Cover Feature

Emery Brothers, Allentown, Pennsylvania

St. Stephen’s Episcopal Church, Richmond, Virginia

Founded in 1911, St. Stephen’s Episcopal Church is not old by Virginia standards. Located in the Westhampton section of the city near the then recently relocated University of Richmond, the new Country Club of Virginia, and two diocesan schools, St. Christopher’s for boys and St. Catherine’s for girls, the church was begun by several families who wanted a more convenient location for their children to attend Sunday School. For this reason the church was known early on by the playful moniker St. Convenience, an appellation that in certain circles persists to this day.

The new church flourished as did the neighborhood. Just before the stock market crash and Great Depression, a new church in the Gothic Revival style was built at the end of Grove Avenue. In the archives of the church there exists an elaborate elevation drawing showing the proposed new church in the Georgian style, which is ubiquitous throughout Richmond. I have never learned who prevailed on the new church to adopt Gothic, but it was probably inspired by the new buildings of the University of Richmond, which were designed by Ralph Adams Cram. The vestry approached Cram about designing their new church. By this time Cram, whose wife was from Virginia, had completed the original buildings of the University of Richmond in its new Westhampton campus, as well as several other projects in Richmond and other locations in Virginia. But Cram replied he was too busy to accept the commission, and he recommended Frank Watson of Philadelphia. Watson designed the church with a seating capacity of about 400. A new organ built by Hook & Hastings was installed in the new church.

In the years following World War II, the parish experienced exponential growth, to the point where the church was considerably enlarged to a design by Philip Hubert Frohman, the architect of Washington National Cathedral. Frohman’s design increased the seating capacity to approximately 750 by extending the original north aisle to become a chapel, extending the nave two bays westward, and creating an imposing three-portal entrance. For this enlarged church the Aeolian-Skinner Organ Company built its Opus 1110, designed and tonally finished by G. Donald Harrison, and installed in 1951. Emerson Richards was a consultant to the church, and it was he who was responsible for building the shelf into the chancel to contain the Great and Pedal divisions outside the chamber arch. The previous organ was completely contained in the chamber and the façade of non-speaking pipes was flush with the chancel wall. 

There was protracted correspondence between the church and Harrison about the new façade, which required a few non-speaking pipes to form a link between the two original portions of the old façades, so that it would appear as one continuous panel. Aeolian-Skinner typically did not do this type of work, as all casework was considered above and beyond the contract for a new organ. But representatives of the church were adamant, and Harrison relented and made the few required dummy pipes and woodwork to link the two. Also, by this time post-World War II inflation caused Aeolian-Skinner, who typically took three years to build an organ, to include escalator clauses into their contracts, which could increase the contract price to a ceiling amount should costs increase significantly during the period it took to build the organ. Many potential buyers of their organs balked at this, but those who truly wanted an Aeolian-Skinner organ accepted it. That Harrison reluctantly agreed to waive this clause in the case of St. Stephen’s Church indicates to me that the businessmen representing the church were iron-fisted in their resolve that the church pay no more than it absolutely had to, and is also evidence that Harrison really wanted to build the organ! 

During these negotiations the church ordered a Dun & Bradstreet report on Aeolian-Skinner, and the results are sobering in retrospect and portend bad times to come. Even though Aeolian-Skinner was very busy at the time building some of its most famous organs, the various vicissitudes that eventually caused the demise of the company some two decades later were beginning to evidence themselves. The provider of the report commented, “The firm in Hagers-town had a rating in Dun & Bradstreet of A-1 so we did not get a report on them. Between the two companies based on the rating in Dun & Bradstreet I would prefer buying it from the Hagerstown company other things being equal.”

