Cover
Warrensburg, Missouri, Opus
55
William Jewell College,
Liberty, Missouri
With its landmark, white trimmed, red brick, Greek revival
buildings, William Jewell College has stood for more than 150 years on a high
hill in historic Liberty, Missouri, from which the downtown Kansas City skyline
can be seen 25 miles away. Originally established as a four-year men's college
by a coalition of Missouri Baptists, William Jewell College became coed in 1921
and has an excellent reputation, having been named Time magazine's
"Liberal Arts College of the Year" in 2001. The 1,400-student college
is recognized throughout the Midwest for its outstanding music department. Its
Harriman Arts Series is one of the premier presenting organizations in the
Midwest, having sponsored Italian tenor Luciano Pavarotti's world debut recital
in 1973.
The installation of Quimby Opus 55 fulfills a long-held
dream of having a large pipe organ available on campus for performance and ceremonial
occasions. It is made possible by a substantial gift from the Pillsbury
Foundation of St. Louis. The
Pillsbury family has been represented on the William Jewell College Board of
Trustees since 1917. At the present time, Linda Roos, daughter of Frederick
Hobart Pillsbury, is on the Board of Trustees. Her father helped fund
construction of the Pillsbury Music Center in 1974. He was the president of
Century Motors, which was founded by his father. Century motors are found on
numerous organ blowers throughout the United States.
Opus 55 stands on the shallow stage of Gano Chapel, named
for Rev. John Gano, who established the First Baptist Church of New York City
and who was appointed chaplain of the army by Gen. George Washington. The case
is constructed of red oak and contains seven bays of painted zinc pipes from
the 16' and 8' Great principals and 8' Pedal Principal. Coincidentally, Opus 55
contains 55 ranks across three manuals and pedal. The number 55 also represents
the combined years of service of the college's two organ professors, Lydia
Lovan (1946-71) and Dr. Pauline Riddle (1971 to present).
Tonally, the organ represents a synthesis of several
historic designs. In order to fulfill its dual roles as a recital and
ceremonial instrument, capable of accompanying both choir and orchestra, the
tonal concept leans heavily toward the American organbuilding style of the late
1920s and early 1930s. Large concert organs from this period contained fully
developed Principal choruses and bold chorus reeds, as well as the lush string,
flute and solo reed tones associated with the Romantic or symphonic period of
organbuilding.
The Great Principal chorus, from the 16' Open Diapason
through the IV-VI Mixture, plus chorus reeds at 8'-4', provides the foundation of
the organ. The 8' Violoncello provides a secondary unison principal voice
commonly found on organs from this period. The 8' Harmonic Flute is an ideal
solo stop, but may also be combined with other voices on the Great. Two
contrasting high-pressure solo reeds, an 8' Tuba and an 8' Fanfare Trumpet,
patterned after examples found on English organs, are enclosed in the Choir
division for additional effect. The Tuba is available on the Great or Choir
manual, while the Fanfare Trumpet is playable on all three manuals. Provision
has been made for the addition of a 16' Contra Trumpet and a III Sharp Mixture
to complete the Great division.
The highly expressive 19-rank Swell organ is reminiscent of
the fully developed Swell divisions commonly found on E. M. Skinner organs from
the late 1920s and early 1930s. The 8' and 4' Principals are crowned by a IV
Mixture. A full battery of reed stops from 16'-4' includes an 8' Oboe and 8'
Vox Humana for two softer colors. The broadly scaled but incisive strings are
contrasted by the ethereal Flauto Dolce and Celeste, patterned after Skinner
examples.
The Choir organ is designed for softer accompaniment. In
additional to its tapered strings and colorful flutes, it contains a
contrasting 8' Geigen Diapason and two solo reed stops, an 8' Clarinet-Cromorne
and an 8' English Horn.
The organ is undergirded by a Pedal division with four
independent ranks, including a 32' Contra Bourdon and a 32' Contra Trombone.
Provision has been made for the addition of a IV-rank Mixture.
The 3-manual drawknob console is built in the Skinner style
and features a 99-level combination action. When not in use, it may be stored
in a specially designed room accessed by double doors in the lower center
section of the organ case. The organ windchests are built on the
Quimby-Blackinton slider design and feature double-stage electro-pneumatic
primary actions for optimal responsiveness.
The organ was dedicated on October 24, 2002 with a recital
by Ken Cowan, and David Goode, renowned British organist, was the distinguished
visiting professor during the month of November, 2002.
Cover photo by Michael Quimby; photos on this page by Terry
Hayes Photography.
