Cover
Goulding & Wood, Inc.,
Indianapolis, Indiana,
Preston Hollow Presbyterian
Church, Dallas, Texas
From the organ builder
From our first contact with the committee of Preston Hollow
Presbyterian Church, we were excited about the possibility of working in
Dallas, with its rich pipe organ culture and many significant instruments. At
the same time, our focus throughout the project has been the same as with all
of our instruments, namely to provide a worshiping community with a versatile
resource that supports their music ministry. Creating a liturgically sensitive
design within the larger context of the Dallas organ community posed challenges
as well as many exciting opportunities.
Throughout the process, we were grateful for the support and
assistance of the Organ Selection Committee, chaired by Jim Watkins, and the
church music staff, including Terry Price, director of music, and Annette
Albrecht, organist. In the many conversations, visits and meals we shared, the
people of Preston Hollow Presbyterian Church became close friends, and we
continue to value their input and camaraderie.
Tonally, the organ is structured around a carefully balanced
plan of principal choruses. Each division relates to and complements the other
divisions in a terraced scheme. The Great plenum is based at 16' pitch with a
divided six-rank mixture allowing for an 8' chorus when desired. The Swell acts
in relief to the Great in a traditional Positiv-Hauptwerk manner. The higher
pitched Cymbale mixture is effective in plenum literature as well as in
coloristic effects. In contrast, the Choir principal chorus is specifically
oriented toward the needs of choral accompaniment, and the mixture clearly
delineates tone without becoming oppressive or over-stated. The Pedal plenum is
built along lines similar to the Great and has a complete, independent chorus
of principals beginning at 16' pitch.
Each manual division contains a third-sounding rank,
increasing the flexibility in playing Cornet-based literature, particularly
French grands jeux and dialogues. Both Great and Choir Cornets are
decomposée, while the light, diapason Sesquialtera of the Swell effectively
colors flutes or principals.
Flute choruses in the instrument display a maximum of
variety in color, ranging from the solid Great 8' Bourdon and 4' Flûte
conique to the Swell's crisp, articulate wooden flutes at 8' and 4' with a
crowning 2' Recorder in 70% lead. The Choir's flute ensemble is the largest of
the divisions and includes a luxurious 16' Conical Flute. Among the largest yet
softest pipes in the organ, this stop features a clarity of pitch created by
the open taper that lays a solid foundation for quieter combinations. Pedal
flutes include the 32' Contre Bourdon, the wooden 16-8' Contrebasse, an 8'
stopped wood Flûte bouchée and the 4' Cantus Flute. The
Contrebasse/Flûte is useful as the foundation of plenum literature,
particularly works in the style of earlier German composers such as Buxtehude,
while the 8' range works well as the chant line in French classic organ masses.
We have recently been exploring solo stops for the Pedal's alto line, and the
4' Cantus Flute in this instrument is our first open wood with inverted mouths
and raised caps. The prominent, commanding flute timbre is designed especially
for works such as the fourth movement of Widor's Fifth Symphony
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Reed stops in the organ span a similarly wide spectrum of dynamic
and style. The Choir solo stops of Cremona, English Horn and Tuba contrast with
the dramatic fire of the Swell reed chorus with independent trumpets at 16', 8'
and 4'. The Pedal chorus is built on the 32' Posaune with wooden resonators
that encourage a generous amount of fundamental pitch. All reeds in the organ,
with the exception of the resonators of the Posaune, are from A. R. Schopp's
Sons, who also made the strings, Great Harmonic Flute and display pipes. We are
grateful to the people of A. R. Schopp's for their excellent work in all of our
projects.
The casework of the façade incorporates the main
architectural ornament details in the room. Hand-carved Corinthian capitals
based on the Temple of the Winds design support a substantial architrave with
dental molding and carved egg-and-dart detail molding. The console features
panels with crotch mahogany and styles and rails with quarter-sawn ribbon
mahogany. Console controls include 128 levels of memory, simple sequence memory
with advance thumb pistons in each key slip and an internal MIDI interface with
data filer for record and playback.
Mechanically, the organ uses Goulding & Wood's unique
design of electro-pneumatic slider and pallet windchests. This design offers a
tightness of ensemble and attractive speech characteristics which typify common
key channel instruments while allowing for remote, moveable key control. This
marriage of recognized mechanical design and up-to-date technology produces a
musical instrument of great expression and versatility. Adding to the reliable
chest mechanics, the layout and engineering of the instrument allows
accessibility for maintenance and tuning as well as maximizing tonal egress.
Great and Swell divisions are located near the barrel-vault ceiling, allowing their
voice to emanate freely through the room, and the Choir box is located near the
choir stalls of the chancel for effective accompaniment.
It is our hope and expectation that our Opus 41 will serve
the people of Preston Hollow Presbyterian Church well in their worship for
generations to come. Similarly, we look forward to contributing to the vibrant
cultural life of Dallas.
--Jason Overall
From the organist
My first days as organist at Preston Hollow Presbyterian
Church in March of 2000 were filled with excitement. The congregation had
recently approved a capital building expansion campaign that included new
facilities for music rehearsal, an enlarged and acoustically improved
sanctuary, and a new pipe organ. Becoming part of the music ministry team, forming
new relationships with congregation, choir and staff, and jumping right into
the process of selecting a builder for the new instrument was a challenge.
Working with Dr. Jim Watkins, chair of the selection committee, Terry Price,
music director and former classmate, and the rest of the committee was a joy.