The organ was rather modest for the large new space. It consisted of three manuals and forty-one ranks. The sound, while beautiful and conforming to all the hallmarks of Harrison’s American Classic organ, filled the church in a similarly modest way. In 1968 Aeolian-Skinner made significant additions to the organ: a new Positiv division on the Epistle side of the chancel, an Antiphonal Organ at the west end of the church surrounding a new stained glass window, several ranks in the main organ, including a 32′ reed and a second mixture in the Great, and a new four-manual console. The original three-manual console was sold to Trinity Church in Rutland, Vermont, where it still exists today. These additions were designed by Joseph S. Whiteford, who was by this time retired from the company. But he was friends with the organist of the church, Granville Munson (my predecessor), and had been a classmate of his at St. Alban’s School in Washington. So Whiteford left his retirement to work on the job, even donating a new stop in honor of his friendship. The only alteration to Harrison’s original organ was the reworking of the Swell Flute Celeste, making it an 8′ stop; it had previously been a 4′ stop.

This was the organ that I inherited when I became organist of the church in 1985. At about this time the long-time tuner of the organ retired and there were a few deferred maintenance items that needed attention. There were also tuning irregularities inherent with the various spatial placements over a large area, and the unusual effects of the air conditioning system. Through mutual associations I learned of Stephen Emery, who was at that time installing an organ in nearby Williamsburg for Petty-Madden Organbuilders, for whom he then worked. It was soon arranged for Steve to come by the church, and the short story is that he, and later his brothers and co-workers, have lovingly maintained the organ ever since. In short order Steve took care of the mechanical repairs that were needed, but most important, he quickly found the best way to keep the various divisions in absolute tune. There may be others as good, but there is no one who surpasses Steve as a tuner, as he just has the knack to understand difficult spatial arrangements and inherent temperature fluctuations. He also coached us in the proper use of the air conditioning system, especially the length of time necessary to maintain a precise temperature for tuning sessions, services, and concerts. The system, built in the 1960s, was the finest available at the time, and the church wisely maintained a near-constant temperature throughout the seasons, to the point where, summer or winter, the temperature in the organ fluctuated only slightly. The church also benefited greatly from the fact that Steve and his coworkers traveled regularly to their various jobs in the South. I cannot recall a significant concert, recital, or recording session when they weren’t right there working alongside us all for a good outcome. They were truly part of our team in the music ministry of the church. 

In my early years at the church we soon recognized the desirability of making some modest changes in the chancel area to reflect the wide range of uses required of the church in its various pageants, concerts, and the then-yearly organ recital series. The two diocesan schools also regularly held services and events in the church that would be helped by a certain flexibility of space within the small chancel. All the while it was understood that the basic classic “feel” of the divided chancel not be compromised. The church invited Terry Byrd Eason to visit the church, and over a year of conversations and meetings with various stakeholders he developed a scheme which, although it took almost 30 years, is the basic plan that was implemented in 2016. This plan called for new marble flooring, flexible seating, extending the chancel floor slightly westward into the nave, and a movable organ console.

As the original organ approached its 50th anniversary it began to show the telltale signs of aging leather. The vestry, knowing the eventual need, opted to undertake a complete restoration of the organ before it became critical. This work consisted of taking the organ down one section at a time to replace the leather components and clean all the pipework. Some of the original stops were cone tuned, which resulted in some minor damage to the pipework, mainly in the upperwork and mixtures. These pipes were repaired and outfitted with new tuning slides. All pipework (except the lowest basses) was removed to Emery Brothers’ shop for cleaning and repair as needed. This work was undertaken from 2002–2004. During this time, while various divisions were out, other portions of the organ were available to cover services, and at no time was the liturgical schedule compromised or did the church require a substitute organ to be brought in. The newly restored organ was celebrated in March 2004 in a weekend of recitals, services, lectures, and tours featuring Judith and Gerre Hancock, Charles Callahan, and Steve Emery, who gave tours of the organ at various times throughout the weekend and on Sunday between and after services. At this time Walker Technical Company provided a new solid-state combination action. The old pneumatic combination action was disconnected, but left in place.