GREAT
Flues 41/2" wp, reeds 5" wp
16'
style='mso-tab-count:1'> Open
Diapason
8'
style='mso-tab-count:1'> Open
Diapason
8'
style='mso-tab-count:1'> Harmonic
Flute
8'
style='mso-tab-count:1'> Chimney
Flute
8' style='mso-tab-count:1'> Violoncello
4' style='mso-tab-count:1'> Octave
4'
style='mso-tab-count:1'> Spire
Flute
22/3' style='mso-tab-count:1'> Twelfth
2' style='mso-tab-count:1'> Fifteenth
13/5' style='mso-tab-count:1'> Seventeenth
IV-VI style='mso-tab-count:1'> Mixture
III
style='mso-tab-count:1'> Sharp
Mixture*
16'
style='mso-tab-count:1'> Contra
Trumpet (ext) (1-12 prep)
16'
style='mso-tab-count:1'> Contra
Oboe (Sw)
8' style='mso-tab-count:1'> Trumpet
4' style='mso-tab-count:1'> Clarion
8'
style='mso-tab-count:1'> Tuba
(Ch)
8'
style='mso-tab-count:1'> Trompette
Harmonique (Ch)
MIDI
on Great
SWELL
Flues 41/2" wp, reeds 5" wp
16'
style='mso-tab-count:1'> Contra
Gamba
8' style='mso-tab-count:1'> Diapason
8'
style='mso-tab-count:1'> Gamba
(ext)
8'
style='mso-tab-count:1'> Gamba
Celeste
8'
style='mso-tab-count:1'> Stopped
Diapason
8'
style='mso-tab-count:1'> Flauto
Dolce
8'
style='mso-tab-count:1'> Flute
Celeste, TC
4' style='mso-tab-count:1'> Octave
4' style='mso-tab-count:1'> Nachthorn
22/3' style='mso-tab-count:1'> Nazard
2' style='mso-tab-count:1'> Flageolet
13/5' style='mso-tab-count:1'> Tierce
IV style='mso-tab-count:1'> Mixture
16'
style='mso-tab-count:1'> Contra
Oboe
8' style='mso-tab-count:1'> Trompette
8'
style='mso-tab-count:1'> Oboe
(ext)
8'
style='mso-tab-count:1'> Vox
Humana
4' style='mso-tab-count:1'> Clarion
8'
style='mso-tab-count:1'> Trompette
Harmonique (Ch)
Tremolo
MIDI
on Swell
CHOIR
Flues 41/2" wp, reeds 51/2"-15" wp
16' style='mso-tab-count:1'> Erzähler
8'
style='mso-tab-count:1'> Geigen
Diapason
8'
style='mso-tab-count:1'> Flauto
Traverso
8'
style='mso-tab-count:1'> Erzähler
(ext)
8'
style='mso-tab-count:1'> Erzähler
Celeste, TC
4'
style='mso-tab-count:1'> Geigen
Octave
4'
style='mso-tab-count:1'> Harmonic
Flute
2'
style='mso-tab-count:1'> Harmonic
Piccolo
III style='mso-tab-count:1'> Mixture
8' style='mso-tab-count:1'> Tuba
8' style='mso-tab-count:1'> Clarinet-Cromorne
8'
style='mso-tab-count:1'> English
Horn
8'
style='mso-tab-count:1'> Trompette
Harmonique
Tremolo
MIDI
on Choir
PEDAL
Flues 4" wp, reeds 71/2" wp
32'
style='mso-tab-count:1'> Contra
Bourdon (1-12 digital)
16'
style='mso-tab-count:1'> Open
Diapason
16'
style='mso-tab-count:1'> Bourdon
(ext)
16'
style='mso-tab-count:1'> Contra
Gamba (Sw)
16'
style='mso-tab-count:1'> Erzähler
(Ch)
8'
style='mso-tab-count:1'> Octave
(ext)
8'
style='mso-tab-count:1'> Bourdon
(ext)
8'
style='mso-tab-count:1'> Gamba
(Sw)
8'
style='mso-tab-count:1'> Erzähler
(Ch)
4'
style='mso-tab-count:1'> Choral
Bass
4'
style='mso-tab-count:1'> Bourdon
(ext)
IV style='mso-tab-count:1'> Mixture*
32'
style='mso-tab-count:1'> Contra
Trombone
16'
style='mso-tab-count:1'> Trombone
(ext)
16'
style='mso-tab-count:1'> Contra
Trumpet (Gt)
16'
style='mso-tab-count:1'> Contra
Oboe (Sw)
8'
style='mso-tab-count:1'> Trombone
(ext)
8'
style='mso-tab-count:1'> Trumpet
(Gt)
8'
style='mso-tab-count:1'> Oboe
(Sw)
4'
style='mso-tab-count:1'> Cantus
Trumpet (ext)
4'
style='mso-tab-count:1'> Oboe
(Sw)
8'
style='mso-tab-count:1'> Trompette
Harmonique (Ch)
* Ranks
prepared for
III manuals, 55 ranks
Blackinton-Quimby Pipe Organs style electro-pneumatic slider
windchests with double-stage primaries
Electro-pneumatic unit windchests for extended ranks
Peterson Multiplex relay, 99-level combination action, and
MIDI
Schneider Pipe Organs
of Kenney, Illinois, has completed the reconstruction and updating of a II/4
1927 Wicks pipe organ in St. Peter's A.M.E. Church, Decatur, Illinois. The
organ was severely water-damaged as a result of a roof leak and was completely
removed for evaluation and reconstruction in 1998. While this work was going on
in the Schneider shop, the organ chamber was insulated, replastered, repainted,
and new fluorescent lighting installed. The organ chamber is located on the
left-hand side only; the grille on the right-hand side is only a dummy for
visual symmetry--there is no pipework behind it.
