Cover Feature

Austin Organs, 

Hartford, Connecticut

Opus 2344 (1961 and 2014)

St. Mark’s Episcopal Church,

New Canaan, Connecticut

In New Canaan, Connecticut, just north of a town landmark known as “God’s Acre,” an imposing edifice rises from the staid landscape. St. Mark’s Church was erected in 1961. Approaching from the south, the church beckons your creative spirit as it heralds the artistry that pervades its sacred space. The entrance of the church, facing an elegant, grassy commons to the south, is easily accessed from the street. Entering the two large, intricately carved doors one finds oneself inside an impressive sanctuary that evokes the feeling of a Gothic cathedral. Triangular vaults rise up majestically from towering concrete columns. The altar is clearly the focal point of the room, but behind the altar stands an equally impressive reredos approximately 35 feet wide, standing some 40 feet in the air, displaying 184 intricately carved figures. It was designed by sculptor Clark Fitz-Gerald, whose works can be found in Columbia University, Independence Hall in Philadelphia, Carnegie Hall, and Coventry Cathedral in England. 

Behind this acoustically transparent screen stands Austin Organs’ Opus 2344, dedicated by John Weaver in a concert on January 7, 1962. In 2014, Austin installed several new stops and completed an extensive tonal redesign of the instrument.

 

From the musician

In 2000, we started discussion about completing some major work on the organ. We thought it important to return to the company that gave birth to the instrument, so we called Austin Organs in Hartford for an evaluation and recommendations. Unfortunately the church was not ready to proceed with the project at that point, so the plan was placed on hold. When we revisited the project in 2008, I was surprised and pleased to reconnect with my former schoolmate from Westminster Choir College, Mike Fazio, who was now president and tonal director of the Austin company. 

As fate would have it, the company, now reborn under the auspices of the new owners, has revisited some of the original Austin organbuilding and voicing practices—their mindset moving beyond the so-common trend of “what’s happening now” and going back to some of the venerable earlier ideals. This philosophy is happily right in line with my own personal vision for this organ. I think that this key point in our collaboration helped lead to the successful rebirth of this instrument. Further, I believe that the combination of the talents of the outstanding Austin craftspeople, some who have been with the company for many years, along with the new administration, who respect the past but also embrace the future, to be a winning combination without equal. Working on this project, I was always confident in our conversations about the direction of the instrument, and I was pleased with the outcome, because we were consistently in sync. They always listened to my vision, and it felt like we were always on the same page with the ultimate goal.

When I arrived in 1998, it was already an organ to be proud of, and I was very happy to be playing this Austin, because it essentially worked well in this space. But today, with the tonal work and expansion, it has become much more versatile. While the organ certainly could have been defined as “American Classic,” I would now say that, while that character remains, we now have the impression of an “English Town Hall” instrument. The organ can handle a broader spectrum of literature, and I find that I can accompany the service in a much more exciting way. When I use the term “exciting,” I am not just talking about louder sounds, I am talking about the inclusion of some softer voices imparting more interesting nuance than there was previously. Utilizing the new timbres available in the pedal organ, the organ has developed a new undergirding that has truly helped its effectiveness in hymn accompaniment, among other things. The inventiveness of the Austin company in finding a creative way to add real pipes (installing a full-length 16′ reed in the Swell, and a full-length 32′ reed in the Pedal, and of course, the 32′/16′ Pedal Bourdon) was amazing! The 16′ Bourdon is also an excellent addition, as it helps support the lower voices in the choir and congregation. I am so proud to be able to boast that all of our additions are real pipes, real chimes, and a real harp, without having to resort to the digital versions. I am convinced that these real voices do add significant richness and quite amazing harmonic underpinning. I am therefore able to play the organ in a much fuller way than I could previously. This has improved both my musical creativity and the choir and congregation’s singing in response. 

—Brian-Paul Thomas

Organist and Choirmaster

From the builder

The organ has excellent tonal projection from its lofty position on the central axis of the church. Its tonal disposition is somewhat reminiscent of the late work of Austin’s most famous tonal designer, James Blaine Jamison (1882–1957). He began with the Austin Company in 1933, and his impact was rather dramatic. Early in his relationship with the company, he redefined the Austin Diapason scaling system and introduced his concepts for ensemble structure and voicing, which were quickly adopted and became common practice for a generation. Richard Piper (tonal director from 1952–1978,) continued the same trend, but imparted his own stamp on the company’s work. Piper had apprenticed for nearly a decade under Henry Willis III, working on many of England’s monumental instruments, his final work being the Dome Organ at St. Paul’s Cathedral, London. Coming to Austin, he was able to impart a bit of English nuance to the Austin version of the American Classic tonal ensemble, but that nuance did not seem to be present in this instrument. My predecessor at Austin Organs, Bruce Buchanan, visited the organ in September 2000. His impression was congruous with my own, in that he proclaimed, “St. Mark’s organ is a version of American Classic with North-European leanings. This means brightness has been preferred to brilliance, and clarity to body.” It was interesting to find his notes some months after I had submitted my own assessment to the church with similar findings.

The St. Mark’s organ had been an interesting platform for Richard Piper’s tonal experimentation. The Great and Positiv were voiced on low pressure (2¾′′ wind). It would appear that the Great Organ had the strongest North-German influence: light Prinzipal scaling, heavy mixture scaling, and the foundation apparently based on the 16′ Quintaton. Overall, the division exhibited bright ensemble tone and the Positiv was much like it. The Swell was designed with somewhat stronger English influence. It, like the Choir, was voiced on 4′′ of wind presure. It was built with colorful flutes, and lush string tone; it also had a full reed chorus, yet not a proper Oboe; there was a high-pitched Plein Jeu, yet the department lacked a full principal chorus. The Choir flue chorus is made up of flutes, independent cornet mutations, and a Gemshorn and Celeste. The Choir reeds included a rather thin Krummhorn (3/4′′ scale) and an 8′ Trumpet, voiced on 6′′ of wind pressure. In the style of many fine Austin instruments of the period, this organ’s Pedal division had nine independent ranks of pipes, beginning with a generous 16′ Open Wood Contra Bass, through a Pedal Mixture and reed chorus. At some point in history, an electronic 32′ Bourdon extension was added, but had failed and was disconnected several years ago.

Approaching the organ’s tonal redesign, we had some specific goals in mind: improve the Diapason chorus, revoice/replace some existing reeds, and supplement the Pedal department. Other enhancements became possible as the project developed. For example, while we would have liked to build a new, movable, drawknob console for the instrument, a decision was made for the present time to maintain the existing console. It was certainly showing its age, but we decided to add new stopkeys in situ for the new voices. This approach would allow us to use more available funds for tonal work as a first step. It would seem that God had other thoughts. Within a month of signing the contract for the tonal work, the church was hit by an electrical storm that disabled the console, along with the church’s sound system. We removed the console to the factory, and installed a new multiplexed console and organ control system, featuring a fiber-optic connection between the console and the organ’s Universal Air Chest. While back “home” in the factory, the manual and pedal claviers were refurbished, all new wiring and stop controls were installed, and the elegant black walnut casework finish was also restored. 

 

Tonal matters

The first matter to address was the wind pressure. To achieve the aural presence we collectively desired, we recognized that the pressure needed to be increased. To that end, we chose to increase the wind pressure to 4′′ water column for the entire instrument. Next, we needed to make a decision regarding the disposition of the Great Organ’s 16′ Quintaton, which had been partly replaced (from 8′ C) several years earlier with Bourdon pipes. The breakpoint from the 8′ to the 16′ octave was abominable, and the effect of the Quintaton in general was counterproductive to our desired ensemble. The Great Mixture was overwhelming and the rest of the chorus was anemic. Our sweeping decision was to remove the entire Quintaton from the specification, and to achieve a manual 16′ voice, install a new Austin Internal Borrow action in the chest that would play the Pedal 16′ Spitz Flute as a Great stop. Previously, this stop was only available in the manual at 8′ pitch, and 16′ in the Pedal. Austin’s voicer Dan Kingman revoiced these pipes to create an excellent Viole de Gamba. Being mildly conical (1/2 taper), we adjusted the nomenclature to reflect that construction, calling it a Spitz Viole. As a manual 16′ and 8′ borrow, it has proven to be extremely successful. While we were sweeping through the organ, we chose to “wash” the 1960s voicing out of the Great Bourdon, which resulted in a flute with more warmth and fundamental. The Diapason and Principal were rescaled, and the Spitz Fifteenth replaced with a new set of Principal pipes that work well with this new chorus. The existing Fourniture was also replaced with new pipes, scaled and voiced to fit perfectly with the new scheme. The final element was the inclusion of a new reed stop for the Great. After much discussion, the choice was made to install an English Horn. Rather than yet another Trumpet, or something from the Clarinet family, we concluded that an English Horn would serve equally well as either a gentle solo or ensemble voice. 

In the Swell, we regret that we were unable to add a new Diapason, as space would not allow it. However, the large scale Viola and Flute are rather successful, evoking “synthetic Diapason” tone, to quote the late G. Donald Harrison. A vintage 4′ Wald Flute was installed to replace the original, which was removed several years ago, having been replaced with the Koppelflute from the Positiv, where it was subsequently returned. The 8′ octave of the Rohrflute was moved off the main chest, and in its place we located the 12 lowest pipes of the 16′ Waldhorn (full-length). The rather pleasant 8′ (French) Trumpet was revoiced to blend well in the ensemble, and a new 8′ (English) Oboe was installed. As a compromise to allow the installation of the Oboe, we removed the 4′ Clarion, (which was rather thin) and extended the Waldhorn to 4′ pitch to complete the chorus. Also added to the organ was a vintage Austin Vox Humana. This particular type is affectionately known as a “Vox-in-a-Box,” as the pipes are entirely placed within an encased chest that hangs directly in front of the Swell expression shades and can be adjusted for dynamic by opening or closing the top cover of said box. The effect of the Vox Humana in this church is extremely successful—it shimmers like a “chorus of voices in the distance!” Finally, the high-pitched mixture was removed and replaced with a new IV–V Plein Jeu, starting at 22⁄3′ pitch. It provides a measure of gravitas to the ensemble, whether flues or reeds. 

