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New Organs

October 1, 2003
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Marceau & Associates,

Portland, Oregon

First Unitarian Church,

San Diego, California

When we think of a reunion, it usually involves either high
school or college or perhaps even family. But a reunion with an organ? Highly unlikely,
but in this case true. For in the summer of 1971, as a fledgling apprentice, I
first made the acquaintance of the Abbott & Sieker pipe organ at First
Unitarian Universalist Church in San Diego, California. At that time the
instrument was still incomplete with several manual and pedal stops as well as
the entire third manual (Positiv) remaining to be added. My memories of those
visits are sketchy and incomplete, but I do recall that I thought the overall
sounds were quite successful and very compelling. Notwithstanding the evolution
of tonal design in the past 30 years, I was still impressed with the sound of
the organ when I heard it in the spring of 2001. It was no mere coincidence
that Ken Herman, organist of the church since 1968, should contact me for a
visit. Having been the resident organist since the original installation and
overseeing the subsequent additions, his concern for the future of this
instrument was to insure that the tonal and mechanical concepts of Larry Abbott
and Pete Sieker would not be lost in any modifications, improvements or
augmentations that would occur in this project. Therefore, my connections with
this church through my employment at Abbott & Sieker were critical in the
assignment of the project. It was with a great deal of excitement and
apprehension that I approached this project. The ultimate challenge was to
retain as much of the Abbott & Sieker design while allowing for
improvements (both tonal and mechanical) to have equal footing.

What a wonderful and rewarding experience it is to visit an
instrument that brings back memories of that first summer as an "organ
builder!" Firsts always are the strongest and this was no exception. A
well-built instrument with a good range of tonal flexibility, its sounds provide
both spiritual nourishment for the soul and a wide range of literature for the
ear. So, where does one go from here? The primary task was to make a list of
the organ's strengths and weaknesses and come up with ideas that would address
the latter without affecting the former. After extensive consultation with Ken
Herman, the following areas were considered to be part of this project:

* The organ lacked any sort of visual identity. Although the
original plans were to include the low octave of the Pedal 16' Principal, these
pipes ultimately were placed in the original chamber. The solution was to
integrate a new 16' Prestant of flamed copper that would be available on the
Great. It was decided to include an 8' Trompette en Chamade to add a
multi-dimensional design to the organ as well as the tonal excitement that
comes from a stop of this nature.

* While the console was in fairly good condition, the need
for a lower profile design that included maneuverability suggested a new tiered
drawknob unit that would also allow for tonal expansion.

* The Positiv division, having a somewhat delicate sound,
needed more stops at 8' pitch as well as some orchestral complements to the
Swell organ. This division was augmented with the existing Principal stops (8'
& 4') and the 16' Quintade from the Great. A pair of Erzahlers were also
added for softer combinations. The final addition was to make this division
expressive since it is located directly next to the balcony and choir.

* Modest tonal changes included adding new Principal stops
to the Great at 16', 8' & 4' pitches, relocating certain reeds to enhance
their new divisions, as well as rescaling certain stops to create a richer,
more energetic sound.

Another idea was one to create a balcony adjacent to the
organ so that the choir could have a designated area in which to gather and
work more effectively in the leading of congregational singing as well as
presenting choral and organ music in the service.

The task of developing a working plan for this project was
assigned to G. Michael Ruppert of my staff. He took on all of the challenges,
working closely with architect Manuel Oncina to facilitate a smooth exchange of
ideas and concerns that enabled all of the building modifications to work for
the organ rather than against it. I relied heavily on Michael for his
experience and expertise, and the results are quite stunning. From the majesty
of the 16' Prestant to the intimate details of the music light, all aspects of
this project were executed with utmost care that is the trademark of Michael's
work. Thank you, Michael, for a job well done! A special thanks is also in
order to colleague Frans Bosman who participated in the on-site tonal finishing
duties, sharing his talents as a first class voicer and good friend.

