Cover
Buzard Pipe Organ Builders, Champaign,Illinois
St. Andrew's Episcopal Church, Denver, Colorado
From the builder
When we were first contacted by the St. Andrew's organ committee and invited to submit a proposal, their reputation as a committed
Anglo-Catholic parish with particularly fine music preceded them. Their choir,
directed by Tim and M.B. Krueger, regularly offers outstanding renderings of a
cappella Renaissance and Tudor anthems, Anglican chant settings, and service
music. Their rented four-rank Möller organ, and later a borrowed box
organ, led congregational singing and played voluntaries.
Our discussions centered around their initial desire for a
mechanical- action instrument, inspired by 18th century English models. As our
conversations evolved, however, they re-discovered the vast portion of music in
the Anglican tradition which requires an organ of greater variety of tone
colors. The more they listened to
Stanford, Parry, and Howells, the greater their desire became for a pair of
evocative strings, rich diapasons, liquid flutes, and romantic reeds. Our tonal
style just seemed to be at one with their ethos.
We had to be creative in working within their budget. The
organ project was timed to be on the cusp of a larger capital campaign for
expansion of the building, and so the organ could not represent more than a
fixed dollar amount. To this end, several flue stops and all the reeds were
prepared for future addition. Normally reticent to prepare so many stops, we
felt that this congregation would actually finish what was begun, in light of
its commitment to musical and liturgical excellence.
Since the parish is considering expansion of the building,
but was in immediate need of an organ, the instrument is installed in the
permanent, completed portion of the building. It is located in the baptistry,
installed on a platform about nine feet off the main floor. Although the organ
case covers a large portion of a window, the architectural interest of the
tracery is preserved and its Gothic arch is mirrored in the organ case. The
windows in the building are all translucent glass, the panes and lead caming
cut in diamond patterns, imitating St. Andrew's crosses. To relate to the
window behind the organ, the center pipe is embossed in the same pattern as the
window glass. Two shields of St. Andrew in blue enamel and silver leaf decorate
the case; the same blue enamel and a tasteful amount of gold leaf are applied
to the pipe shades.
This is the first of our instruments to be installed in a
high altitude and in such a dry climate. Although we provided for all the
issues which high altitude and dryness can present to a pipe organ, we wanted
to monitor the instrument's acclimatization for several months before it was
publicly heard in recital. However, the instrument was proving so reliable, and
the sounds had so captivated and excited so many of the parishioners, that
Donald Pearson, organist/choirmaster of St. John's Cathedral, dedicated the
instrument in February.
--John-Paul Buzard
President & Tonal Director
Buzard Pipe Organ Builders
Tonal function in selecting an organ for St. Andrew's
When St. Andrew's Episcopal Church, Denver, suffered a fire
in November, 1999 that destroyed our venerable 1910-vintage 7-rank Kimball, an
organ committee was formed. The committee's first task was to define the ideal
role of an organ at St. Andrew's.
With a reputation for Anglo-Catholic "high church"
liturgy and a renowned choir, we quickly determined that the organ's first and
foremost place was as an accompanimental instrument--to accompany and encourage
congregational singing, to accompany the choir, to accompany the liturgy.
What makes for a good accompanimental instrument? With four
organists on the committee of nine, we felt reasonably assured that our answer
was well-informed--that accompaniment requires tonal variety and flexibility,
and that an organ with a rather high percentage of foundation stops was the way
to go. The fact that St. Andrew's is well-steeped in the Anglican tradition,
with a definite consciousness and pride in its English roots, helped bolster
the idea of an English-style organ, if such can be defined.
Yet, for all our fervor for things English, and our
acknowledgement of the importance of liturgical accompaniment, we also wanted
an organ that would serve as a fine solo instrument, capable of rendering
recital repertoire in a great variety of styles and eras ("from Byrd to
Howells, via Bach" was our rallying cry!). With a limited budget, and even
more limited space (the church is quite small, seating scarcely more than 100
people), the task now presented itself of accommodating our
partially-conflicting criteria.
