of the mostly 19th-century pipework was obtained from the Organ Clearing
House, which also provided the large, spacious slider chest which was
extensively reworked to become the Great chest. 

The detached console is the most interesting example of
judicious recycling; it began life as a 1906 Jesse Woodberry electric console.
Alan Laufman had rescued it from destruction, suspecting it could be used as a
tracker console. Having had some experience "trackerizing" other
early electric and tubular keyboards, my interest was piqued when Alan told me
of it. Sure enough, Woodberry had built keyboards just as if he were building a
tracker, and had actually hung tracker-sized brass strips from the keys at the
rear. These strips were fitted with phosphor bronze pins which completed the
electrical connection. All the electrical and pneumatic apparatus was stripped
from the interior of the console, leaving only a shell and two very nice ivory
keyboards. New mechanical coupler actions were designed and built for the very
compact console, and new stop jambs were made to contain the new Harris
drawknob units. The end result is a handsome, nicely detailed, frame and panel
console of solid oak, representing the perfect marriage of old and new.

The wind system consists of a single large double rise
bellows (9' x 31/2') for both of the manual divisions and the
Pedal Bourdon 16'. The rest of the Pedal is divided on the sides, with one
small reservoir under each side. Having the two manuals and the Pedal 16'
winded from a common large reservoir results in the slight give and take of wind
which one so often hears in 19th-century instruments. It contributes greatly to
making the organ sound like the living, breathing creation that it truly is.
Wind pressure throughout is three inches.

The key action is designed to have the fewest number of
moving parts possible. Rather than the usual two square rails and rollerboard
which is usually used for the key action of a detached console, the key action
here consists of fan trackers running directly from the keytail to a square
under the chest. This reduces the number of axle points from four to two, as
well reducing the number of connections which must be made (at rollerboard
arms). The chests are chromatic from tenor f, so eight notes on the C-sharp
side have rollers at the chest. The notes with rollers are noticeably less
responsive then the rest of the action; since they are in the bass and low
tenor range, however, rapid passages and trills are seldom required, so the
player does not notice it. The action is quite responsive and easy to play,
despite the extended length of tracker run required by the detached console.
The entire action assembly floats to compensate for seasonal changes in
humidity.

The organ case is entirely new, designed and built in the B.
Rule shop. The case is proportioned using the golden section (which seemed only
appropriate for an organ in a Greek Revival sanctuary). The design of the case
is intended to look as though it was always in the building, and as such takes
many design and detail elements from the best of nineteenth and early
twentieth-century American cases, while simultaneously following the
entablature and cornice moldings found on the exterior and interior of the
building. The case is built of solid rift-sawn red oak.

The tonal design of such an instrument must take its approach
from a different starting point than an organ built entirely with new pipework.
As organ builders, we tend to specify pipework with which we are familiar, with
the result that almost all the ranks of pipes in a new instrument share a
certain sameness. This makes it easy to achieve a tight, perfectly blending
ensemble, but it sometimes makes an instrument a bit sterile sounding. In a
situation like this, however, it is as though one must bring together the
neglected stepchild, the recalcitrant cousin and the odd uncle to produce a
perfectly blended ensemble which is more than the sum of its parts. One has the
freedom, however (unlike a family relationship), to be perfectly ruthless; if a
rank simply will not work with the rest, out it goes, banished into outer
darkness, with a new rank ordered from the pipemaker.

 All in all, it
can be an exhilarating process, as one discovers subtle differences between
different ranks of pipes, differences which can be played against each other,
or which, occasionally, require taming. This particular instrument is quite
influenced by its heavy heritage of 19th-century pipework. While not a
romantic instrument, it does play the romantic works considerably more
sympathetically than many new mechanical-action instruments. The slider chests,
of course (and this may seem contradictory), bring about such cohesive speech
in the pipes that it is actually possible to voice pipes with a great latitude
of difference and still have them work together. The same pipes placed on individual
valve chests will often complain about being asked to work together, and
further steps in voicing must be taken to make the complaining ranks more like
each other in order to make them blend. Ultimately, the organ is, and was
intended to be, an eclectic instrument, capable of playing a wide range of
literature with style and musical sensitivity.

The dedication recital was played by John Brock on September
8, 2002. It included the premiere of Procession and Hymn by John David
Peterson, a piece commissioned by Ron and Marsha Scheusner for the dedication
of the organ.

