Cover
Hendrickson Organ Company,
St. Peter, Minnesota
Church of St. Peter,
St. Peter, Minnesota
When in March, 1998, a tornado gutted the Catholic Church of
St. Peter and damaged the Hendrickson shop and home, there was much for
everyone to do on many fronts. Fortunately, we were able to rescue our 1981,
opus 53, 27-rank organ from the historic and once-beautiful church, designed by
renowned architect Emanuel Masqueray. Unfortunately, during the church's final
heart-rending demolition, many of its other architectural and spiritual
features were lost in the rubble.
A large new church facility, including a sanctuary, school,
gymnasium, and offices, was designed on a new site under the direction of
principal Milo Thompson of BTR Architects of Minneapolis. The organ's visual
design is by Andreas Hendrickson, a former student of Thompson's, and now
designer at the Hendrickson Organ Company. Eric Hendrickson was in charge of
the organ installation, with tonal design by Charles Hendrickson.
The enlarged and revised organ is hardly recognizable in
either appearance or sound from the original. Now three manuals and 40 ranks
with a new movable console, the organ is centered in the choir area to the left
of the open chancel. The spaces between the speaking façade pipes are
filled with half-pipes salvaged from the tornado-damaged façade in the
old church. The organ represents the music history of the congregation by
incorporating pipes from the original 1912 organ and the Hendrickson
instruments of 1981 and 2001. Manual/pedal compass is 56/32.
Father Harry Behan, Kay Osborne, and musician Joan Werner
represented the church in the negotiations. Organists Diane Moberg and Vonnie
Elker have served since the organ opened. The organ was dedicated on September
30, 2001 by James Biery, organist of the Cathedral of St. Paul, which is
Masqueray's largest church building. The Sioux Trails Chapter of the AGO
(STAGO) uses the organ for its series of summer recitals.
The musical goals of the instrument are, like the modern
church, somewhat diverse, but it manages to project a traditional style in an
American Classic interpretation. The principals are of medium power and more
clean than heavy. The big reeds dominate full organ, but the overall effect is
one of blend rather than obliteration. The flutes are aimed at beauty rather
than power, again not too dark. The foundations can be mixed together smoothly
(if one desires), and there are adequate solo mutations and reeds. The
acoustics of the room requires more wind pressure and tonal power than the old
church needed. Psychoacoustics have a bit to play here—the sound is
enhanced because of the modern and exciting façade.
--Charles Hendrickson
Hendrickson Organ Company
GREAT
16'
style='mso-tab-count:1'> Spitzprestant
(ext)
8' style='mso-tab-count:1'> Principal
8' style='mso-tab-count:1'> Koppelflote
8' style='mso-tab-count:1'> Gamba
8'
style='mso-tab-count:1'> Harmonic
Flute
4' style='mso-tab-count:1'> Octave
4' style='mso-tab-count:1'> Spitzflote
2' style='mso-tab-count:1'> Octave
2' style='mso-tab-count:1'> Waldflote
22/3' style='mso-tab-count:1'> Kornet II
Mixture
IV–VI
16' style='mso-tab-count:1'> Trumpet
8'
style='mso-tab-count:1'> Trumpet
(ext)
4'
style='mso-tab-count:1'> Clairon
(ext)
SWELL
16' style='mso-tab-count:1'> Bourdon
8' style='mso-tab-count:1'> Diapason
8' style='mso-tab-count:1'> Bourdon
8' style='mso-tab-count:1'> Viola
8'
style='mso-tab-count:1'> Celeste
ba
4' style='mso-tab-count:1'> Octave
4'