The enormity and challenge of embarking on a project of this scope became very
real, and it was with a sense of certainty and good fortune that we decided to
entrust the planning and building of this new instrument to Goulding &
Wood, Inc. of Indianapolis.
While the organ committee was busy planning the
specification for this instrument with Jason Overall and Brandon Woods of
Goulding & Wood, others at the shop consulted with the architects for the
sanctuary expansion. To have the organ builder involved in this process was a
luxury that many don't experience. After the sanctuary renovation was complete,
we still had to wait another year for the organ. We finalized the stoplist,
enjoyed frequent digital photos of building progress e-mailed from the
workshop, and tried to imagine the sounds of the new instrument. Frequent
communication from the folks at Goulding & Wood helped us plan and prepare
for the installation, which occurred in the fall of 2003. Because of this, very
few problems were encountered, and the organ was ready several weeks earlier
than forecast.
It's very difficult to describe the pleasure of musical
sound. Most music lovers can recall the experience of sound lifting and
transporting the soul, of losing oneself in the beauty and holiness of the
moment. I and many others expected this instrument to provide the instrumental
voices for this kind of experience. The visual impact is simple, elegant, and
stunningly beautiful. The sound is rich and resonant, not muddy, but
full-bodied, with mixtures providing clarity and brilliance without a hint of
shrillness. Since the installation, my days have been filled with the wonder of
discovery. Instead of trying yet another trick to find a registration that
works, I have the delightful challenge of choosing from among several beautiful
possibilities. Preparing hymn accompaniments is a joy; the sanctuary's
acoustical improvements support the organ and congregation's song.
Possibilities for anthem accompaniments for our 120-voice choir are nearly
limitless. Repertoire that was filed away is brought out, registered, and
played, with the exclamation, "Aha! That's how it should sound!" The
powerful voice of Opus 41 fills the 900-seat space without becoming strident;
the Tuba 8' provides a crowning touch. The softest manual voice, the Choir
Conical Flute 8', almost disappears, while the 32' Contre Bourdon purrs quietly
underneath.
I believe I may speak for the selection committee, the
Preston Hollow Sanctuary Choir, the music ministry, and the congregation when I
say that we are truly blessed. We had a dream that was recognized by this
congregation to have great value, that merited considerable financial
commitment. This dream was nurtured, shaped and strengthened by our
collaboration with the Goulding & Wood organ builders. Our desire for a
pipe organ that could lead us as we lift our hearts, souls and voices together
in praise of our Creator God has been realized. Our journey of stewardship of this great gift is now just
beginning.
--Annette Albrecht
From the senior minister
I have always said that sacred music in worship is "my
sermon," allowing me to hear the Word proclaimed beyond mere words,
interpreted by the great composers of all ages. Music lifts the soul beyond the
merely rational, and inspires God's people to sing the songs of faith.
Our new Goulding & Wood pipe organ has become the
centerpiece of our chancel; more importantly, it is our cantus firmus,
grounding our worship, raising the eye upward and tuning our praises. Already
we sense a new energy, depth and vitality in our services of worship. Whether
it is a Thanksgiving service, Christmas candlelight, a memorial service, a
wedding or an Easter Sunday, our 69-rank Goulding & Wood is capable of all
the nuances of color and meaning needed for the church's many moods.
I cannot express sufficient gratitude to all the artists
from Goulding & Wood who took great interest in our church, befriended our
staff and members and were supremely committed to the building of an instrument
to be used in the worship of God. They will be remembered by generations to
come--every time Goulding & Wood's Opus 41 fills its great bellows and
sings again.
--The Rev. Dr. Blair Monie
Great
16' Præstant
16' Bourdon (ext)
8' Principal
8' Gamba
8' Flûte harmonique
8' Bourdon
4' Octave
4' Flûte conique
2 2/3' Quint
2' Super Octave
1 3/5' Terz
2 2/3' Gross Fourniture II
1 1/3' Fourniture IV
16' Fagot
8' Trumpet
8' Tuba (Choir)
Tremolo
Gt/Gt 16-Unison Off-4
Swell
16' Gedeckt (ext)
8' Geigen Diapason
8' Gedeckt
8' Viole de gambe
8' Voix céleste (GG)
4' Principal
4' Clear Flute
2' Octave
2' Recorder
1 1/3' Quint
2 2/3' Sesquialtera II (TC)
2' Plein Jeu III-IV
1' Cymbale III
16' Contre trompette
8' Trompette
8' Hautbois
8' Voix humaine
4' Clairon
Tremolo
Sw/Sw 16-Unison Off-4
Choir
16' Conical Flute
8' Narrow Diapason
8' Chimney Flute
8' Conical Flute (ext)
8' Flute Celeste
4' Fugara
4' Spindle Flute
2 2/3' Nazard
2' Block Flute
1 3/5' Tierce
1 1/3' Larigot
2' Mixture III
8' Cremona
8' English Horn
8' Tuba
Tremolo
Cymbelstern
Rossignol
Ch/Ch 16-Unison Off-4
Pedal
32' Contre Bourdon
16' Principal
16' Contrebasse
16' Soubasse
16' Bourdon (Great)
16' Gedeckt (Swell)
16' Conical Flute (Choir)
8' Octave
8' Flûte (ext Contrebasse)
8' Flûte bouchée
8' Gedeckt (Swell)
4' Choral Bass
4' Cantus Flute
2' Mixture III
32' Contre Posaune
16' Posaune (ext)
16' Fagot (Great)
8' Trompete
8' Fagot (Great)
8' Tuba (Choir)
4' Schalmei
Tremolo
Cover photo by Robert Duffy