In the Choir, we removed the thin, baroque Krummhorn, and replaced it with an 8′ Cremona, which is a hybrid stop that is constructed as a Clarinet in the lower registers, then it morphs into our Cromorne scale in the treble. This treatment delivers the color of a rich Clarinet in the tenor range and the brightness of a French Cromorne in the right hand. As a matter of course, the existing high-pressure Trumpet was reconstructed (new tuning inserts, etc.) and revoiced.

The changes to the Pedal division were rather dramatic. We were able to redesign the offset chests at the sides of the main organ to allow the installation of a 32′ and 16′ Bourdon. More dramatic yet, we chose to extend the Swell 16′ Waldhorn (a time-honored tradition) to become the 32′ Pedal reed. Organist Brian-Paul Thomas was very clear in his vision for this voice: he did not want a jackhammer or clatter, but smooth dark tone. Using this thought as a guideline, we scaled this stop moderately, and consequently, the 12 full-length resonators fit nicely in the space occupied by the former Quintaton, located in a split arrangement on either side of the Great chest.

The other two voices added to the organ were a set of Deagan Class A chimes, and a vintage Austin Harp. These two percussions also work very nicely in this space.

 

Conclusion

We find the new instrument is exciting, rich, and versatile. It has a delicious, smooth crescendo from pianissimo to fortissimo, never missing a step! These changes were made possible because of the amazing flexibility of the Austin Universal Airchest design. Having been at the helm of Austin since 2005, I am still constantly in awe of the versatility of the Austin system. 

In a future article, we would like to discuss the transformation of a few Austin organs. These instruments were built in the same time period (the mid-1960s). The tonal disposition of each organ was very similar, and they were stereotypical of the period, and desperate for change! The study of the resulting specifications will serve as empirical evidence for any church with an organ, especially an Austin, thinking that there is no hope for a rather bland tonal ensemble. The transformation of each organ was completed with remarkable success—each one unique. We are also embarking on a plan to make a collective recording of these instruments.

While history furnishes a wealth of motivation, we are confident that new avenues and designs are only just around the corner that may enhance earlier efforts. As surely as we are inspired by the triumphs of the past, we face the challenges of today by building organs that will continue to inspire interest beyond today, beyond tomorrow, and into the next generation. Art is only art when it represents the best efforts of the Creator, with both eyes open to even greater possibilities. We aim to create something significant for worship and the performance of great music, and in the greater sphere, to offer our own illumination of how music might be made.

—Michael B. Fazio

Austin Organs, Inc.

President and Tonal Director

 

 

 

 

Messiah Lutheran Church, 

Seattle, Washington

Marceau Pipe Organ Builders, Ltd., Seattle, Washington

Opus 32, 2014

Marceau Pipe Organ Builders has completed their Opus 32, a two-manual and pedal organ for Messiah Lutheran Church in the Wedgewood neighborhood of Seattle, Washington. This instrument is the first pipe organ for the church, replacing an ailing electronic substitute. The speakers were housed in what is now the Swell chamber. In order to accommodate the unenclosed Great and Pedal, a steel beam was installed, supported by the ceiling beams. In addition, a back wall was installed to help reflect the sounds of both the organ and choir into the nave. The existing carpeting in the balcony was also removed and replaced with hardwood flooring. These two significant changes help to improve the sound projection into the room quite successfully.

The tonal design of the organ is influenced by the Lutheran liturgy and the need for strong congregational participation in the singing of the hymns and service music. Both Principal choruses are based on 8′ pitch and when coupled deliver a most energetic result. The flutes are varied and colorful; the Swell Cornet II adds its own uniqueness and when the 4′ and 2′ flutes are added, takes on a much more French classic timbre. The Great 8′ Gemshorn was revoiced to add a much-needed accompaniment. This enhances the 8′ Gedeckt and is also a dynamic and color foil to the Swell strings. The reeds add richness to the Principal choruses; when the Swell reeds are combined, they provide a successful contrast to the Great Trumpet. The addition of a 16′ extension (Posaune) caps off the full ensemble. One of the unique elements of the tonal design is that all of the pipes were chosen from the pipe inventory of Marceau Pipe Organs. Given the variety of pipe makers, much time was given into proper scaling, voicing, and on-site regulation to achieve a unified musical ensemble.

All of the new windchests are of direct valve design and were built in the Marceau shop. The console was originally built by a reputable supply house, with an exterior of red oak. A new exterior of white oak was laminated onto the old surface with very successful results. The new stop rail and keycheeks are bubinga, providing a nice contrast to the white oak.

Projects of this nature cannot succeed without the efforts of many individuals. I wish to thank Noel Channon, organist at Messiah Lutheran, for his encouragement and trust in the project and his willingness to help out whenever needed. James Leary was instrumental in the installation of the support beam and providing exceptional help whenever needed. I am grateful to my staff for their efforts, especially Sean Haley, Tom Krisinski, Jim Van Horn, Gerrit Duys, Rusty Knorr, and Derek Curtis-Tilton. The completed organ was heard for the first time with a members recital presented by the Seattle AGO chapter.

—René A. Marceau

President and Tonal Director

 

GREAT

16′ Bourdon (ext Sw 8 St Diap) 12 pipes 

8′ Principal 61 pipes (1–11, 13–18 in façade) 

8′ Gedeckt 61 pipes (1–12 wood, 13–61 planed lead)

8′ Gemshorn 61 pipes (1–12 zinc, 13–61 50% tin)

8′ Harmonic Flute (1–12 from 8′ Viola and St. Diap, 13–61 from Sw. 4′ Fl)

4′ Octave (70% polished tin) 61 pipes 

4′ Koppelflute (50% tin) 61 pipes 

2′ Super Octave (from Mixture IV)

2′ Mixture IV (50% tin) 244 pipes 

8′ Trumpet 61 pipes  (1–12 zinc, 13–61 50% tin)

8′ Krummhorn (Sw)

SWELL

8′ Geigen (ext 4′ Principal) 12 pipes 

8′ Stopped Diapason (wood) 61 pipes 

8′ Viola 61 pipes (1–12 zinc, 13–61 50% tin)

8′ Viola Celeste, TC (50% tin) 49 pipes 

4′ Principal (60% lead) 61 pipes 

4′ Harmonic Flute (50% tin) 61 pipes 

22⁄3′ Cornet II (50% tin) 122 pipes 

2′ Octavin (50% tin) 61 pipes 

11⁄3′ Plein Jeu IV (50% tin) 244 pipes 

8′ Hautbois (50% tin) 61 pipes 

8′ Krummhorn (copper) 61 pipes 

PEDAL

16′ Subbass 32 pipes (3-8 in façade)

16′ Bourdon (from Sw 16′ Bourdon)

8′ Principal (from Gt 8′ Principal)

8′ Gedeckt (from Gt 8′ Gedeckt)

8′ Viola (from Sw 8′ Viola)

4′ Principal (from Gt 8′ Principal)

4′ Gedeckt (from Gt 8′ Gedeckt)

16′ Posaune (ext Gt 8′ Trumpet) 12 pipes 

8′ Trumpet (from Gt 8′ Trumpet)

4′ Clarion (from Gt 8′ Trumpet)

 

25 ranks 

1,520 pipes

Phillip K. Parkey

President and Tonal Director, Parkey OrganBuilders

Parkey OrganBuilders, 

Norcross, Georgia

Opus 16

First United Methodist Church, Dalton, Georgia

First United Methodist Church of Dalton, Georgia, has been a long time client of Parkey OrganBuilders. In the years leading up to the sanctuary renovation, we had the privilege of working with Peter Infanger, the church’s music director and organist, in the care of the church’s pipe organ. Dalton First United Methodist has a long-standing reputation of excellent music, and many years were spent planning the renovation of the sanctuary to support this fine music program.

In the early 1990s the church increased the facility to add a new fellowship hall, kitchen, and a new chapel. During that growth phase, the church added an extension to the main sanctuary with plans to expand the choir space. The choir programs have grown over the years, and the choir loft space, which was located between the two organ chambers at the time, drastically hindered growth and expansion of the choir. Peter Infanger worked with the Trustees and building committee to highlight the need and benefits of expanding the choir loft. The space limitations, coupled with the very dated appearance of the 1950s sanctuary, led to the renovation that began in 2014. Many ideas were discussed, and other organ builders were interviewed. Ultimately the organ committee voted unanimously to award the contract for the organ to our firm.

With the need to enlarge the choir space, we recommended moving the organ from side chambers and an exposed division to a much more traditional chambered installation with case and façades. The organ committee agreed with our recommendations. The renovation committee also responded favorably to the recommendation of improved acoustics aided by reflective surfaces and hardwood and tile floors where possible.  

Just before the renovation began, Peter Infanger announced his retirement. Much of the groundwork had been carefully put in place by him. During the interim period, John Wigal of Chattanooga, Tennessee, was selected as the organ consultant to guide the organ committee through the remaining planning process. In mid 2015, Jeff Harbin was selected as the new music director and organist.

Mr. Harbin has worked closely with our firm to bring this project to completion. His input has been valuable and very helpful.  

The organ contains pipework from the previous instrument with new pipework for additions and changes. The final specification comprises 50 ranks over 48 speaking stops. The organ has been designed as a support for service playing and hymns under Jeff Harbin’s guidance.

The configuration of the instrument places the organ on the central axis of the room to provide direct tonal egress to the sanctuary. The organ contains two freestanding expression enclosures of our standard design for the Choir and Swell divisions. The Pedal division is behind the left façade, with the Swell division located immediately behind it. The unenclosed Great is located behind the right façade, and the Choir is placed behind the Great. The façade is composed of the Pedal 16′ Principal, Pedal 8′ Octave, and Great 8′ Principal basses.