style='mso-tab-count:1'> Flûte
Ouverte
22/3' style='mso-tab-count:1'> Nasard
2' style='mso-tab-count:1'> Octave
2' style='mso-tab-count:1'> Flute
2'
style='mso-tab-count:1'> Fourniture
IV
16' style='mso-tab-count:1'> Bassoon
8' style='mso-tab-count:1'> Trompette
8'
style='mso-tab-count:1'> Oboe
(ext)
4'
style='mso-tab-count:1'> Clairon
(ext)
Tremulant
POSITIV
8'
style='mso-tab-count:1'> Gemshorn
(Gt)
8' style='mso-tab-count:1'> Gedackt
8' style='mso-tab-count:1'> Dolce
8'
style='mso-tab-count:1'> Celeste
tc
4' style='mso-tab-count:1'> Prestant
4' style='mso-tab-count:1'> Spitzgedackt
2' style='mso-tab-count:1'> Octave
11/3' style='mso-tab-count:1'> Quintflote
1'
style='mso-tab-count:1'> Octave
(ext)
8' style='mso-tab-count:1'> Cromorne
Tremulant
PEDAL
32' style='mso-tab-count:1'> Resultant
16'
style='mso-tab-count:1'> Contra
Bass
16' style='mso-tab-count:1'> Bourdon
16'
style='mso-tab-count:1'> Gedackt
(Sw)
8' style='mso-tab-count:1'> Principal
8'
style='mso-tab-count:1'> Gedackt
(Sw)
8'
style='mso-tab-count:1'> Gemshorn
(Pos)
4'
style='mso-tab-count:1'> Choral
Bass
22/3' style='mso-tab-count:1'> Mixture IV
16'
style='mso-tab-count:1'> Posaune
(Gt)
16'
style='mso-tab-count:1'> Bassoon
(Sw)
8'
style='mso-tab-count:1'> Trumpet
(Gt)
4'
style='mso-tab-count:1'> Clairon
(Gt)
A. E. Schlueter Pipe Organ Company,
style='font-weight:normal'> Lithonia, Georgia, has completed the building and installation
of a two-manual instrument of 23 ranks for Stella Maris Catholic Church,
Sullivan's Island, South Carolina. The manual/ pedal compass is 61/32 and the
tuning is equal temperament. The chest action is electro-pneumatic. The
draw-knob console features tracker touch, multiple memory levels, and is
moveable.
The organ case and console are built of Honduras mahogany.
Mahogany was chosen for its resistance to dimensional changes under severe
climate conditions, a strong consideration with the church's location only 200
yards from the Atlantic at the mouth of the Charleston Harbor. The organ case
is located to one side of the gallery to allow sight lines between the
congregation and the gallery bell change ringers. The organ design was
developed with a goal of visual integrity to the older sanctuary architecture.
Incorporated in the gallery organ case are moldings and arches that mirror
those found in the chancel.
The façade pipes are gold with stencils. The stencil
patterns pick up liturgical elements and colors from the church's stained glass
windows. To assure accurate stencil colors, numerous paint samples were made in
the church in various lighting conditions.
The organ is voiced after an American/English tradition with
strong emphasis toward choral accompaniment. Prior to construction, sample
pipes were voiced in the room to aid in development of proper scales and
voicing. The decision to use large scales with moderate cut-ups and moderate
wind pressures has provided a richness and warmth in the organ registrations
for both solo and accompaniment. The organ reeds feature English shallots and
break harmonically to continue their tonal ascendancy. A large solo reed was
built as the instrument's tonal capstone. This stop, the Trombe Maestro, is
available in all divisions and is non-coupling. The organ was scaled, voiced,
and tonally finished by Daniel Angerstein with the assistance of John Tanner.
The consultant for this project was Rev. Lynn Bailey. The organist is Rhett
Barnwell, and the parish priest is Father McInerny. The organ was dedicated by
Gerre Hancock.