The one item of organ restoration that was not undertaken during 2002–2004 was the console, which retained its pneumatic mechanism and wax-coated wiring from 1968. Some of the less-invasive parts of Terry Eason’s design were quietly implemented in the ensuing years, including work to make the main altar freestanding. However, the work on the console was tied to the redesign of the chancel and was undertaken after I left the church in 2006. I was not involved in this work, which was folded into a massive, complete nine-million-dollar renovation to the entire church in 2014–2016. It included replacing the entire floor of the church and chancel, making the entrances fully accessible, the redesign of the chancel, replacement of the HVAC systems, and outfitting the console with new controls and making it movable. During the 18-month renovation, it was necessary to remove the entire organ due to the invasive nature of the work and the amount of dust created, as the entire interior of the church space was a major construction site. Services were held in the Parish Hall and Palmer Hall Chapel during this time.

Along with a full church I heard the spectacular results for myself at a concert and Evensong for the American Guild of Organists Regional Convention in June 2017 sung by the Choir of the Church of the Epiphany, Washington, D.C., directed by Jeremy Filsell, with Erik Wm. Suter, organist. Visually and tonally, the project is a thing of great beauty and was inspiring to experience.

—Neal Campbell

Trinity Church, Vero Beach, Florida

 

Aeolian-Skinner Opus 1110 is truly a beautiful instrument, especially in its recently improved acoustic environment. In short this is a pipe organ most everyone will find easy to love. It has been our pleasure to maintain this instrument for over 30 years. The project we undertook in the early 2000s included total mechanical renovation of the organ, releathering windchests and reservoirs, tremolos, shade engines, and pipework cleaning and restoration. In 2014 we removed exposed pipework, covered winchests, covered enclosed divisions, and removed the console in preparation for a major construction project in the church.

This also presented the perfect opportunity for a thorough console rebuild. The whole organ was rewired to a new Solid State Organ Sytems Multisystem, and the console fitted out with multi-level memory, piston sequencer, and SSOS’s newly unveiled Organist Palette. We also added internal casters to the console and pedalboard to make the console movable.

We are deeply grateful to the people of St. Stephen’s for their ongoing commitment to Aeolian-Skinner Opus 1110 and for the opportunity to partner with them in preserving and presenting this fine instrument.

—Adam Dieffenbach

Owner, Emery Brothers

 

Builder’s website:

www.emerybrothers.com

Church website: www.ststephensrva.org

 

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)

Létourneau Pipe Organs, Saint-Hyacinthe, Québec, Canada

First Presbyterian Church, 

Tuscaloosa, Alabama

 

From the Organist

From my position at the organ console, I look up into the faces of the choir and at the impressive façade of the new Létourneau organ directly behind the singers. The pipes soar up to the ceiling with the horizontal pipes of the Festival Trumpet above the heads of the back row of the choir. It is indeed an impressive visual experience and many long-time members of the congregation have said, “Our church finally looks finished.”

Even though the organ is visually impressive, the sound of the organ is even more impressive with its colorful ranks of pipes that can crescendo from a mere whisper to the thunder that one would expect from a great European cathedral organ. I had a sound in my mind I hoped we could make into a reality; Létourneau has given us that sound—and more.

In my opinion, the first requirement of a truly effective church organ is to lead congregational singing. After reading the text of each hymn, I decide how to color what is being sung with appropriate choice of registration. With the variety of sounds from which to choose, even challenging texts can be painted with sounds that reinforce what the poet is trying to say. In so doing, even the less musical singers in the congregation hear and experience greater meaning in what they are singing.

After church recently, a man—who will freely admit to not having a musical bone in his body—approached me to comment about one of the hymns for that day, A Mighty Fortress Is Our God. His comment was specifically related to the phrase, “The Prince of Darkness grim, we tremble not for him.” He wanted to know how I made the phrase sound so “devilish,” so I introduced him to the 32′ Contre Bombarde in the Pedal division! Even a hymn stanza with a text that relates to angels can benefit by use of the Zimbelstern! When average members of the congregation can be led to a greater understanding of a hymn text by merely hearing a difference in registration, this is a win-win situation for a church musician.