The new organ is placed on electro-pneumatic slider windchests with limited unified and duplex stops on electro-pneumatic unit windchests. Winding was provided via single-rise reservoirs with tunable concussion winkers. The new windchests have greatly improved wind supply for the organ pipes, allowing our staff to voice for a warm, rich chorus. The stratospheric mixture complement was revised. The Scharf originally located in the Swell was relocated to the Choir. A new IV Plein Jeu was installed in the Swell.  

Our choice and design for slider windchests and single-rise reservoirs impart a clarity, promptness, and gentle wind flexibility in the organ. These attributes allow the personality of the instrument to instill a musical sense to the sound. Wind, expression boxes, and accurate well-terraced voicing become the palette for the musician to lead services and congregational singing.

The Swell flute chorus was finished out with a 4′ Nachthorn to complete the option of a flute-based Cornet. The strings of this division were broadened to complement a larger 8′ Bourdon installed to improve the foundation of the Swell. The 4′ Principal was rescaled to accommodate the increased foundation. Finally, an 8′ Hautbois was added.

The Great division was revised with several changes. The 16′ Gemshorn was extended to provide an 8′. The original installation had relied heavily on Haskelled bass pipes due to limited chamber space. This, coupled with limited chamber openings, had always hampered the organ for an adequate bass line. The Great Principal was also rescaled and re-voiced for the changes and improvements to the room. Additional changes included replacing the 8′ flute with a Rohrflöte and adding a 4′ Spitzflöte.

The Choir division in the previous organ resembled more of an enclosed Positiv, as was common in the 1970s and 80s. Changes here included addition of an 8′ Geigen Prinzipal, revoicing the remaining 4′ and 2′, and balancing the III Scharf for a functional enclosed Principal chorus for choir accompaniment. The 8′ Holzgedeckt was rescaled and revoiced to provide a more fulfilling tone. Some articulation was retained for character, but it was still greatly refined.

The original Pedal division was complete with a nice array of independent stops. However, it, too, was compromised by providing the 16′ Principal with Haskelled pipes in the lowest octave and period voicing for the rank’s pipework. The new installation includes full-length pipes with the lowest five notes of the Principal and Gemshorn residing on the back wall for maximum bass reflection.  

The chamber construction was specified in the design details we provided. Attention was given to the density of wall structures to provide the best reflective surfaces possible. We worked with the architect to design the ceiling of the chamber to match the sanctuary ceiling in an effort to avoid the “arch” effect often encountered with organ chambers. By eliminating the overhang and wall extensions around the tone opening often found with chambers, egress is greatly improved.

The enhancements included a smooth reflective ceiling replacing the 1950s “fuzzy” acoustical surface. The choir loft is floored in ceramic tile with carpet limited to just the walkways beside the pews.  

The results have provided optimal egress and balance for the organ. Jeff Harbin noted that stops previously unusable on the old organ were now functional. Congregation and choir singing reflected an immediate improvement. The room has a warm, clean, and exciting sound matching the new visual look.

The organ was first heard for the Smiley Gregg concert in late August. Mr. Gregg was a long time member of First United Methodist and instrumental in promoting the music program of the church. The Smiley Gregg concerts have been a long-standing tradition for Dalton First United Methodist as a fundraiser for Habitat for Humanity. I have personally attended several of these over the years and remain impressed with their impact on the local community.

We are pleased to have been part of this renovation project and to provide the organ for the renewed sanctuary. Our thanks go to Peter Infanger, John Wigal, and Jeff Harbin for their cooperation and support for this project. I also thank our own staff for their efforts in creating a fine instrument for future generations.

—Phillip K. Parkey  

President and Tonal Director

Parkey OrganBuilders

 

Parkey OrganBuilders Staff for Opus 16

Phillip K. Parkey – president and tonal director

Michael Morris – case designer and engineering

Fred Bahr – tonal work and voicing

Philip Read – shop supervisor and assembly

Johan Nix – master woodworker, construction and assembly

Kurtis Robinson – CNC operator, construction and assembly

Chris Bowman – tonal work, voicing, installation

Otilia Gamboa – winchest construction, wiring

Matthew Edwards – assembly and installation

Jonathan Meeks – office manager

Keith Williamson – sales and scheduling

 

Design consultation by:

Jeff Harbin – music director and organist, Dalton First United Methodist Church, Dalton, Georgia

John Wigal – organ consultant, Church of the Good Shepherd, Lookout Mountain, Tennessee

 

GREAT (Unenclosed)

16′ Gemshorn 61 pipes 

8′ Principal 61 pipes 

8′ Gemshorn (ext) 12 pipes 

8′ Rohrflöte 61 pipes

4′ Octave 61 pipes 

4′ Spitzflöte 61 pipes 

2′ Fifteenth 61 pipes 

IV Fourniture 244 pipes 

III Cymbal 183 pipes

8′ Festival Trumpet (Choir) 

Chimes (21 notes)

    (located in Choir expression box)

Great Unison Off

MIDI on Great

 

SWELL (Enclosed)

8′ Bourdon 61 pipes

8′ Viola 61 pipes 

8′ Viola Celeste (TC) 49 pipes 

4′ Principal 61 pipes 

4′ Nachthorn 61 pipes 

22⁄3′ Nazard 61 pipes 

2′ Blockflöte 61 pipes 

13⁄5′ Tierce 61 pipes 

IV Plein Jeu 244 pipes 

16′ Basson 61 pipes 

8′ Trompette 61 pipes 

8′ Hautbois 61 pipes 

4′ Rohr Schalmei 61 pipes 

Tremulant

Swell 16

Swell Unison Off

Swell 4

MIDI On Swell

CHOIR (Enclosed)

8′ Geigen Prinzipal 61 pipes 

8′ Holzgedeckt 61 pipes  

8′ Erzähler 61 pipes 

8′ Erzähler Celeste (TC) 49 pipes 

4′ Spitz Prinzipal 61 pipes 

4′ Waldflöte 61 pipes 

2′ Klein Octav 61 pipes 

11⁄3′ Quint 61 pipes 

III Scharf 183 pipes 

8′ Krummhorn 61 pipes 

Tremulant

8′ Festival Trumpet 61 pipes 

Zimbelstern

Choir 16

Choir Unison Off

Choir 4

MIDI on Choir

PEDAL

32′ Resultant (derived)* 

16′ Principal 32 pipes 

16′ Subbass 32 pipes 

16′ Gemshorn (Great)

8′ Octave 32 pipes 

8′ Bourdon (ext) 12 pipes 

8′ Gemshorn (Great) 

4′ Choral Bass 32 pipes 

4′ Flöte (ext) 12 pipes 

III Mixture 96 pipes 

IV Harmonics (derived) 

16′ Bombarde 32 pipes 

16′ Basson (Swell)

8′ Trompette (ext) 12 pipes 

4′ Krummhorn (Choir)

8′ Festival Trumpet (Choir)

MIDI on Pedal

 

COUPLERS

Swell to Great 16

Swell to Great 8

Swell to Great 4

Choir to Great 16

Choir to Great 8

Choir to Great 4

 

Swell to Choir 16

Swell to Choir 8

Swell to Choir 4

 

Great to Pedal 8

Swell to Pedal 8

Swell to Pedal 4

Choir to Pedal 8

Choir to Pedal 4

 

Great/Choir Transfer

 

COMBINATION SYSTEM

(300 Levels of Memory)

12 General Pistons – thumb and toe

8 Divisional Pistons – thumb for manuals; thumb and toe for Pedal

Swell to Pedal Reversible – thumb and toe

Great to Pedal Reversible – thumb and toe

Choir to Pedal Reversible – thumb and toe

Swell to Great Reversible – thumb only

Choir to Great Reversible – thumb only

Sforzando Reversible – thumb and toe 

Zimbelstern Reversible – thumb and toe

 

50 ranks, 2,842 pipes

 

* (Smart Resultant = Drawn on Subbass until 16′ Principal is engaged and then revert to resultant derived from Principal)

Emery Brothers, Allentown, Pennsylvania

Christ Church in Short Hills, Short Hills, New Jersey

 

From the builder

It is no secret that tonal styles and the desires and expectations of organists have undergone significant changes in the last hundred years. Aeolian-Skinner Opus 1347, built in 1960, evidences most of the characteristics one would expect from an organ of that decade—lower wind pressures (Positiv speaks on 2 inches wind pressure), ample mixtures and upperwork, and as I heard a colleague once say, “plenty of Zs and umlauts.” Make no mistake—this instrument, as originally designed, made a strong, cohesive statement as a whole, and with the clever division of Swell and Bombarde on the third manual, provided a surprising amount of room for creativity in registration.

Aeolian-Skinner Opus 1347 was well designed and well built, thus its physical restoration formed the core of the project. In the course of this work, we stripped and releathered pouch boards, stripped and releathered reservoirs, including the installation of double gussets, fashioned and installed new primary valves on primaries and unit actions, releathered tremolos and shade engines, totally rewired the organ, and reconditioned the blower and motor. Everything wooden received a thorough cleaning and, where appropriate, a new coat of shellac. Pipes were all individually cleaned and polished by hand, stoppers stripped and repacked, and open flue pipes fitted with new stainless-steel tuning slides. All pipework was checked for voicing and regulation before leaving the shop, with final tonal finishing completed onsite.

However, in this project we were tasked not only with addressing the physical breakdown of the organ’s various mechanisms after five decades of continuous service, but also with maximizing the instrument’s strengths through some sensible and judicious tonal additions and revisions. In addition, the original console was built around the structure of the chancel—one corner was cut out to make room for a beam—and so with the desire for the console to be made movable, provision of a new console was necessary. With the church’s very active music program, including the frequent presence of visiting organists, a multi-level combination action (provided by Solid State Organ Systems) was absolutely necessary.

In its original design, the Bombarde division featured independent reeds at 16′, 8′, and 4′ pitch. This was altered later, when Aeolian-Skinner removed the 8′ Trompette from the Bombarde and moved it to the Great. The 16′ Contra Trompette was then placed on unit action and trebles provided for it to speak at 16′ and 8′ pitch. This compromised the strength of the Bombarde reed chorus, and in the end the most sensible step was to put the Trompette back in the Bombarde, which also made room for a new 8′ Major Trumpet on the Great. This new stop leans towards solo strength, while remaining usable in full chorus.