We sought proposals from some 30 organ builders, and were
impressed with the number of serious contenders and the creativity of their
conceptions. To boil a year-and-a-half of frequent meetings, debates, and
visits from organ builders down into a single sentence, there was only one
candidate who clearly satisfied all of our tonal and functional criteria, and
whose visual conception of the organ was truly breathtaking. John-Paul Buzard
had the Anglican credentials we sought, with a true passion for the Episcopal
liturgy, and a well-defined tonal concept of how to achieve the accompanimental
organ we wanted; yet he allied it with classic tonal fundamentals to create an
organ that could also stand on its own as a recital instrument. We knew this
from listening to a variety of his instruments, both live and on recordings,
particularly his Op. 7 at the Episcopal Chapel of St. John the Divine in
Champaign-Urbana, Illinois.
To say that I and the congregation are thrilled with the
result--even before the organ is truly complete, lacking some of the prepared
reeds and mutations--is a vast understatement. It has fulfilled its primary
role of liturgical and choral accompaniment with excellence (I still marvel
during the psalms, sung to Anglican chant, when our organist, Frank Nowell,
registers each verse and phrase with such a variety of sounds--and with such
gradual and seemingly effortless transition from one to the next--that all this
comes from just 17 ranks!). We look forward to a recital series in the coming
months, performed by some of Colorado's finest organists.
--Timothy J. Krueger
Choirmaster, St. Andrew's
Episcopal Church
Buzard Pipe Organ Builders, Opus 26
St. Andrew's Episcopal Church,
Denver, Colorado
14 stops, 17 ranks with preparations for 27 straight
stops, 32 ranks
GREAT (4" wind)
16'
style='mso-tab-count:1'> Lieblich
Gedeckt (wood)
8'
style='mso-tab-count:1'> Open
Diapason (polished tin, façade)
8'
style='mso-tab-count:1'> Melodia
(open wood)
8'
style='mso-tab-count:1'> Gedeckt
Flute
4' style='mso-tab-count:1'> Principal
4'
style='mso-tab-count:1'> Flûte
d'Amour (wood and metal)
22/3' style='mso-tab-count:1'> Nazard (prep)
2' style='mso-tab-count:1'> Fifteenth
13/5' style='mso-tab-count:1'> Tierce (prep)
11/3'
style='mso-tab-count:1'> Fourniture IV
(prep)
8'
style='mso-tab-count:1'> Clarinet
(prep)
Tremulant
8'
style='mso-tab-count:1'> Tuba
(prep, horizontal)
8'
style='mso-tab-count:1'> Tuba
Solo (melody coupler, prep)
Gt/Gt
16-UO-4
Sw/Gt
16-8-4
SWELL (4" wind)
8'
style='mso-tab-count:1'> Stopped
Diapason
8' style='mso-tab-count:1'> Salicional
8'
style='mso-tab-count:1'> Voix
Celeste (tc)
4' style='mso-tab-count:1'> Principal
4'
style='mso-tab-count:1'> Harmonic
Flute
2' style='mso-tab-count:1'> Recorder
2'
style='mso-tab-count:1'> Full
Mixture IV
8'
style='mso-tab-count:1'> Trompette
(prep)
8'
style='mso-tab-count:1'> Oboe
(prep)
Tremulant
Cymbalstern
8'
style='mso-tab-count:1'> Tuba
(Gt, prep)
8'
style='mso-tab-count:1'> Tuba
Solo (Gt, prep)
Sw/Sw
16-UO-4
PEDAL (4" wind)
32'
style='mso-tab-count:1'> Subbass
(1-12 digital)
32'
style='mso-tab-count:1'> Lieblich
Gedeckt (1-12 digital)
16'
style='mso-tab-count:1'> Bourdon
(wood)
16'
style='mso-tab-count:1'> Lieblich
Gedeckt (Gt)
8'
style='mso-tab-count:1'> Principal
(polished tin, façade)
8'
style='mso-tab-count:1'> Bass
Flute (ext Bdn)
8'
style='mso-tab-count:1'> Gedeckt
(Gt)
4'
style='mso-tab-count:1'> Choral
Bass (ext Princ)
16'
style='mso-tab-count:1'> Trombone
(prep)
8'
style='mso-tab-count:1'> Tuba
(Gt, prep)
Gt/Ped
8-4
Sw/Ped
8-4
ANTIPHONAL (3" wind) (prep)
8' style='mso-tab-count:1'> Principal
8'
style='mso-tab-count:1'> Flûte
à Bibéron (Chimney Flute)
4'
style='mso-tab-count:1'> Octave