Providing colorful anthem accompaniments is easily done on this organ. With three enclosed divisions, a full registration including reeds and mixtures can be easily tamed so that the choir is not overwhelmed. On the other hand, beautiful solo voices can be used to color and enhance what the choir is singing. The Flugelhorn, Harmonic Flute, Clarinet, Gamba, Fagotto, English Horn, and Oboe can all get a “workout” with a bit of creativity. Simply put, orchestral color is all here. Thomas Trotter used every one of the organ’s orchestral stops while playing his own transcription of Dukas’s The Sorcerer’s Apprentice and his performance brought the audience to its feet at the organ’s inaugural concert on April 8, 2016.

The instrument has not only had overwhelming success on Sundays and in solo organ recitals, but it made a grand statement in a recent concert that I played with the Tuscaloosa Symphony. Works featuring the organ were Handel’s Concerto No. 13 in F Major (“The Cuckoo and the Nightingale”), Albinoni’s Adagio, and Rheinberger’s Concerto in F. With the orchestra in the chancel area and the organ at the opposite end of the church, the enthusiastic audience was literally surrounded by exciting sounds.

Létourneau’s Opus 129 excels not only in hymn playing and anthem accompaniment, but also as an eclectic instrument capable of playing any of the standard organ literature. If one wants to play French eighteenth-century music, all of the necessary stops are present. The Great features two separate Cornets—one being a rare 16′ bass Cornet—while the Choir division contains a third. Even the Pedal division contains the necessary elements for a 32′ Cornet! There is an abundance of reeds at 16′, 8′, and 4′ in the manual divisions while the Pedal includes a 32′ reed and two choruses of reeds at 16′, 8′, and 4′. Clearly, the essential foundation and reed tone for playing the entire French Romantic literature is also available.

It would be fair to say that the only limitation that this organ could have would be in the hands of the person who is playing it. Every sound that one would need to use in church services, weddings, and funerals is here in abundance. A recitalist could not wish for a more expressive or colorful instrument. Someone for whom I have high regard commented recently, “You know, I have always said there was no such thing as an eclectic instrument that could play all of the organ literature. After hearing this organ, I will seriously have to rethink that statement!”

—L. Jeffries Binford, Jr.

 

From the Builder

Opened in 1922, the present sanctuary at First Presbyterian Church was initially home to a Wurlitzer church organ in two opposing chambers above the chancel. The Wurlitzer was replaced in 1977 with a Casavant Frères pipe organ at the back of the sanctuary. The Casavant with its exposed pipework and minimal casework spoke from a raised platform into the nave through a sizeable central arch with secondary arches on either side. Its stoplist was fashionably Orgelbewegung with one-third of its 49 ranks being mixture stops; its small palette of softer colors limited its success in service playing.

Having formed a committee under the leadership of Dr. Daniel Potts to address the instrument’s shortcomings, the church invited us, among others, to put forward our ideas in 2005. Having visited a number of instruments in the south-eastern United States, the committee was enchanted with our instruments in Hodges Chapel at Samford University in Birmingham and at First Presbyterian Church in Greensboro, North Carolina. It soon became clear that Létourneau was the committee’s choice as First Presbyterian Church’s future organbuilder.

In 2009, First Presbyterian Church purchased Skinner Organ Company Opus 350 with the intention of redeploying it in the empty chambers above the chancel. Without so much as a 4′ Principal, the Skinner contrasted sharply with the Casavant at the other end of the sanctuary. A 15-rank instrument over three manuals and pedal, its Great was all of one rank—a colossal 8′ Diapason made from zinc and lead—plus five stops duplexed from the Swell. The Swell and Choir’s voices included the Concert Flute, a Flugelhorn, an English Horn, a Clarinet, and two more substantial 8′ diapasons. Later in its life, the Skinner was enlarged through the addition of three ranks made by the Æolian Organ Company: a pair of muted string ranks—today’s Choir 8′ Vox Ætheria II—and an 8′ Vox Humana.

Once the scope of the project had come into focus and various administrative approvals had been received, First Presbyterian Church signed a contract with Létourneau to build a new pipe organ in 2014. The instrument, Létourneau’s Opus 129, would incorporate pipework from the Skinner and Casavant organs as a measure of stewardship and, in the case of the Casavant, as a gesture towards continuity. The project presented an intriguing challenge to us as organbuilders: reuse pipework of vastly different vintages and tonal aesthetics alongside our own materials to provide a uniquely cohesive pipe organ. It was a task we approached with enthusiasm and seriousness in equal measure.