Mutations in the Positiv were originally pitched an octave higher than usual (11⁄3′ Nasat, 4⁄5′ Terz), and the 4′ Rohr Schalmei was not particularly successful. Re-pitching the mutations presented no difficulty, and the solution for the Rohr Schalmei presented itself when the desire to replace the Swell Krummhorn with an Oboe came up. The Krummhorn was revoiced onto the lower Positiv wind pressure, and a new Hautbois built for the Swell.

The new Antiphonal organ comprises six ranks, all playing on electro-pneumatic action, designed to complement and provide a foil to Aeolian-Skinner Opus 1347 and to bolster congregational singing. Within a compact footprint (both cases measure 41″ x 72″) are housed five of the six ranks (the Trompette en Chamade is mounted on the wall between the two cases), the blower, static reservoir, step-up blower and high-pressure reservoir, double-pressure divided wooden wind trunk, solid-state relay, four wind chests, and two additional reservoirs. Pipes 1–23 of the 4′ Principal make up the right-hand façade. When played with the main organ, the Antiphonal organ has the effect of “pulling” the sound into back third of the room. The full-length, flamed-copper Trompette en Chamade was carefully designed to provide a rich and commanding solo voice that would stand up well to the full organ.

I am most grateful for Bynum Petty’s help in scaling and designing the tonal additions included in this project. I also extend hearty thanks to Brian DeWald (briandewaldwoodworking.com), who built and finished the new Antiphonal organ casework and assisted with installation; Dan Cole (pipeshader.com), who assisted in the casework design and provided promotional materials showing renderings of the Antiphonal organ; and Samuel Hughes, who restored all the reed pipes in the organ. New pipes and chests were built by A. R. Schopp’s Sons, Inc.

—Adam F. Dieffenbach

Emery Brothers

 

Emery Brothers staff involved with this project included: Adam Dieffenbach, Steve Emery, Rosemary Hood, Parfyon Kirshnit, Jon Kracht, Clem Mirto, John Nester, Ardie Peeters, Rich Spotts, and Ryan Stout.

 

From the organist and choirmaster

The Aeolian-Skinner organ at Christ Church was dedicated on Easter Sunday, April 17, 1960. The instrument was typical of the era with a neo-baroque design that included bright principal choruses and ample upperwork. Joseph Whiteford voiced the organ on the aggressive side to cope with a dry acoustic and a low ceiling height in the nave. The organ was altered slightly in 1967 by the builder (Opus 1347-A) to adjust for the addition of heavy carpet across the center aisle. 

When I came to Christ Church, the organ had served the parish for over 50 years, with minimal maintenance and annual tunings. The only change made to the organ was the addition of a remote solid-state capture action to operate the console. Because of failing leather, outdated wiring, and a worn console, the church formed an organ committee to address the needs of the music program as well as the acoustic issues in the church. While the committee did look at several possible replacements for the instrument, in the end the organ was restored because of the overall fine quality of the original installation.

With the guidance of the rector, wardens, and vestry, the decision was made to first renovate the church in several stages. Each stage was completed during the summer months to avoid conflicts during the program year. The first year included the removal of all the carpeting in the church and the installation of new hardwood floors in the entire nave. The second year included new plaster ceilings in the nave to cover the wood lathe ceiling panels and restoration of the stained glass windows. The last year included the removal of the organ, renovation of the ceilings and floors of the choir, and new lighting throughout the church. At that time the woodwork in the church was refinished, removing the white pickled oak stain so popular in the 1950s. 

The organ work performed by Emery Brothers for over a year and a half included new leather, new wiring, a new console, and a new Antiphonal division. The console is built in the style of the original, but is movable and contains additional drawknobs for the Antiphonal and Pedal divisions. The keyboards, music desk, and walnut key cheeks were retained. Only minor changes were made to the chancel organ specification. While the renovated church now has a warm acoustic that requires little amplification for speech, the length of the nave and low ceiling height called for the addition of an Antiphonal organ to support congregational singing. For festivals and weddings, a horizontal reed was added under the center of the Transfiguration window. The scaling and design were by Bynum Petty, installation by Adam Dieffenbach, and tonal finishing by Steve Emery and Charles Callahan. The console replica and the Aeolian-Skinner digital samples were supplied by Walker Technical of Zionsville, Pennsylvania. The organ was rededicated by Alan Morrison with an American Guild of Organists workshop and recital in November.

I believe that in the end we stayed true to the original design of the organ. With very minor changes we have made the organ more flexible and better equipped to serve the parish for the next 50 years.

It is truly a blessing for a parish to have such an instrument. May it lead and inspire worship each and every week for generations to come!

—Andrew Paul Moore, DMA

Organist and Choirmaster

 

From the rector

When I arrived at Christ Church in Short Hills in 2010, I discovered, to my delight, that it had a really fine Aeolian-Skinner organ. It had a sound that seemed to be saying, “Yes, I’m a cousin to some of those wonderful organs you’ve heard in other churches that have great music in worship.”

Now, I’ve lived in France and love the sound of a great French organ playing. And I’m Dutch, so those marvelous trackers sound to me like the DNA of my youthful upbringing in the Dutch Reformed Church. But the sound of the organ in Short Hills was American. I don’t say that in a prideful way, not even in a “better than others” way. But there was something about this organ that could sound the repertoire ranging from an English cathedral choir chanting a psalm, to full-blown-out Reger. It sounded it all well and with its own twist on things.

I’ve served churches with electronic organs and wheezing electro-pneumatics. I was just so grateful this instrument was neither. Unfortunately, this organ was a bit like that date that is really great the first time but doesn’t grow better as the time goes on; in fact, just the opposite.

After having been at the church a little more than a year, I began to wonder why people hardly sang the hymns in the back half of the nave? I began to wonder if it were just me, or if the sound really did fall off a cliff when we reached a certain pew in the retiring procession each week? We began to notice greater hissing noise, more frequent repairs, and costly service.

Then in 2011, Andrew Moore joined us, and he could make the instrument sing as I’d never heard it before. But he could also diagnose its illness, and he told us the prognosis was dim. The good news was that little work had been done to the instrument since it had been installed in the 1960s, so little harm had been done. He also confirmed that the congregation’s lack of singing in the back half of the church probably had to do with such little organ support. The acoustics didn’t work in our favor, and the sound just wasn’t getting back there.

We hosted an organ education night at which Stephen Emery from Emery Brothers in Allentown, Pennsylvania, came to show us worn leathers, ill-fitting pouches, tarnished pipes, cotton wrapped wires, and more. We led tours through the chambers, and people who had always taken the sounds of the organ for granted now were in awe of how it actually works—and why it didn’t. They saw piles of pipes that had been removed from their windchests and were unable to function.

Adam Dieffenbach from Emery Brothers proposed a complete renovation of the existing instrument and suggested a new Antiphonal for the rear wall, both to provide sound back there, as well as to pull the sound from the pipes in the front. Because of space issues, they proposed adding a limited number of digital stops to round out the instrument’s full sound and complete Whiteford’s original concept for the instrument.

“How to pay for it?” is every parish’s question and every rector’s challenge. But in this case we had two wardens, John Cooper and Cynthia McChesney, who recognized not only the need to do the restoration work, but also its stewardship. We had competitive bids for both rebuilding and replacement. Replacement never caught any of our imaginations. That would be more expensive, but also, we realized this was a very fine instrument with a fairly unique American sound, the likes of which simply are not being made today in the same way.

Through John and Cynthia’s leadership in fundraising and both Andrew Moore’s and my direct involvement in asking individuals for support, the entire amount needed was raised in about four months. That included a substantial cushion, of which we used every last dime as we made changes to both the organ project and the worship space.

Our people realized that this was the right time to act, not only because of the present need of the instrument, but also out of respect for the amazing talent of Andrew Moore. Every age has its gifts, and the wise church appreciates and supports those gifts when they happen.

Our choir went from five section leaders and three volunteer members to four section leaders and more than twenty volunteers over the last five years. Singing has vastly improved. This summer, the entire choir is going to England to be the choir-in-residence for singing the daily office at Bristol Cathedral. More than fourteen new music groups used our space last year, both religious and secular, bringing so many people through the doors of the church.

Oh, every once in a while someone will complain that the trumpets in the back are too loud, but then the person standing next to her will say, “I think it’s just great!” There you have it; life in the Church! And in our case, we feel our worship. Our welcome and invitation to others has vastly improved, all because we acted rather than argued about whether to be responsible for something our ancestors here had left us as a gift in the first place. And we feel we’ve left the next generation something better than we could have ever imagined.

—The Reverend Dr. Timothy Mulder

Rector, Christ Church in Short Hills

 

Aeolian-Skinner Opus 1347, Joseph Whiteford, 1960. 

Renovation/additions and Antiphonal division, Emery Brothers, 2015: 63 ranks, 3,625 pipes.