As one enters into the Meeting House, the eye is drawn to
the simple, yet elegant façade of the organ. Comprising the low 19 pipes
of the 16' Prestant and low 13 pipes of the 8' Principal (both from the Great),
this layout integrates the minimalist design of the space and yet somehow
creates a historic link to façade arrangements of early 20th-century
Europe. The organ stands next to a north-facing, clear glass wall; there is
enough natural light to the flamed copper that accentuates different pigments
of the metal throughout the day. The most noticeable difference is the
inclusion of the Trompette en Chamade. Given its prominent location, this stop
stands proudly above the full choruses yet does not dominate and overpower the
ear. The tiered drawknob console incorporates recessed castors which allows for
its placement anywhere on the platform or in a storage space immediately below
the organ chambers. Constructed entirely of solid cherry, it features a
hand-rubbed oil finish and complements the other furniture, also built out of
cherry. Some of the prominent components include keyboards by P&S Organ
Supply, stop action units by Harris Precision Products, and a MultiSystem by
Solid State Organ Systems.

The Principal choruses of the organ are both distinctive and
complementary. Loosely based on the Werkprinzip, the Great is based on the 16',
Choir on the 8' and the Swell on the 4'. Each chorus includes mixtures within
their respective divisions, including the Pedal. When coupled together, the
overall sound incorporates the strength of the 8' ranks, culminating with the
brightness of the mixtures. The flutes are the main attraction of the organ.
They all manifest their individual characters of sound and can work
successfully either in solo or ensemble settings. With the addition of the
Erzahler ranks to the Choir, there are now two dynamic settings that contrast
the larger more prominent strings on the Swell with the quiet, introspective
flavor of those same Erzahlers from the Choir. The original reeds required some
extensive rethinking. While these stops worked well for the original sounds of
the organ, it was determined that with some creative relocation of certain
stops, a more dynamic result could be obtained without compromising the
original design. The reeds now have a much more commanding role and they add
not only color, but also increased presence to the ensemble sounds of the
organ.

A project of this magnitude cannot succeed without the
efforts of many. I am indebted to Ken Herman for his faithfulness to this
church and commitment to the Abbott & Sieker pipe organ. I have truly come
to admire him for that stand and to appreciate all that he did for this
project. I am also grateful to members of Marceau & Associates, who shared
the vision of what could be done and helped make this a reality.

--René A. Marceau, President

Marceau & Associates

Pipe Organ Builders

Portland, Oregon

René A. Marceau: initial design, shop voicing,
on-site tonal finishing; G. Michael Ruppert: working design, shop set up,
console building, installation; Chris Nordwal: shop set up, installation; Tom
Skyler: shop set up; Dick Wrye: shop set up; Angela Suchy-Ingram: bookkeeping,
purchases; Frans Bosman: on-site tonal finishing.

First Unitarian Church

San Diego, California

Abbott & Sieker 1969

Marceau & Associates 2003

GREAT

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

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

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

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

                        4' style='mso-tab-count:1'>                  Blockfloete
(existing Ch Block-floete)

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

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

                        16' style='mso-tab-count:1'>              Bassoon
(Existing Gt Tpt, 1-12 new)

                        8' style='mso-tab-count:1'>                  Trumpet
(existing Sw Clarion, 1-12 new)

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

                                                Gt
Unison Off

                                                Sw/Gt
16-8-4

                                                Ch/Gt
16-8-4

                                                MIDI
on Gt

SWELL

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

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

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

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

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

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

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

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

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

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

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

                                                Tremulant

                                                Sw
16-UO-4

                                                Ch/Sw

                                                MIDI
on Sw

CHOIR

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

                        8' style='mso-tab-count:1'>                  Principal
(existing Gt Princ)

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

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

                        8' style='mso-tab-count:1'>                  Erzahler
Celeste (TC, new)

                        4' style='mso-tab-count:1'>                  Octave
(existing Gt Oct)

                        4' style='mso-tab-count:1'>                  Koppelfloete
(existing Gt Koppelfl)

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

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

                        4/5' style='mso-tab-count:1'>            Terzian
II

                        2/3' style='mso-tab-count:1'>            Zimbel
III

                        8' style='mso-tab-count:1'>                  Krummhorn
(existing Gt 16' Dulzian)

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

                                                Tremulant

                                                Ch
16-UO-4

                                                Sw/Ch
16-8-4

                                                Gt/Ch

                                                MIDI
on Ch

PEDAL

                        32' style='mso-tab-count:1'>              Untersatz
(1-12 digital, ext Sub-bass)

                        32' style='mso-tab-count:1'>              Quintade
(1-12 digital, ext Ch)

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

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

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

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

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

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

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

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

                        32' style='mso-tab-count:1'>              Contre
Fagot (1-12 digital, ext 16' Fagot)

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

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

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

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

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

                                                Gt/Ped

                                                Sw/Ped

                                                Ch/Ped

                                                MIDI
on Ped

39 stops

51 ranks

2,864 pipes

In June 1999, Guilbault-Thérien, Inc style='font-weight:normal'>. of Saint-Hyacinthe, Québec was commissioned
to build an organ for the New York City apartment of Dr. Keith S. Toth. This
organ, Guilbault-Thérien's opus 46, was designed by the late master
organ builder Guy Thérien in collaboration with Dr. Toth and Dr. John B.
Herrington III.