To help with the egress of sound, an additional tonal
opening was created towards the choir loft, since the choir only had indirect
egress of the organ. Both the original set and a new set of swell shades are
now controlled by a Peterson 8-stage expression engine and a series of cranks
in place of the original pneumatic system. Moreover, the shades open fully
rather than only 45 degrees with the previous arrangement.
A new main windchest was constructed using our exclusive
expansion chamber toeboards, sliding dovetail frame construction techniques,
and Peterson electro-mechanical magnets. The two offset chests were not as
severely damaged and were able to be refinished and the actions rebuilt. The
organ was completely rewired and refurbished, and is now controlled by a
Peterson diode matrix relay system. The console, which also suffered from the
effects of water damage, was refinished and a new top constructed for it to
match the original. The original keys were in excellent condition and were
sandblasted and fitted with new contacts. The nameboard was retained, rewired
and functions as originally, without any combination action. The pedalboard was
completely reconstructed and several broken pedals were replaced. An all-new
Peterson reed switch contact system was retrofitted to the pedalboard.
All of the original pipework was retained, although
completely cleaned, de-dented, polished, revoiced and refinished, and in the
case of the wood Gedeckt repacked. All metal pipes were fitted with new
stainless steel tuning slides with turned edges to prevent rusting or
oxidation, and for ease of tuning.
The original reservoir was retained and releathered, and a
more direct wood wind trunk from the reservoir to the new main windchest was
installed. The two offset chests were winded with PVC windlines, and the
tremulant is provided by a Peterson Dynatrem unit in place of the old
"beater" tremulant. The wind system was further enhanced by the
addition of a new static reservoir in the basement, two floors blow the organ,
and a new Laukhuff silent blower replaced the badly damaged and outdated old
blower. The blower room was cleaned, replastered and repainted, and the blower
room door fitted with an inlet filter to provide clean wind for the renovated
instrument.
Participants in the project include Jason Burkett, organ
removal, general shop work, wood pipe refinishing and reinstallation
assistance; W. C. Burkett, pipe cleaning, polishing and repair, church cleanup
work, reinstallation; Joe DeBauche, organ removal; Joan Schneider, fiscal
management, office manager, pipe cleaning and polishing, tuning and tonal
finishing assistance; Dan Schneider, offset windchest renovation and new
windchest construction, wood pipe stopper repacking, reinstallation; Matt
Schneider, general shop work, reinstallation assistance; Richard Schneider,
pipework repairs, revoicing, tonal finishing, tuning and general engineering
and layout work.
Summary ranks:
16'
style='mso-tab-count:1'> Gedackt
(97 pipes, open metal treble pipes)
8'
style='mso-tab-count:1'> Diapason
(73 pipes, cloth-lead)
8'
style='mso-tab-count:1'> Salicional
(73 pipes, spotted metal)
8'
style='mso-tab-count:1'> Æoline
(61 pipes, spotted metal, tuned sharp as a celeste rank)
GREAT
8'
style='mso-tab-count:1'> Open
Diapason
8'
style='mso-tab-count:1'> Concert
Flute
8' style='mso-tab-count:1'> Viola
8'
style='mso-tab-count:1'> Dolce
(Æoline tuned as celeste)
4' style='mso-tab-count:1'> Octave
4'
style='mso-tab-count:1'> Concert
Flute
4'
style='mso-tab-count:1'> Violina
(Salicional)
2' style='mso-tab-count:1'> Flageolet
SWELL
8'
style='mso-tab-count:1'> Open
Diapason
8'
style='mso-tab-count:1'> Stopped
Diapason
8' style='mso-tab-count:1'> Salicional
8' style='mso-tab-count:1'> Æoline
4'
style='mso-tab-count:1'> Flute
d'Amour
2' style='mso-tab-count:1'> Piccolo
PEDAL
16' style='mso-tab-count:1'> Bourdon
8'
style='mso-tab-count:1'> Open
Diapason
8' style='mso-tab-count:1'> Flute
8' style='mso-tab-count:1'> Violoncello
4' style='mso-tab-count:1'> Octave