(tin, façade)
2' style='mso-tab-count:1'> Doublette
Schoenstein & Co.,
organ builders of San Francisco, have installed a two-manual, six-rank organ in
the chapel of Bishop Spencer Place, an Episcopal retirement community in Kansas
City, Missouri. The Latin phrase Multum in parvo (much in little), as used by
early 20th-century English organ builders, describes exceptionally compact
organs built for the Anglican service in small churches. The concept is similar
to the Orgue de choeur of the late French Romantic school--a small instrument designed
to accomplish big musical jobs. The British version typically had a more mellow
character of diapason and reed tone to work well in drier acoustic venues. The
goal of these instruments was to bring cathedral-caliber music to the average
parish. Among the design characteristics of these organs are bold, colorful
voicing; dominant reed tone; and effective expression. The three entirely
straight voices--8' Diapason, 4' Principal, and 8' Trumpet--are the heart of
the ensemble. This is the smallest instrument yet to include the Schoenstein
system of double expression. The entire instrument, with the exception of some
basses, is enclosed. The Trumpet is separately enclosed within the main
expression box thus doubling its dynamic range. Despite its size, this organ is
capable of a thrilling full-Swell crescendo, sophisticated choir accompaniment,
and spirited leadership of hymns. The two-manual and pedal open drawknob-style
console is built of cherry and bird's eye maple and is attached to the
façade; polished ebony drawknobs, bone and ebony covered keys with
articulated touch.
Schoenstein & Co. is a member of the Associated Pipe
Organ Builders of America and the International Society of Organbuilders.
Senior craftsmen are members of the American Institute of Organbuilders. (Photo
by Michael Spillers)
--Larry Simpson
GREAT
8'
style='mso-tab-count:1'> Open
Diapason-full bass (display bass)
8'
style='mso-tab-count:1'> Open
Diapason-soft bass (Lieblich Gedeckt bass)
8'
style='mso-tab-count:1'> Dulciana
(Sw)
8'
style='mso-tab-count:1'> Lieblich
Gedeckt (Sw)
4' style='mso-tab-count:1'> Principal
Great
Super Octave
SWELL
8'
style='mso-tab-count:1'> Dulciana
(Lieblich Gedeckt bass)
8'
style='mso-tab-count:1'> Unda
Maris (TC)
8'
style='mso-tab-count:1'> Lieblich
Gedeckt (wood & metal)
4'
style='mso-tab-count:1'> Dulcet
(ext)
4'
style='mso-tab-count:1'> Chimney
Flute (ext)
22/3'
style='mso-tab-count:1'> Nazard (from
Chimney Flute)
8' style='mso-tab-count:1'> Trumpet
Tremulant
Sw
16-UO-4
PEDAL
16'
style='mso-tab-count:1'> Bourdon
(wood, 12 pipes, Lieblich Gedeckt treble)
8'
style='mso-tab-count:1'> Lieblich
Gedeckt (sw)
Couplers
Gt/Ped
8
Sw/Ped
8-4
Sw/Gt
16-8-4
Goulding & Wood, Inc., Indianapolis, Indiana, has built a new organ for Meridian Street
United Methodist Church, Indianapolis. The new organ sits in the rear balcony
of the 150-seat chapel, which is used weekly for one of the Sunday services as
well as for small weddings and funerals.
The console sits just outside of the chancel, and the intimate acoustics
of the room provide a close connection between organist and pipes.
Both reed stops have tapered shallot openings and moderately
bright voicing, giving brilliance and restraint so as not to overpower the
room. Gedeckt pipes have walnut
blocks and caps and poplar bodies.
The Gemshorn and Celeste are spotted metal, and all other pipe work is
70% lead. The casework is modeled
after the Federalist elements in the room. The fluted columns and capitals were all hand carved in the
Goulding & Wood shop.
Installation took place in December with tonal work completed by
mid-January. Dwight Thomas played
a dedicatory recital on 30 April 2002.