--Bradley Rule

GREAT

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

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

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

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

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

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

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

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

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

                                    Mixture
IV

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

SWELL

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

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

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

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

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

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

                                    Mixture
III

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

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

PEDAL

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

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

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

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

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

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

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

 

Accessories

Usual three couplers

Tremolo (Swell)

Eight-level combination action (SSL)

 

Compass 61/30

Key action mechanical

Stop action electric solenoids

                  Bourdon

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

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

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

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

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

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

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

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

                                    Mixture
IV

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

SWELL

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

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

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

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

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

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

                                    Mixture
III

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

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

PEDAL

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

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

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

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

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

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

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

 

Accessories

Usual three couplers

Tremolo (Swell)

Eight-level combination action (SSL)

 

Compass 61/30

Key action mechanical

Stop action electric solenoids

 

Fowler Organ Company,
Lansing, Michigan, has completed additions and restoration of the Schantz organ
at Bethlehem Lutheran Church, Ft. Wayne, Indiana: three manuals and pedal, 42
ranks. The organ was designed by Paul Bunges and built in 1966, and the tonal
design reflects Dr. Bunges' philosophies based on the North German organ
as well as Schantz's American Classic ideas.

In the late 1990s there were some mechanical issues,
particularly involving the console pneumatics and combination action, and a
growing sense that the instrument could be made more flexible with a few
changes including octave couplers.

This church has a fine tradition of music and choirs, and
support for renovating the organ was not a question. In discussions with the
church's musicians and based on our own experience, we felt that some
additions would be beneficial to the tonal design without doing violence to Dr.
Bunges' intentions. We recommended the addition of a 4' Principal
and a Celeste to the enclosed Oberwerk division, and the possibility of a
double (16' pitch) to the Hauptwerk. We also recommended a conservative
approach to coupling with sub and super couplers for the Oberwerk only.

The possibility of adding a 32' stop to the organ was
also raised as was the advisability of having the operating system outfitted
with MIDI control and additional couplers. Ultimately it was decided that
providing the organist with a full range of couplers would significantly expand
the registrational possibilities, and that we would rely on organists'
skill and judgement not to abuse them. One other priority for the musicians was
the addition of an 8' Flute in the Pedal, as none was included in the
original.

The console has been completely restored and fitted with
solid state coupling control and combination action. It is equipped with a full
complement of combination pistons, thumb and toe, with 32 memory levels, a
transposer control, and full function MIDI control system.

Tonally the organ retains its original design. The mixture
stops were repaired and refinished, and the Oberwerk reeds were rebuilt. The
additions were executed in accord with the original scaling plan and fit
seamlessly within the original. Space was found within the Oberwerk to add the
4' Principal, but it was not possible to add the Celeste, nor was space
available for the Hauptwerk 16'. These and the 32' voices in the
Pedal are digitally derived. To be sure, this is a compromise, though we feel
one which does not detract from the original. By sampling from the existing instrument
and taking time and patience to perfect these voices, they blend into the
ensemble rather than calling attention to themselves.

Completion of the program of restoration included extending
the 16' Subbass to provide the Pedal with its 8' Flute, a thorough finishing
and regulation of all ranks, and an eight-bell Cymbelstern with a gilded
rotating star.

--Brian Fowler

 

HAUPTWERK

                  16' style='mso-tab-count:1'>         Quintaton*

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

                  8' style='mso-tab-count:1'>            Metal
Gedackt

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

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

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

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

                                    Mixture
IV

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

                                    MIDI
- A

                                    MIDI
- B

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

                                    Unison
Silent

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

OBERWERK

                  8' style='mso-tab-count:1'>            Holz
Gedackt

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

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

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

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

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

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

                                    Scharff
IV

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

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

                                    Tremulant

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

                                    Unison
Silent

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

CHORWERK

                  8' style='mso-tab-count:1'>            Pommer
Gedackt

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

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

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

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

                                    Rauschzimbel
III

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

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

                                    Tremulant

                                    MIDI
- C

                                    MIDI
- D

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

                                    Unison
Silent

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

PEDAL

                  32' style='mso-tab-count:1'>         Untersatz*

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

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

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

                  8' style='mso-tab-count:1'>            Bass
Gedeckt (ext)#

                  4' style='mso-tab-count:1'>            Labial
Dulzian

                                    Mixture
III

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

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

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

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