The organ consists of two manuals and pedal and has eight
independent stops. The specification and design of the organ is greatly
influenced by those house organs of the late 19th/early 20th century built by
the firms Cavaillé-Coll and Cavaillé-Coll-Mutin. However, this is
not a copy of any one particular instrument from those firms. Of special note
is the enclosed Récit division (Récit expressif), which gives
much color and flexibility to the instrument.

The case is of solid cherry. The manuals have polished bone
coverings for the naturals and ebony for the sharps. The tuning is equal
temperament at a=440hz. Mechanical action is utilized for the key and stop
actions and couplers.

The organ was installed in Dr. Toth's apartment during May
2002. The stops were voiced by Jacques L'Italien and Alain Guilbault.

--Keith S. Toth

Grand-Orgue (58 notes, C1-A58 )

                        8' style='mso-tab-count:1'>                  Bourdon
à cheminée (basse)

                        8' style='mso-tab-count:1'>                  Bourdon
à cheminée (dessus)

                        8' style='mso-tab-count:1'>                  Flûte
traversière (dessus, harmonic pipes)

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

                                                Récit
au Grand-Orgue

Récit Expressif (58 notes, C1-A58)

                        8' style='mso-tab-count:1'>                  Cor
de nuit

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

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

                        4' style='mso-tab-count:1'>                  Flûte
à cheminée

                                                Trémolo

Pédale (30 notes, C1-F30)

                        8' style='mso-tab-count:1'>                  Basse
(stopped wood)

                                                Récit
à la Pédale

                                                Grand-Orgue
à la Pédale

Fenris Pipe Organ, Inc.
of Kilkenny, Minnesota, recently completed the rebuild with additions of a
United Organ Co. instrument at Zion Lutheran Church, Stratford, Wisconsin. The
instrument is in a chamber, newly configured to accommodate an additional
windchest and reservoirs. Chamber renovations were undertaken by members of the
congregation and included back lighting a large art glass window, insulating,
and adding double 5/8" sheetrock, taped and painted. Scaling and
specification are by Bob Rayburn, design and cabinetwork by Wes Remmey. Switching
is Peterson. Additional pipework on a new windchest includes 8' Trumpet, 8'
Principal, 22/3' Twelfth, 2' Fifteenth, 13/5' Tierce, on 41/8" wind
pressure. The combination action features four levels of memory; general
pistons 1-4 on thumb and toe pistons, 5-8 thumb pistons; Gt/Ped and Sw/Ped
reversibles; sforzando.

GREAT

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

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

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

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

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

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

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

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

                        II style='mso-tab-count:1'>                   Cornet
(from Gt 12th & Sw Tierce)

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

                        II style='mso-tab-count:1'>                   Mixture
(from 12th & 15th)

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

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

                                                Gt/Gt
4

                                                Sw/Gt
16-8-4

                                                Ped/Gt

                                                Tremolo

SWELL

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

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

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

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

                        4' style='mso-tab-count:1'>                  Geigen
Principal (from Gt Gamba & Oct)

                        4' style='mso-tab-count:1'>                  Rohr
Flute (from Gt 8')

                        22/3' style='mso-tab-count:1'>        Quint
(Gt 12th)

                        2' style='mso-tab-count:1'>                  Octave
(from Gt Gamba, Oct & 15th)

                        2' style='mso-tab-count:1'>                  Flautino
(Gt 4' Hohl Fl)

                        13/5' style='mso-tab-count:1'>        Tierce
(TC, 37 pipes)

                        11/3' style='mso-tab-count:1'>        Octave
Quint (ext Gt 12th)

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

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

                                                Sw/Sw
16-4

                                                Tremolo

PEDAL

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

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

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

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

                        4' style='mso-tab-count:1'>                  Choral
Bass (Gt Oct)

                        2' style='mso-tab-count:1'>                  Octave
(Gt 8' Princ)

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

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

                                                Gt/Ped

                                                Sw/Ped

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