GREAT

16′ Quintaton 61

16′ Rohrbourdon (Sw)

8′ Principal 61

8′ Bourdon 61

8′ Quintaton (ext) 12

4′ Octav 61

4′ Rohrflote 61

22⁄3′ Quint 61

2′ Super Octav 61

IV Mixtur 244

III Scharf 183

8′ Major Trumpet (6″ wp) 61

8′ Trompette en Chamade (Ant)

Chimes

Zimbelstern

SWELL

16′ Rohrbourdon 61

8′ Rohrbourdon (ext) 12

8′ Klein Erzahler 61

8′ Erzahler Celeste (TC) 49

4′ Geigen 61

22⁄3′ Nasat 61

2′ Octav 61

III Cornet 183

8′ Hautbois 61

8′ Menschenstimme 61

8′ Trompette en Chamade (Ant)

Tremolo

BOMBARDE

8′ Geigen Principal (digital)

8′ Viol Pomposa 61

8′ Viol Celeste 61

4′ Flute Harmonique 61

V Plein Jeu 305

16′ Contre Trompette 61

8′ Trompette 61

4′ Clarion 61

Tremolo

POSITIV

8′ Nasonflote 61

4′ Koppelflote 61

22⁄3′ Nasat 61

2′ Blockflote 61

13⁄5′ Terz 61

11⁄3′ Quint 61

III Zimbel 183

8′ Krummhorn 61

Tremolo

8′ Major Trumpet (Gt)

8′ Trompette en Chamade (Ant)

ANTIPHONAL (Emery Brothers)

8′ Rohrflute 61

4′ Principal 61

2′ Octave 61

II Rauschquint 11⁄3′ 122

8′ Trompette en Chamade 61

PEDAL

32′ Contrebass (digital)

32′ Subbass (digital)

16′ Contrebass 32

16′ Subbass 32

16′ Quintaton (Gt)

16′ Rohrbourdon (Sw)

16′ Rohrflute (Ant) 12

8′ Principal 32

8′ Gedectpommer 32

8′ Rohrbourdon (Sw)

4′ Octave (ext) 12

4′ Gedectpommer (ext) 12

V Mixtur 160

32′ Contrebombarde (digital)

32′ Contre Trompette (digital)

16′ Bombarde 32

16′ Contre Trompette (Bombarde)

8′ Bombarde (ext) 12

8′ Krummhorn (Pos)

4′ Bombarde (ext) 12

4′ Krummhorn (Pos)

8′ Trompette en Chamade (Ant)

Chimes (Gt)

 

Couplers

Gt/Ped 8

Sw/Ped 8-4

Bomb/Ped 8-4

Pos/Ped 8

Ant/Ped 8

 

Sw/Gt 16-8-4

Bomb/Gt 16-8-4

Pos/Gt 16-8

Ant/Gt 8

 

Sw/Pos 16-8-4

Bomb/Pos 16-8-4

Ant/Pos 8

 

Gt/Sw 8

Ant/Sw 8

Gt/Pos Trans

Gt/U

Bomb 16-U-4

Pos 16-U-4

Sw 16-U-4

All Sws to Sw

Pre/Next/Full

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia

First Evangelical Lutheran Church, Galveston Island, Texas

First Presbyterian Church, Galveston Island, Texas

Galveston Island has a rich history and played a significant role in the birth of Texas. Three miles wide and twenty-seven miles long, it is a popular vacation destination, but also a permanent home to nearly 50,000 full-time residents.  

Our story starts when Hurricane Ike reached Galveston Island in September 2008. The destruction to the island was on a scale and scope that only can be described as apocalyptic. The winds that bore down on the island carried a storm surge into the sanctuaries of First Presbyterian Church and First Evangelical Lutheran Church, which were flooded as well as damaged by falling water. With the restoration work required by the church properties, it would be nearly five years before either church could consider repairs to the pipe organs. 

It was at this point that our firm was brought in to consult with both churches. We were contacted while we were in the area working at Tallowood Baptist Church in Houston (chronicled as the May 2014 cover feature in The Diapason). While it is not unusual for us to work in a city (or region) on several projects, it is rare to simultaneously build two instruments within walking distance of each other.

As I visited these churches, I viewed instruments that had been silenced for a number of years. Without playing these organs, I was left to survey the remnants of these instruments, extant organ pipes, and the history of these churches and their music programs; I would hold their stewardship and heritage in my hands. I am thankful and humbled by the trust placed in the A. E. Schlueter firm and me.

Early discussions reinforced to me that even though we were building two new organs, both churches wanted the instruments to be rooted in the previous instruments’ style. Neither was to be a slavish copy, but evocative of the pipe organs they had. This was a rare opportunity to build instruments patterned after two of our country’s prominent late nineteenth and early twentieth-century American organ builders. We allowed ourselves to be enveloped in tonal styles of the past while also considering the tonal developments that had occurred in the Pilcher and Hook & Hastings firms prior to their closing. This homage to history and stewardship has preserved the sounds that have supported generations in the Galveston Island community for over 100 years.

 

First Evangelical Lutheran Church

Founded as First German Evangelical Lutheran in 1850, the church annually hosts the official Galveston Island Oktoberfest on the church grounds. In 2013, the church auctioned a car during this annual event to help raise funds for the restoration of an organ to the chancel.

The third organ installed in the church’s former nave was Henry Pilcher’s Sons Opus 1334 of 1926. It was relocated to the new church chancel area in the 1950s, with an attempt to modernize the chancel organ stoplist by including some upper work via several highly unified stops, and some stop substitutions and exchanges. However, even with these changes, the basic fabric of the 1926 organ remained intact. During Hurricane Ike in 2008, the chancel organ console was partially submerged in water, and the wiring to the console under the nave floor was soaked with sea water. 

There is a second organ in First Lutheran’s rear gallery. In 1973, a new three-manual, 27-stop, 41-rank mechanical-action instrument was installed by Freiburger Orgelbau of Freiburg im Breisgau, Germany. This organ proved to be well suited for baroque music, while the Pilcher in the chancel, with its romantic scaling and voicing, continued to serve the basic service needs of the church, including weddings and funerals. The gallery organ was spared during the storm and continues to support worship in its unaltered form. While there is no desire to change the gallery organ from its mechanical action, there have been discussions to have the new chancel console be able to eventually remotely play the gallery organ. The new three-manual chancel console was designed with this in mind. 

Our new chancel instrument is built in homage to the style of the former Pilcher. We incorporated the Pilcher’s unaltered pipework; some stops such as the Swell 8′ Diapason had leathered lips that had suffered severe water damage. While some builders have erroneously removed this leather in an attempt to “modernize” the sound of the pipes, this does not honor the former builders who made these tonal choices. We restored these pipes with their leathered lips. Other vintage pipework was similarly treated to return pipes to a former state. However, to open the organ to a wider body of repertoire, we incorporated hybrid stops (Gemshorn), the formants of a principal chorus, and upperwork and mutations that were in keeping with the stop design and voicing of the original instrument. The entire organ is under expression with a large exposure of chancel and nave shades. This allows the power of this instrument to be under complete dynamic control while almost entirely unenclosed when fully open. 

The organ has 25 ranks, divided between Great, Swell, and Pedal divisions. Since the console included the third manual, we allowed some of the unit stops on the organ to be registered from the third manual. The Great strings are so treated, as are the Swell reeds. 

The new movable chancel organ console is normally situated toward the front of the right transept chapel, which houses the 1915 altar from the former church. Because of its forward exposed location, it was important to keep its stature diminutive. We designed a terraced drawknob console with inbuilt casters to reduce its visual signature and allow for mobility. 

Since both pipe organs are normally played during a service, the new organ console’s division orientation of the keyboards was made the same as the gallery organ’s console. This eases the transition from one console to the other, even though they are very different instruments.

Even though the gallery organ, with its classic baroque sound, was not damaged by Hurricane Ike, the parish still longed for the return of the beloved chancel organ, with its warmth, grandeur, and rich tonal palette. The completed chancel organ has a nobility in its sound. It has its own unique identity as the “other” instrument in the church as well as resources to perform repertoire that would be challenging for the gallery organ, in spite of its size. The chancel has a rich sound that First Lutheran parishioners are thrilled to again experience.

I would like to thank the members of the organ committee with whom I worked and particularly recognize the efforts of the Reverend Dr. Douglass Guthier (retired) and organist/choirmaster Don Hermanson. Their mission to see the restoration of the organ to the chancel spanned years.

 

First Presbyterian Church

The congregation was organized in 1840. The present church, completed in 1889 after 16 years of construction, is considered one of the best examples of Norman architecture in the region. The church is known for its stained glass windows, including work by Tiffany.

The organ at First Presbyterian Church has had a unique history. Originally built in 1896 by the Hook & Hastings firm in Boston, the organ had mechanical action with three manuals and 30 ranks. Housed in a large oak case with stenciled wood and metal pipes positioned in the front right side of the church, the organ would be altered and changed a number of times over the years. In the 1940s its action was electrified, but it fell into disrepair in the 1970s. Under the direction of Roy Redman, it was rebuilt into a mechanical-action organ with new slider chests and enlarged to 54 ranks. At the time this work was completed, the instrument was purported to have been one of the larger mechanical-action organs built west of the Mississippi. In the 1990s, the mechanical action was discarded; a detached replacement console was installed, and the organ was converted to electric action. Even with numerous changes over time, the organ case,  façade, and the original pipework were constants. The organ remained in service until it was silenced by the hurricane. 

As our firm assessed the instrument we developed a plan that was centered on preserving the stewardship of the church heritage. It was important that the case and façade be retained without any visual change. There was a desire to keep the tonal style of Hook & Hastings but also to add resources to permit a broader capability of choral and congregational accompaniment. The Redman firm, which rebuilt and enlarged the organ in the late 1970s, had been kind in its treatment of the vintage Hook & Hastings pipework even as it enlarged the organ. We are grateful for the care they took, which allowed the Hook & Hastings pipework to be retained for reuse.

In consultation with the church and in consideration of the back and forth changes from mechanical to electric actions in the organ’s history, it was decided to employ slider action controlled by electric key action. Such an action would be very reliable in the island environment and allow layout and structural considerations that would not be possible with mechanical action.

As we studied the new organ design, it was clear that it would require a number of internal changes in structure and organ access and egress. Working with the architect we were able to define and open up a rear access for the instrument in the adjoining social hall stairwell. This allowed independent access to the Pedal, Choir, and Great divisions of the organ. The Swell is accessed through the original side door in the organ case. Without needing passage through the organ to access all of the interior workings we were able to raise the Swell organ to the impost level of the case so that the organ speaks out over the Choir rather than through it. The Choir and Great sit beside each other on the top level of the organ. 

To visually stay below the organ façade while raising the interior levels of the organ divisions, we developed “coffin” style slider chests that sit on the floor of the upper deck of the organ chassis. The Great chest is designed with pipes offset and arranged to allow it to sit in the front corner of the church where the arched ceiling timbers intersect. The pipes literally fit around the architecture. From this location the tonal energy of the Great division is splayed uniformly into the sanctuary to support congregational singing.