A team from Létourneau brought the Skinner to our workshops from its location in storage in December 2014. Two months later, we dismantled the Casavant organ in Tuscaloosa, and it too came back to St-Hyacinthe. A detailed evaluation of the Skinner, Æolian, and Casavant pipework was then carried out in our pipe shops with final adjustments being made to the organ’s tonal plan. Our experienced pipemakers were invaluable in compiling a detailed inventory of pipework with all the data being annotated in Opus 129’s file. Whether repairing the Skinner’s pipes for another century of service or lengthening the zinc pipes of the Casavant 16′ Prinzipal to produce a 16′ Violonbass, no challenge was too big or too small.

Originally voiced on low wind pressures, the Casavant materials were assimilated into the new tonal plan with some transposition and rescaling. For example, the former Great 8′ Prinzipal rank was reworked to become the Great 4′ Principal after we rescaled the rank four pipes larger (e.g., 8′ G# was cut down to give 4′ C). Likewise, the former Great 16′ Quintaden became the Swell 16′ Quintaton, but the addition of five new bass pipes effectively increased its scale for a fuller, rounder tone. Three Casavant reed stops were reused: the Swell 8′ Oboe, the Choir 8′ Cromorne, and the Pedal 4′ Schalmey. All were revoiced with new shallots and, in the case of the Schalmey, new caps were provided at the tops of the resonators.

Like its predecessor, Opus 129 resides at the back of First Presbyterian Church’s sanctuary. The casework was designed by Claude Demers and is made from richly stained red oak; it displays polished tin pipes from the Pedal 16′ Principal, 8′ Octave, and 4′ Choral Bass as well as the Great 8′ Principal. The horizontal 8′ Festival Trumpet is also prominently arrayed around the central part of the façade. The instrument is divided behind along its center line, with the Choir and Enclosed Great divisions on the lowest level to the left and right, respectively. The Swell division sits on top of the Choir on the left, though the resonators of the Swell 16′ Bombarde and its 32′ Pedal extension are offset so the lower portions of these pipes can stand one level lower within the Enclosed Great. The unenclosed Great division is above the Enclosed Great to the right of the Swell. The Great’s 16′ mutations and their Pedal 32′ extensions are just behind the façade in front of the Enclosed Great division, while the Pedal is divided between the extreme right and left of the instrument. The instrument is winded by two blowers located in a dedicated room beneath the instrument; their motors produce a total of 13 horsepower.

Division by division, the Great 16′ Violonbass and 16′ Bourdon together provide a solid foundation for a 16′ principal chorus while the Bourdon alone serves as the basis for the 16′ cornet décomposé. Meanwhile, the narrower 22⁄3′ Quint and 13⁄5′ Tierce together give a sesquialtera effect, adding spice to the principal chorus or offering another solo possibility. The Enclosed Great can build on its unenclosed counterpart with an array of foundation stops; it can also function as a separate Solo division thanks to transfers to other manuals. On 7 inches wind pressure, some of the Enclosed Great’s unique colors include a pair of flared gambas, a robust English trumpet rank, and two Skinner reeds, the 8′ Flugelhorn and the 8′ English Horn.

The Swell division is as well equipped for liturgical work as for the French Romantic repertoire. The smallest of the Skinner diapasons is the basis for the Swell principal chorus, which builds up to a five-rank Plein jeu mixture. The 8′ Chimney Flute combines with the 4′ Harmonic Flute and 2′ Octavin for a nimble chorus appropriate for the scherzos of Vierne and Duruflé. The Skinner strings’ distinctive warmth gives way smoothly to the two-rank Flute Celeste’s mysterious shimmer, which in turn dissipates into the delicate Æoline. Finally, the Swell’s 16′-8′-4′ trumpet ranks dominate the full Swell; these stops are equipped with dome-headed French shallots throughout and have harmonic trebles.