--Arthur E. Schlueter III
GREAT (unenclosed)
8' style='mso-tab-count:1'> Diapason
8'
style='mso-tab-count:1'> Harmonic
Flute
4' style='mso-tab-count:1'> Octave
4'
style='mso-tab-count:1'> Open
Flute
22/3' style='mso-tab-count:1'> Twelfth
2'
style='mso-tab-count:1'> Super
Octave
13/5' style='mso-tab-count:1'> Tierce
11/3' style='mso-tab-count:1'> Mixture IV
16'
style='mso-tab-count:1'> Bassoon
(Sw)
8'
style='mso-tab-count:1'> Trombe
Maestro
Tremolo
Gt
16-UO-4
Sw/Gt
16-8-4
SWELL (expressive)
16'
style='mso-tab-count:1'> Lieblich
Gedeckt (ext)
8'
style='mso-tab-count:1'> Stopped
Diapason
8' style='mso-tab-count:1'> Gemshorn
8'
style='mso-tab-count:1'> Gemshorn
Celeste (from GG)
4' style='mso-tab-count:1'> Principal
4'
style='mso-tab-count:1'> Chimney
Flute
2'
style='mso-tab-count:1'> Flageolet
(ext)
1'
style='mso-tab-count:1'> Mixture
III
16'
style='mso-tab-count:1'> Bassoon
(ext)
8'
style='mso-tab-count:1'> Trombe
Maestro (Gt)
8' style='mso-tab-count:1'> Trumpet
8' style='mso-tab-count:1'> Oboe
4'
style='mso-tab-count:1'> Clarion
(ext)
Tremolo
Sw
16-UO-4
PEDAL
32'
style='mso-tab-count:1'> Sanftbass
(prepared for)
16'
style='mso-tab-count:1'> Principal
(ext)
16'
style='mso-tab-count:1'> Subbass
(ext)
16'
style='mso-tab-count:1'> Lieblich
Gedeckt (Sw)
8'
style='mso-tab-count:1'> Octave
Bass
8' style='mso-tab-count:1'> Flute
8'
style='mso-tab-count:1'> Gedeckt
(Sw)
4'
style='mso-tab-count:1'> Choral
Bass (ext)
4'
style='mso-tab-count:1'> Cantus
Flute (Gt)
16'
style='mso-tab-count:1'> Trombone
(ext)
16'
style='mso-tab-count:1'> Bassoon
(Sw)
8'
style='mso-tab-count:1'> Trombe
Maestro (Gt)
8'
style='mso-tab-count:1'> Trumpet
(Sw)
8'
style='mso-tab-count:1'> Oboe
(Sw)
4'
style='mso-tab-count:1'> Oboe
(Sw)
Gt/Ped
8-4
Sw/Ped
8-4
GREAT (unenclosed)
8' style='mso-tab-count:1'> Diapason
8'
style='mso-tab-count:1'> Harmonic
Flute
4' style='mso-tab-count:1'> Octave
4'
style='mso-tab-count:1'> Open
Flute
22/3' style='mso-tab-count:1'> Twelfth
2'
style='mso-tab-count:1'> Super
Octave
13/5' style='mso-tab-count:1'> Tierce
11/3' style='mso-tab-count:1'> Mixture IV
16'
style='mso-tab-count:1'> Bassoon
(Sw)
8'
style='mso-tab-count:1'> Trombe
Maestro
Tremolo
Gt
16-UO-4
Sw/Gt
16-8-4
SWELL (expressive)
16'
style='mso-tab-count:1'> Lieblich
Gedeckt (ext)
8'
style='mso-tab-count:1'> Stopped
Diapason
8' style='mso-tab-count:1'> Gemshorn
8'
style='mso-tab-count:1'> Gemshorn
Celeste (from GG)
4' style='mso-tab-count:1'> Principal
4'
style='mso-tab-count:1'> Chimney
Flute
2'
style='mso-tab-count:1'> Flageolet
(ext)
1'
style='mso-tab-count:1'> Mixture
III
16'
style='mso-tab-count:1'> Bassoon
(ext)
8'
style='mso-tab-count:1'> Trombe
Maestro (Gt)
8' style='mso-tab-count:1'> Trumpet
8' style='mso-tab-count:1'> Oboe
4'
style='mso-tab-count:1'> Clarion
(ext)
Tremolo
Sw
16-UO-4
PEDAL
32'
style='mso-tab-count:1'> Sanftbass
(prepared for)
16'
style='mso-tab-count:1'> Principal
(ext)
16'
style='mso-tab-count:1'> Subbass
(ext)
16'
style='mso-tab-count:1'> Lieblich
Gedeckt (Sw)
8'
style='mso-tab-count:1'> Octave
Bass
8' style='mso-tab-count:1'> Flute
8'
style='mso-tab-count:1'> Gedeckt
(Sw)
4'
style='mso-tab-count:1'> Choral
Bass (ext)
4'
style='mso-tab-count:1'> Cantus
Flute (Gt)
16'
style='mso-tab-count:1'> Trombone
(ext)
16'
style='mso-tab-count:1'> Bassoon
(Sw)
8'
style='mso-tab-count:1'> Trombe
Maestro (Gt)
8'
style='mso-tab-count:1'> Trumpet
(Sw)
8'
style='mso-tab-count:1'> Oboe
(Sw)
4'
style='mso-tab-count:1'> Oboe
(Sw)
Gt/Ped
8-4
Sw/Ped
8-4