GREAT
16'
style='mso-tab-count:1'> Gedeckt
D
8' style='mso-tab-count:1'> Principal style='mso-tab-count:2'> A
8'
style='mso-tab-count:1'> Rohr
Flute D+E
8' style='mso-tab-count:1'> Gemshorn style='mso-tab-count:2'> F
8'
style='mso-tab-count:1'> Gemshorn
Celeste (TC) G
4' style='mso-tab-count:1'> Octave style='mso-tab-count:2'> B
4' style='mso-tab-count:1'> Gemshorn style='mso-tab-count:2'> F
22/3' style='mso-tab-count:1'> Quint (TC) style='mso-tab-count:2'> I
2' style='mso-tab-count:1'> Gemshorn style='mso-tab-count:2'> F
13/5' style='mso-tab-count:1'> Tierce style='mso-tab-count:2'> H
11/3' style='mso-tab-count:1'> Mixture II style='mso-tab-count:2'> C
16' style='mso-tab-count:1'> Hautbois style='mso-tab-count:2'> J
8' style='mso-tab-count:1'> Trompette style='mso-tab-count:2'> K
SWELL
8' style='mso-tab-count:1'> Gedeckt style='mso-tab-count:2'> D
8' style='mso-tab-count:1'> Gemshorn style='mso-tab-count:2'> F
8'
style='mso-tab-count:1'> Gemshorn
Celeste (TC) G
4' style='mso-tab-count:1'> Principal style='mso-tab-count:2'> A
4'
style='mso-tab-count:1'> Rohr
Flute E
4' style='mso-tab-count:1'> Gemshorn style='mso-tab-count:2'> F
4'
style='mso-tab-count:1'> Gemshorn
Celeste G
2' style='mso-tab-count:1'> Octave style='mso-tab-count:2'> B
13/5' style='mso-tab-count:1'> Tierce style='mso-tab-count:2'> H
11/3' style='mso-tab-count:1'> Quint style='mso-tab-count:2'> I
2/3'
style='mso-tab-count:1'> Scharf
II C
16' style='mso-tab-count:1'> Hautbois style='mso-tab-count:2'> J
8' style='mso-tab-count:1'> Trompette style='mso-tab-count:2'> K
8' style='mso-tab-count:1'> Hautbois style='mso-tab-count:2'> J
PEDAL
32' style='mso-tab-count:1'> Resultant style='mso-tab-count:2'> D
16' style='mso-tab-count:1'> Gedeckt style='mso-tab-count:2'> D
8' style='mso-tab-count:1'> Principal style='mso-tab-count:2'> A
8' style='mso-tab-count:1'> Gedeckt style='mso-tab-count:2'> D
8' style='mso-tab-count:1'> Gemshorn style='mso-tab-count:2'> F
4' style='mso-tab-count:1'> Principal style='mso-tab-count:2'> A
4'
style='mso-tab-count:1'> Rohr
Flute E
4' style='mso-tab-count:1'> Gemshorn style='mso-tab-count:2'> F
2' style='mso-tab-count:1'> Octave style='mso-tab-count:2'> B
11/3' style='mso-tab-count:1'> Mixture II style='mso-tab-count:2'> C
16' style='mso-tab-count:1'> Hautbois style='mso-tab-count:2'> J
8' style='mso-tab-count:1'> Trompette style='mso-tab-count:2'> K
8' style='mso-tab-count:1'> Hautbois style='mso-tab-count:2'> J
4' style='mso-tab-count:1'> Hautbois style='mso-tab-count:2'> J
Accessories
Swell to Great
Swell to Pedal
Great to Pedal
Tremolo (general)
Solid State Logic switching and combination action with 8
levels of memory
Sforzando and Crescendo
Adjustable height bench
Tuning: A=440, equal temperament
TONAL RESOURCES
lowest
pitch rank
style='mso-tab-count:3'> pipes
A 8' style='mso-tab-count:2'> Principal style='mso-tab-count:2'> 73
B 4' style='mso-tab-count:2'> Octave style='mso-tab-count:3'> 73
C 11/3'
Mixture
II 146
D 16' style='mso-tab-count:2'> Gedeckt style='mso-tab-count:2'> 73
E 4'
style='mso-tab-count:2'> Rohr
Flute 61
F 8' style='mso-tab-count:2'> Gemshorn style='mso-tab-count:2'> 85
G 4'
style='mso-tab-count:2'> Gemshorn
Celeste 61
H 13/5' style='mso-tab-count:2'> Tierce style='mso-tab-count:3'> 37
I 11/3' style='mso-tab-count:2'> Quint style='mso-tab-count:3'> 56
J 16' style='mso-tab-count:2'> Hautbois style='mso-tab-count:2'> 73
K 8' style='mso-tab-count:2'> Trompette style='mso-tab-count:2'> 61