The Choir offers a number of colors and effects to set off the Swell. The Skinner 8′ Concert Flute is naturally at home here and blooms handsomely as one ascends up the manual. The two-rank Vox Ætheria stop has become a favorite of Jeff Binford for its uncommon blend of delicacy and pungency of tone; its use with the octave coupler is captivating. The full range of flutes and mutations through 1′ within the Choir gives the organ a second cornet décomposé as well as offering possibilities for Italian baroque music. Similar in appearance, the Choir’s two 8′ cylindrical reeds contrast strongly: the smooth Skinner 8′ Clarinet has the expected orchestral quality while the revamped 8′ Cromorne offers fizz and snap in its tone. The new 16′-8′ Fagotto rank is a very mild trumpet stop, which, with the tremulant, is a perfect sonority for Flor Peeters’s Aria.

The Pedal division offers tremendous variety, including a principal chorus from 16′ through mixture and two mutation stops to fill out the 32′ harmonic series. The 32′ Contre Bombarde extension of the Swell 16′ Bombarde has proven itself chameleon-like, slipping in easily under light or heavy registrations and being enclosed, its effect can be moderated with the Swell shades. The generously scaled Pedal 16′-8′-4′ reed sounds on 51⁄2 inches wind, giving the Trombone and the organist’s feet the final word.

Four of the Casavant windchests from 1977 were reused after undergoing the necessary modifications and a thorough restoration in our workshops. Otherwise, the organ’s windchests are all new with pitman-style electro-pneumatic actions. The instrument is played from a three-manual console with all manner of sub-octave, unison, and octave couplers, as well as the divisional transfers for the Enclosed Great division. Other features include 256 levels of memory, a Great-Choir manual transfer, an All Swells to Swell function, and a record-playback function.

Opus 129 stands as a showcase for our abilities in seamlessly incorporating older materials within a new instrument. Its creation—from conception through construction through installation through final voicing—was a process we savored intensely, and we are grateful to First Presbyterian Church for entrusting us with such a complex and rewarding project. The result is an unusually rich musical instrument capable of great power and subtlety, one that will serve worship at First Presbyterian Church for many generations to come. 

—Andrew Forrest, Artistic Director

Fernand Létourneau, President

Dudley Oakes, Project Consultant

GREAT – Manual II – 85mm pressure

16′ Violonbass 61 pipes rescaled Casavant

16′ Bourdon 61 pipes new

8′ Principal 61 pipes new (façade)

8′ Bourdon 61 pipes rescaled Casavant

51⁄3′ Gros Nasard 61 pipes new

4′ Octave 61 pipes rescaled Casavant

4′ Open Flute 61 pipes rescaled Casavant

31⁄5′ Grosse Tierce 61 pipes new

22⁄3′ Quint 61 pipes new

2′ Super Octave 61 pipes new

13⁄5′ Tierce 61 pipes new

11⁄3′ Mixture IV–V 288 pipes new

Tremulant

Great 16–Great Unison Off–Great 4

8′ Festival Trumpet 66 pipes new (façade)