Unique with the building of this instrument is that we left the organ case and façade in situ for the entire time of our work. We very carefully removed the former organ chassis while temporarily restructuring to support the organ façade and case. The lower center section was removed to replace the case panels that had been altered for tonal egress in the 1970s. With the new interior elevations of the organ divisions, these lower grilles were no longer needed and new solid panels were built. The restored lower case helps to focus and direct the choir voices from the choir loft. A corollary benefit is that the raised elevations took the sound of the lower division of the organ out of the choir members’ ears. The new organ chassis is built of steel and heavy timbers with solid ceilings and floors for the enclosed divisions. As is our practice, the expression boxes were built overly thick to fully contain the enclosed divisions. 

To control the organ, we built a traditional three-manual drawknob console. The console exterior is built of oak and finished to match the organ case. The design of the console frame evokes the organ casement. The console interior is paneled in rich mahogany with ebonized accents.

Prior to removing the organ, we brought a voicing machine to the church to evaluate the pipes. This allowed us to hear the pipework in the sanctuary, establish wind pressures, and gauge the tonal balance of the stops in the room as they existed and importantly, could exist. We held these sounds in our heads and our hearts as we developed the new specification.

With the exception of pipes that were beyond repair due to condition, almost all of the Hook & Hastings pipework found a home, in part or whole, in the new instrument. In some instances, we did reallocate pipes from their position in the original 1896 stoplist where they better served the revised tonal design. 

The original reeds were retained and rebuilt and include the original shallots and reed tongue thicknesses where this was possible. The condition of the reeds after over 100 years of age and multiple hands required substantial rebuilding, and we took great care to preserve these stops.

While the specification has a large 8′ center at its core, we included upper work and mutations to add color, variety, and the treble ascendant completions of the principal and flute choruses. The completed instrument retains its past voice but with additional resources that let it take part in a broader range of music as it supports worship in this historic church.

I would like to personally take the opportunity to thank the organ committee members Jennifer Klein Salyer, director of worship arts; Ruben Rincon, Jr., organist; Mike Cowan; David Salyer; and Lesley Sommer. Their efforts and support were invaluable.

 

In closing

We would like to thank these congregations who treated us like extended family while we completed these instruments. They buoyed us with their support and prayers and genuinely have become our friends and extended congregations. As a way of thanks and in the form of a tithe, both instruments ended up with additional stops that were given as gifts from the Schlueter family. 

We consider it one of our greatest strengths to be able to work in different styles and engineer solutions that would be difficult for other firms. The design of both of these instruments required custom engineering, particularly in the case of First Presbyterian Church and the 1896 organ case. A hallmark of our work is to be sensitive to the architecture and history of the churches we work with. I am confident this is what we did in Galveston.

While we would never claim the tonal mantle of the Pilcher or Hook & Hastings firms, we hope that Schlueter’s fingerprints have melded with sonic impressions left by these predecessors. We hope that if these past luminaries were able to visit, our work would be equally pleasing and identifiable to them.

Building these two instruments required the talents of many people. I would be remiss if I did not thank the members of the Schlueter team who spent the long hours away from home to do so. We are grateful for the efforts of Arthur E. Schlueter, Jr., Arthur E. Schlueter, III, John Tanner, Marc Conley, Patrick Hodges, Rob Black, Jeremiah Hodges, Peter Duys, James (Bud) Taylor, Jr., Bob Weaver, Al Schroer, Shan Dalton-Bowen, Barbara Sedlacek, Michael DeSimone, Dallas Wood, Clifton Frierson, Ruth Lopez, and Kelvin Cheatham. 

Visit our website at www.pipe-organ.com, e-mail us at [email protected], or write to us at P. O. Box 838, Lithonia, Georgia 30058.

—Arthur E. Schlueter, III

Visual and Tonal Direction

A. E. Schlueter Pipe Organ Company

 

First Evangelical Lutheran Church, 

Galveston Island, Texas

GREAT (expressive)

16′ Gemshorn 12 pipes

8′  Diapason 61 pipes

8′ Hohl Flute 61 pipes* 

8′ Gemshorn 61 pipes

8′ Dulciana 61 pipes*

8′ Unda Maris (TC) 49 pipes

4′ Octave 61 pipes

4′ Rohr Flute 61 pipes*

2′ Fifteenth 61 pipes

III–IV Mixture 208 pipes

16′ Oboe TC (Swell)

8′ Trumpet (Swell)

8′ Oboe (Swell)

Chimes (existing tubes and actions 

    rebuilt)

SWELL (expressive)

16′ Lieblich Gedeckt 12 pipes*

8′ Diapason 61 pipes*

8′ Stopped Diapason 61 pipes*

8′ Salicional 61 pipes*

8′ Voix Celeste 61 pipes*

4′ Diapason 61 pipes*

4′ Harmonic Flute 61 pipes*

22⁄3′ Nazard 61 pipes

2′ Flageolet 61 pipes* 

13⁄5′ Tierce (TC) 49 pipes

16′ Oboe TC (ext)

8′ Trumpet 61 pipes

8′ Oboe 61 pipes*

Tremolo

POSITIV (preparation for future)

16′ Gemshorn (Great)

8′ Stopped Diapason (Swell)

8′ Gemshorn (Great)

8′ Dulciana (Great)

8′ Unda Maris (Great)

4′ Gemshorn (Great)

4′ Unda Maris II (Great)

16′ Oboe (Swell)

8′ Trumpet (Swell)

8′ Oboe (Swell)

PEDAL

32′ Acoustic Bass (resultant)

16′ Gemshorn (Great)

16′ Subbass 32 pipes

16′ Lieblich Gedeckt (Swell)

8′ Octave (1–12 Great) 20 pipes

8′ Gemshorn (Great)

8′ Subbass 12 pipes

8′ Gedeckt (Swell)

4′ Choral Bass 12 pipes

4′ Gedeckt (Swell)

32′ Harmonics (Wired Cornet)

16′ Trompette 12 pipes

8′ Trompette (Swell)

8′ Oboe (Swell)

*From original Pilcher Organ

 

Coupler Rail

Great to Pedal 8-4

Swell to Pedal 8-4

Positiv on Pedal 8

Swell to Great 16-8-4

Positiv on Great 8

Swell to Swell 16-UO-4

Positiv on Swell

Positiv to Positiv 16-UO-4

Swell to Positiv 16-8-4

MIDI on Pedal, Great, Swell, Positiv

 

25 ranks

 

First Presbyterian Church, 

Galveston Island, Texas (III/54)

GREAT 

16′ Contra Dulciana (Choir)

16′ Lieblich Gedeckt (Swell)

8′ Diapason 61 pipes* 

8′ 2nd Diapason 41 pipes* 

(balance from Ped Dbl Open Diap)

8′ Gamba 61 pipes*

8′ Doppel Flute 61 pipes*

8′ Bourdon (TC) 49 pipes*

    (H&H bass from Doppel) 

4′ Octave 61 pipes*

4′ Doppel Flute 12 pipes*

2′ Fifteenth 61 pipes*

IV–V Mixture 11⁄3′ 281 pipes

16′ Contra Oboe (Swell)

8′ Cornopean (Swell)

8′ Oboe (Swell)

8′ Clarinet (Choir)

8′ Tromba (Swell) (non-coupling)

Tremolo

Chimes (Great) (25 notes)**

Zimbelstern (multiple bells)

CHOIR (enclosed)

16′ Contra Dulciana**

8′ English Diapason 61 pipes* 

8′ Concert Flute 61 pipes* 

8′ Dulciana 61 pipes*

8′ Unda Maris (TC) 49 pipes 

4′ Principal 61 pipes

4′ Traverse Flute 61 pipes*

22⁄3′ Nasat (TC) 49 pipes 

2′ Flautino 61 pipes*

13⁄5′ Terz (TC) 49 pipes

11⁄3′ Quint 12 pipes

IV Scharf-Zimbel 2⁄3′ 244 pipes

8′ Clarinet  61 pipes*

16′ Tromba (Sw) (non-coupling)

8′ Tromba (Sw) (non-coupling)

4′ Tromba (Sw) (non-coupling)

Harp (61 notes)**

Tremolo

Choir to Choir 16-UO-4

SWELL (enclosed)

16′ Lieblich Gedeckt 12 pipes*

8′ Geigen Diapason 61 pipes*

8′ Stopped Diapason 61 pipes*

8′ Salicional 61 pipes*

8′ Voix Celeste (TC) 49 pipes*

8′ Muted Strings III 159 pipes*

4′ Geigen Octave 61 pipes

4′ Fern Flute  61 pipes*

22⁄3′ Nazard (TC) 49 pipes

2′ Flageolet  24 pipes*

13⁄5′ Tierce (TC) 49 pipes

IV–VI Plein Jeu 2′ 330 pipes

16′ Contra Oboe TC (ext)

8′ Cornopean  61 pipes*

8′ Oboe 61 pipes*

8′ Vox Humana 61 pipes*

4′ Clarion (fr Cornopean) 24 pipes

8′ Tromba 61 pipes

Tremolo

Swell to Swell 16-UO-4

PEDAL

32′ Violone**

32′ Bourdon**

16′ Double Open Diapason 73 pipes*

16′ Open Wood**

16′ Contra Dulciana (Choir)

16′ Subbass 32 pipes*

16′ Lieblich Gedeckt (Swell)

8′ Octave 12 pipes*

8′ Diapason (from 16′)

8′ Subbass 12 pipes*

8′ Stopped Diapason (Swell)

4′ Choral Bass 32 pipes

4′ Doppel Flute (Great)

4′ Lieblich Flute (Swell)

III Mixture 22⁄3′ 96 pipes

32′ Contra Trombone**

32′ Harmonics 

16′ Trombone 32 pipes* 

    (wood resonators)

16′ Contra Trumpet (Crnpn) 12 pipes

8′ Cornopean (Swell)

8′ Oboe (Swell)

4′ Clarion (Swell)

4′ Clarinet (Choir)

8′ Tromba (Swell)

 

Inter-Manual Couplers

Great to Pedal 8-4

Swell to Pedal 8-4

Choir to Pedal 8-4

Swell to Great 16-8-4

Choir to Great 16-8-4

Swell to Choir 16-8-4

Choir/Great Transfer (On piston, divisional pistons transfer)

 

MIDI Controls (programmable as preset stops): MIDI on Pedal A, B; Great A, B; Swell A, B; Choir A, B

 

* Hook and Hastings pipework

**Digital 

 

44 ranks

Austin Organs, Inc.,
Hartford, Connecticut

The Royal Poinciana Chapel, Palm Beach, Florida

 

Another Austin in Paradise

Nestled on the island of Palm Beach, alongside the last remaining cocoanut grove, one will discover the rather charming Royal Poinciana Chapel, named after the magnificent Delonix Regia, the Royal Poinciana tree that was once abundant on the island.