Nachtigall

Zimbelstern

ENCLOSED GREAT – Manual II – 180mm pressure

8′ Diapason 61 pipes Skinner

8′ Harmonic Flute 61 pipes new, harmonic at a34

8′ Viole de gambe 61 pipes new

8′ Gamba 61 pipes new, flared

8′ Gamba Celeste 61 pipes new, flared

8′ Flugelhorn 61 pipes Skinner

8′ English Horn 61 pipes Skinner

16′ Double Trumpet 12 pipes ext 8′ Trumpet

8′ Trumpet 66 pipes new, harmonic at c37

4′ Clarion 24 pipes ext 8′ Trumpet

Tremulant

Chimes 25 tubes

SWELL (enclosed) – Manual III – 95 mm pressure

16′ Quintaton 61 pipes rescaled Casavant

8′ Diapason 61 pipes Skinner

8′ Salicional 61 pipes rescaled Skinner

8′ Voix Celeste 61 pipes rescaled Skinner

8′ Chimney Flute 61 pipes rescaled Casavant

8′ Æoline 61 pipes Skinner

8′ Flute Celeste II 110 pipes 1st rank: Casavant, 2nd rank: new

4′ Octave 61 pipes rescaled Casavant

4′ Harmonic Flute 61 pipes rescaled Skinner

2′ Octavin 61 pipes new

2′ Plein jeu III–IV 232 pipes new

16′ Bombarde 61 pipes new

8′ Trompette 66 pipes new, harmonic at f#43

8′ Oboe 61 pipes Casavant with new shallots

8′ Vox Humana 61 pipes Æolian

4′ Clairon 78 pipes new, harmonic at f#31

Tremulant

Swell 16–Swell Unison Off–Swell 4

Enclosed Great on Swell

CHOIR (enclosed) – Manual I – 115 mm pressure

16′ Gedeckt 61 pipes Skinner with new bass

8′ Diapason 61 pipes Skinner

8′ Concert Flute 61 pipes Skinner

8′ Gemshorn 61 pipes Casavant

8′ Gemshorn Celeste 54 pipes Casavant

8′ Bourdon 61 pipes Casavant

8′ Vox Ætheria II 122 pipes Aeolian, new bass for 2nd rank

4′ Principal 61 pipes rescaled Casavant

4′ Flûte à fuseau 61 pipes Casavant

22⁄3′ Nasard 61 pipes Casavant

2′ Flûte à bec 61 pipes Casavant

13⁄5′ Tierce 61 pipes Casavant

11⁄3′ Larigot 61 pipes Casavant

1′ Sifflet 61 pipes new

16′ Fagotto 61 pipes new

8′ Clarinet 61 pipes Skinner

8′ Cromorne 61 pipes Casavant with new shallots

8′ Fagotto 12 pipes ext 16′ Fagotto

Tremulant

Choir 16–Choir Unison Off–Choir 4

8′ Festival Trumpet Great

Harp digital Walker Technical Co.

Celesta digital Walker Technical Co.

Enclosed Great on Choir

PEDAL – 85mm, 95mm, and 140mm pressures

32′ Contra Violone digital Walker Technical Co.

32′ Contra Bourdon digital Walker Technical Co.

16′ Principal 32 pipes new (façade)

16′ Violonbass Great

16′ Subbass 32 pipes Skinner with new bass

16′ Bourdon Great

16′ Lieblich Gedeckt Choir

16′ Quintaton Swell

102⁄3′ Grosse Quinte 12 pipes ext Great 51⁄3′ Gros Nasard

8′ Principal 32 pipes new (façade)

8′ Violoncello Great

8′ Bourdon 32 pipes Skinner

8′ Lieblich Gedeckt Choir

62⁄5′ Grosse Tierce 12 pipes ext Great 31⁄5′ Grosse Tierce

4′ Choral Bass 32 pipes new (façade)

4′ Flute 32 pipes Casavant

22⁄3′ Mixture IV 128 pipes new

32′ Contre Bombarde 12 pipes ext Sw 16′ Bombarde

16′ Trombone 32 pipes new

16′ Trumpet Enclosed Great

16′ Bombarde Swell

16′ Fagotto Choir

8′ Tromba 12 pipes ext 16′ Trombone

8′ Bombarde Swell

4′ Tromba Clarion 12 pipes ext 16′ Trombone

4′ Schalmey 32 pipes Casavant with new shallots

8′ Festival Trumpet Great

Chimes Enclosed Great

 

Three manuals; 85 total stops; 75 ranks; 4,014 pipes

 

Great Mixture IV–V

 

c1 to b12 19 22 26 29

c13 to f18 15 19 22 26

f#19 to f30 12 15 19 22 26

f#31 to f42 8 12 15 19 22

f#43 to d51 5 8 12 15 19

d#52 to c61 1 5 8 12 15

 