The Royal Poinciana Chapel is a vital, post-denominational Christian community with a strong congregation of 800 members and seasonal guests during winter, including some 250 year-round families and children. The chapel sits at the center of Palm Beach Island on three acres of lush landscaped property bordering Henry Flagler’s famous home Whitehall, now open as a museum. The chapel overlooks the Intracoastal Waterway and the West Palm Beach waterfront to the west and The Breakers resort and ocean golf course directly to the east. It features the landmark giant kapok tree giving frame to an exquisite view. It is the most photographed spot in Palm Beach and a favorite location for destination weddings.

Senior Pastor Dr. Robert Norris is known for his impassioned preaching, pastoral ministry, and active community involvement. He also serves as adjunct member of the teaching faculty at Princeton Theological Seminary. The chapel is widely known for its phenomenal music program led by Stewart Foster, minister of music. Foster plays the chapel’s new Austin organ with rare talent and passion and also conducts the professionally trained Royal Poinciana Chapel Chorale at weekly services.

The history of Royal Poinciana Chapel owes its life to Henry Morrison Flagler (1830–1913). Flagler, alongside his friend and business partner, John D. Rockefeller, built the Standard Oil Company into the most prosperous and monopolizing oil empire of the era. As the company flourished and Flagler’s fortunes grew, he left his offices in New York City, and ventured south to a wild frontier known as Florida.

In 1894, Flagler built the Hotel Royal Poinciana on the shores of Lake Worth on the island to be known as Palm Beach and extended his railroad to its service town, creating the city of West Palm Beach. This remarkable edifice, the largest wooden structure in the world at the time, had 1,150 guest rooms with over seven miles of hallways, served by a staff of 1,700, many of whom lived across the pond in housing provided by Flagler and would arrive daily by rowboats to work their shifts. The island boasted an infamous casino, the hotel, and a humble chapel on this parcel. The disposition had the hotel in the center, casino to the south, and chapel to the north. It was said that one could engage in debauchery, rest, and reconciliation without ever leaving the property! The chapel was known for having engaging preachers and excellent music from the beginning. The hotel was demolished in 1934, in favor of the newer, lavish Breakers Hotel, which remains to this day, the former enterprise having become redundant. Years later, the chapel was relocated on the property, and now sits close to Whitehall. Henry Flagler’s original cottage was also moved to this property in recent times, and serves the chapel’s needs for meeting space and special events.

While Whitehall boasts a modest J. H. & C. S. Odell organ in its music room, we do not know the original instrument in the chapel. In 1963, the M. P. Möller Organ Company installed its Opus 9720. At the time of this installation, the organ was a modest three-manual instrument of 30 stops; some 26 stops in the chancel, with three ranks of flutes and a Vox Humana in the antiphonal. In 1981, Austin Organs, Inc., built a new four-manual console. It was designed with the intention of expanding the instrument, and this expansion was initiated before the new console was installed! The revised tonal plan was developed with the assistance of Thomas R. Thomas, director of music at the time. Also, a possibly apocryphal addition to the legacy includes Virgil Fox, a close neighbor. It was said that he wanted a significant instrument on which to practice, and therefore lent his voice and expertise to the early console and tonal design thoughts before his death in 1980. As a result, the new tonal work included a new Austin Great of 10 stops, a new 7-stop Positiv, and a 7-stop Solo. The existing Möller 6-stop Great pipework was revoiced and placed on a new Austin tracker chest in the gallery, alongside a new 14-stop Gallery Swell, and 5-stop Pedal using some vintage pipework from various sources along with new Austin pipework. Back in the chancel, the existing Möller Swell and Choir remained as they were installed in 1963, but a new Pedal division was created utilizing some new Austin chests and pipework alongside a few selected Möller stops. New casework and façades were drawn by Austin’s chief designer Frederick Mitchell.

The new, mostly Austin organ was tonally finished by Fred Heffner and David Johnston. Tripled in size from the original Möller, parts of this instrument spoke from deep chambers and seemed to fill the room with ethereal presence.

Time and tide ravaged the organ. Trouble began with delivery of the façade pipes in 1983. For unknown reasons, pipes of tin and tin-plated zinc were ordered from an Eastern European supplier. Upon arrival directly in Florida, many of these pipes were damaged, some beyond repair. Over time, the soft metal deformed, and random notes began to lose their former eloquent speech. There were hurricanes, water, and various other pests that created issues within the organ chambers. The Möller company proposed a significant renovation/reconstruction of the organ, and removed much of the instrument to their factory in Hagerstown in 1990. With the collapse of the Möller company, the chapel was able to perform a rescue of the organ components from the Möller factory, and the Reuter Organ Company was subsequently contracted to perform a major overhaul of the organ in 1992. This work included some chestwork, additions, and replacement of some reed stops. A number of reed pipes were compromised, because adding to the atmospheric issues that affected the chapel, many instruments in the 1980s suffered decomposition of lead in the blocks of reed pipes. As the lead crumbles into lead sulfate, replacement or reconstruction is necessary. The other factor in the work completed in 1992 was the reconstruction and expansion of the chapel space. The former Swell, Solo, and Choir chests and pipes were relocated to front chambers left and right of the façade. The effect proved problematic since the pipework was apparently not revoiced to compensate for the new location closer to the ears of the Chorale and congregation. As a result, the Swell and Solo aggressively dominated the entire instrument, making proper registration balances difficult to achieve.

In 2014, working with the chapel’s director of music, Stewart Foster, our tonal staff at Austin Organs set out to design an essentially new organ, using the building blocks of the existing instrument as a starting place. The final instrument would contain 104 ranks of pipes. Our guiding principle was that the tonal result would be one of elegant beauty and gentle nuance. In other words, with a temperate approach, tonal blend had to be achieved without allowing any domination of individual departments or voices. The success of this project is certainly in part due to the active participation at every stage from design to installation by Stewart Foster. A consummate musician, he knows not only how to make the organ sing, but what it takes to make an organ truly successful tonally. Austin staff members, including Raymond Albright, Bruce Coderre, Dan Kingman, Curt Hawkes, Anne Wysocki, Colin Coderre, Victor Hoyt, Scotty Giffen, the late Stew Skates, Tony Valdez, Dick Taylor, Mike Fazio, Tong Satayopas, Phil Swartz, and Nick Schroeder, who worked directly on the installation, imparted their own special gifts that contributed to its success. 

 

Mechanical considerations

Our approach in designing the new instrument was to update or replace every questionable mechanical system. A new, four-manual Austin console replaced the earlier mechanical console. The new console, built of painted birch and oiled cherry, is equipped with 300 levels of combination action memory, record-playback, and a transposer; a WiFi interface is integrated in the console control system for iPad/iPhone operation of advanced functions. Austin-made walnut drawknobs control all stops and couplers, the latter being spread on either side of the keydesk. Among some of the unique design elements, the console has a mechanism that physically closes the crescendo pedal when General Cancel is pressed. A second set of divisional pistons called “English Divisionals” appear when selected and have pre-set combinations that create a typical English Crescendo in the desired division. There is also a drawknob matrix that selects Swell and Choir/Solo expression shade operation, controlling three independent expression shade assemblies in each chamber. This allows sound from these divisions to be modeled to suit a variety of dynamic options. By using “Swell Shades Pianissimo,” for example, the organist can successfully accompany a vocal quartet with robust, Full Swell combinations. 

Austin specified a hydraulic lift that raises the console from the main floor to the chancel platform for concert use. Every Möller (and Reuter) chest was removed and replaced with new Austin tracker and unit chests; the entirety of the Swell was placed upon a walk-in air chest with integrated regulator. Wind pressures were raised in some divisions, and a new control system was made by Solid State Organ Systems. Chancel to Gallery data transmission is accomplished via fiber-optic cable. 

 

Tonal design

We started with the Great division to establish the revised tonal personality of the organ. Our guidance from Stewart Foster was found in one particular stop, designated as a model for the character of the entire instrument: the Positiv Italian Principal. It was indeed very smooth, beautifully voiced by Fred Heffner in 1983; only slightly ascendant and while of somewhat light weight, this stop had great tonal presence due to its nicely developed harmonic structure. One fear we had was that, as part of the new tonal design, we were raising the pressure of the Positiv by one inch (water column), so we wanted to be sure not to alter that which was treasured! During the scope of this project, some stops required rebuilding, others re-scaling. The result was enthusiastically received and has proven perfectly satisfactory. 

The Great was carefully voiced to perfect balance, from foundation to sharp mixture. The Reuter Trumpet was removed and replaced with a vintage Austin Cornopean (voiced as a chorus reed), available at 16′ and 8′ pitches; the 16′ octave was built from the former Möller 16′ reed (resonator length was added to match Austin patterns for our 6-inch scale, full-length Double Trumpet). Also added to the Great was a five-rank Mounted Cornet. This stop was scaled along French Classic lines and sits on a plinth fed by single actions speaking through 42-inch tubing. The Positiv was re-imagined, retaining the Italian Principal and 4′ Octave. The 1⁄3′ Zimbel was changed to 1′ pitch and revoiced. The 8′ Gedeckt was revoiced and is now available at 8′ and 4′ pitches. We added a new Sesquialtera and Cromorne and re-pitched and voiced the former 8′ Rohr Schalmei as a 4′ stop to support the new 8′ Cromorne. The additions of the Cornet, Sesquialtera, and Cromorne/Schalmei have opened new forays into historical organ repertoire. Another new addition, a charming Rossignol, adds a bit of whimsy to this division.

The Pedal was improved by the replacement of the previous ½-length 32′ Bombarde with a new full-length 32′ Trombone. The existing 16′ reed was revoiced to a darker timbre, blending perfectly with the new pipes. The existing 32′ Bourdon extended only to EEEE, the bottom four notes sounding a resultant of the 16′ Bourdon. For better effect, four new pipes were installed speaking 102⁄3′ pitch, at the correct dynamic and tuning to deliver more satisfying 32′ tone for CCCC–DDDD#. New façade pipes were made with some subtle design changes suggested by Stewart Foster, replacing the dented, collapsed old tin pipes. The old pipes were given to members of the congregation as keepsakes; in a week, all 72 pipes ranging from 4′ to 16′ GGG were removed by members!

In the Swell, a new Principal Chorus was envisioned, utilizing some of the existing pipework. A new 8′ Principal was manufactured and the 4′ Octave was re-scaled; an existing 2′ Fifteenth happily fit into the scheme very well. The existing Möller Mixture had been recomposed in 1992, but was found to be shrill and ineffective some years ago, with many pipes stuffed with cotton to silence them. We used much of the original pipework, re-pitching the primary IV-rank mixture at 22⁄3′ pitch (which also draws separately) and installed a new III-rank Cymbale, based at 1′ pitch. The strings and flutes in this department were voiced to new pressure, dynamic, and blend. The reeds were completely rebuilt or replaced to create a chorus of independent voices at 16′/8′/8′/4′. The result is generally perceived as being a French tone color, light in weight but fiery without excessive volume. The Vox Humana is placed in an Austin “VoxBox” with independent tremulant and lid that can be raised and lowered from the console to control dynamic. Note that between Gallery and Chancel there are two Vox Humanas and five celestes with all the requisite inter- and intra-manual couplers!

The Möller Choir organ was enhanced with a new 4′ Principal and a new Clarinet. The 1963 pipework was mostly original, so the process of revoicing was easier than the work required in the Swell. The overall effect was a gentle broadening of tone color with the ever-present goal of achieving perfect blend. The new Clarinet was voiced on 10 inches wind pressure, and the new chest was built with unique high-pressure section, which allowed this stop to speak on the higher pressure, while remaining on the same action. Directly behind the Choir chest we find the Solo organ, which had minimal voicing performed at this time. The Reuter English Horn remained, but the Austin Bombarde was rebuilt and revoiced, and the Reuter Clarion was replaced with Austin pipework. The existing Deagan Harp was rebuilt with electric actions and located high on a side wall to avoid being a hindrance to tuning access.

Minimal work was performed in the Gallery, being mostly intact and otherwise satisfactory. A new extension was added to the 16′ Diapason, allowing it to speak as a second 8′ manual Diapason, contrasting and complementing the existing 8′ Principal. A new 8′ Trumpet en Chamade was made in brass and installed as replacement for the existing stop of the same name. The new pipework was scaled and voiced along the lines of an Austin Waldhorn—darker in color and generally warmer in tone, similar to an English Tromba. In this somewhat intimate setting, this results in a more desirable solo voice than a very bright, fiery Trompette. Stewart Foster reports that the previous Chamade would regularly receive complaints from wary congregants. Now, the complete opposite is true, as folks often ask why the trumpets didn’t play on a particular morning: “We love hearing them!”

This instrument is the second Austin organ in Palm Beach. The other installation is our exciting organ at the Episcopal Church of Bethesda-by-the-Sea, located just across the golf course on the opposite shore of the island. Both instruments have unique personalities—surely identifiable as “Austin”—but each organ has its individual character and splendor that serves the very different roles these congregations demand. It is an enlightening pilgrimage to visit each church, perhaps at a worship service, or even during the week, and mark the similarities and differences.

The three-year project was made possible by funding from several prominent and generous chapel families and foundations. The organ was inaugurated by Christopher Houlihan, who played a truly unforgettable and stunning recital on April 3, 2016. Future concerts and recordings are planned along with a YouTube video series. Thanks to Stewart Foster for his assistance with this article, photos, and constant encouragement. Ad multos annos!

—Michael B. Fazio

President & Tonal Director 

Austin Organs, Inc.

 

Austin Organs: www.austinorgans.com 

Royal Poinciana: http://austinorgans.com/Op2685.html 

http://royalpoincianachapel.org/ 

More on BBTS: www.austinorgans.com/2777.html 

http://www.bbts.org/music/organ/ 

 

Royal Poinciana Chapel

60 Cocoanut Row

Palm Beach, FL 33480

Phone: 561/655-4212

 

CHANCEL GREAT 4″ wind

16′ Violone 61 pipes

8′ Principal 61 pipes

8′ Spitzflote 61 pipes

8′ Violone (ext) 12 pipes

4′ Octave 61 pipes

4′ Rohrflote 61 pipes

2′ Fifteenth 61 pipes

11⁄3′ Fourniture IV 244 pipes

1⁄3′ Scharff III 183 pipes

8′ Mounted Cornet V (TG) 185 pipes

16′ Contra Trompete (ext) 12 pipes

8′ Trompete 61 pipes

Tremulant

Carillon (Tower, digital)

 

POSITIV 31⁄2″ wind 

8′ Italian Principal 61 pipes

8′ Singendgedeckt 61 pipes

4′ Principal 61 pipes

4′ Gedeckt (ext) 12 pipes

2′ Blockflote 61 pipes

11⁄3′ Larigot 61 pipes

22⁄3′ Sesquialtera II 122 pipes

1⁄3′ Zimbel III 183 pipes

8′ Cromorne 61 pipes

4′ Rohr Schalmei 61 pipes

Tremulant

Rossignol

CHOIR 4″ wind

8′ Concert Flute 68 pipes 

8′ Gemshorn 68 pipes

8′ Gemshorn Celeste (TC) 56 pipes

4′ Principal 68 pipes

4′ Koppelflote 68 pipes

22⁄3′ Quint 61 pipes

2′ Fifteenth 61 pipes 

8′ Clarinet 68 pipes

Tremulant

Harp 61 bars

Celesta (ext Harp)

Carillon (Tower, digital)

8′ Trompette en Chamade (Solo)

CHANCEL SWELL 4″ wind

16′ Bass Gedeckt (ext) 12 pipes

8′ Geigen Diapason 68 pipes

8′ Gedeckt 68 pipes

8′ Salicional 68 pipes

8′ Voix Celeste 68 pipes

4′ Principal 68 pipes

4′ Flute Harmonique 68 pipes

4′ Voix Celestes II (extension)

22⁄3′ Twelfth (Mixture extract)

2′ Doublette 61 pipes

22⁄3′ Mixture IV 244 pipes

1′ Cymbale III 183 pipes

16′ Basson 68 pipes

8′ Trompette 68 pipes

8′ Oboe 68 pipes

8′ Vox Humana 61 pipes

4′ Clarion 68 pipes

Tremulant

SOLO 10″ wind

8′ Flute Harmonique 68 pipes 

8′ Violoncello 68 pipes 

8′ Cello Celeste 68 pipes 

4′ Orchestral Flute 68 pipes

8′ English Horn 68 pipes

8′ Bombarde 68 pipes

4′ Bombarde Clarion 68 pipes

Tremulant

8′ Trompette en Chamade (TC) 42 pipes 

GALLERY GREAT 31⁄2″ wind

16′ Montre 61 pipes

16′ Bourdon Doux (Swell)

8′ Diapason 61 pipes

8′ Montre (ext) 12 pipes

8′ Bourdon 61 pipes

4′ Prestant 61 pipes

22⁄3′ Quinte 61 pipes

2′ Doublette 61 pipes

11⁄3′ Fourniture III 183 pipes

Tremulant

8′ Trompette en Chamade (Solo)

GALLERY SWELL 4″ wind

16′ Bourdon Doux (ext) 12 pipes

8′ Flute à Cheminee 68 pipes

8′ Viole de Gambe 68 pipes

8′ Voix Celeste 68 pipes

8′ Flauto Dolce 68 pipes

8′ Flauto Dolce Celeste (TC) 56 pipes

4′ Fugara 68 pipes

4′ Flute à Fuseau 68 pipes

2′ Principal 61 pipes

22⁄3′ Cornet II 122 pipes

1′ Plein Jeu IV 244 pipes

16′ Bombarde 68 pipes

8′ Trompette 68 pipes

8′ Voix Humaine 61 pipes

4′ Clairon 68 pipes

Tremulant

Chimes 25 tubes

PEDAL

32′ Contre Bourdon 8 pipes

      102⁄3′ 4 pipes

16′ Contrebasse 32 pipes

16′ Bourdon 32 pipes

16′ Violone (Great)

16′ Bass Gedeckt (Swell)

102⁄3′ Quint (from Bourdon)

8′ Principal 12 pipes

8′ Geigen (Swell)

8′ Bourdon 12 pipes

8′ Cello (Great) 

8′ Gedeckt (Swell)

51⁄3′ Twelfth (from Bourdon) 7 pipes 

4′ Choral Bass 32 pipes

4′ Flute 32 pipes

22⁄3′ Mixture IV 128 pipes

Cornet V (derived)

32′ Contra Trombone (ext) 12 pipes

(Full length) CCCC 12″ scale

16′ Trombone 32 pipes

16′ Contra Trompete (Great)

16′ Basson (Swell)

8′ Trumpet (ext Trombone) 12 pipes

4′ Clarion (ext Trombone) 12 pipes

4′ Cromorne (Choir)

GALLERY PEDAL

16′ Montre (Great)

16′ Bourdon Doux (Swell)

8′ Octave (Great)

8′ Flute à Cheminee (Swell)

16′ Bombarde (Swell) 

8′ Trompette-en-Chamade (Solo)