Swell Plein jeu III–IV

 

c1 to b12 15  19 22

c13 to b36 12 15 19 22

c37 to b48 8 12 15 19

c49 to c61 1 8 12 15

Keith Williams

Buzard Pipe Organ Builders, Champaign, Illinois

Holy Spirit Lutheran Church, Charleston, South Carolina

1963 Noehren organ, St.
Richard of Chichester Episcopal Church, Chicago, Illinois

Robert Noehren (1910–2002) was an influential performer, recording artist, and teacher. He was for many years university organist and head of the organ department at the University of Michigan. Not satisfied with the work of contemporary American Neo-Baroque organbuilders, he founded his own enterprise, which built a total of 21 organs between 1954 and 1978. Noehren described his tonal style as an attempt to meld North German (Schnitger) principals with French classic and romantic reeds (Clicquot and Cavaille-Coll.)

Noehren himself performed the dedication recitals on his organ at St. Richard of Chichester Episcopal Church in Chicago, Illinois, on December 29, 1963. As originally installed, it had 1,885 pipes. Noehren also made recordings of the organ following its completion, which afford us insight into Noehren’s tonal philosophy and playing style on his own instrument. 

The organ remained basically unchanged over its 50 years at St. Richard’s. In 1996 the original electro-mechanical relay and setter board combination action were replaced with solid state equipment. At the same time a Zimbelstern was added and a 32’ Resultant stop was added to the Pedal, drawn from the original Subbass.

The instrument was installed above the gallery of the church, hanging from the ceiling on two beams in an exposed position. The Swell was enclosed at the rear of the beams, with the large, shared Great-Positiv windchest in front (see photograph below). The Pedal division was on two chests on the floor at the rear of the balcony.

By 2014 the congregation’s dynamic has changed, and they no longer required their organ and wished to find an appropriate new home for it. Holy Spirit Lutheran Church in Charleston, South Carolina, was in the market for an organ for their new sanctuary building and decided that the available Noehren organ would suit their needs admirably. Holy Spirit purchased the instrument and contracted with Buzard Pipe Organ Builders to remove and rebuild the organ for their new church.

The new installation required an entirely new layout for the organ, as well as casework sympathetic to the beautiful new sanctuary. The new casework carries all the new bass pipes of the Great and Pedal principals, replacing collapsed pipes that were formerly shared between both these stops. The organ was redesigned internally with a new layout, new floor and building frames, new Swell box, and a new and greatly augmented wind system and new blower.

The action in the organ is electro-mechanical. Originally the pipe valves were of the Reisner “floating valve” type patented by Roger Miles and George Gress. Despite the claim made by some that this kind of action never wears out, the valves in this organ were no longer reliable after 50 years. We have replaced all of the actions with new magnets and rewired the entire organ. This also enabled us to provide larger toe holes to properly wind bass pipes.

A peculiarity of Noehren’s original design was a sharing of low octaves throughout the instrument. For example, the bottom octave (1–12) of the Great 4′ Octave borrowed the tenor octave (13–24) of the 8′ Principal. The cumulative effect of these compromises (which Noehren felt were justified because they reduced cost and saved space) was a weakening of tone throughout the instrument’s lower range. We undertook to provide additional pipework in almost all cases to correct these deficiencies, and so new, independent bottom octaves have been provided for the Great 4′ Octave, 4′ Spitzfloete, and 2′ Octave, as well as the Positiv 8′ Gedeckt and 2′ Principal. The Swell flutes have retained the old system of borrowing, due to space limitations; however, their blend and balance have been carefully refined.

The organ has gained a new 4′ Koppel Flute in the Positiv; a new, large-scaled Subbass rank in the Pedal, and new Chimes. A new Oboe rank, specially designed with a Baroque influence, replaces the original Swell Trompette. This Oboe has an interesting character, somewhere between an Oboe and an English horn. It can both color the flues in the Swell in combinations, as well as providing an excellent solo sound.

Some rescaling was undertaken, as well as numerous repairs and very careful regulation of all the pipework, especially removing inconsistencies in the flue voicing. The Cromhorne and Trumpet ranks were rebuilt for speech and tuning stability. The Mixture stops, originally each of five (!) ranks, were reconfigured. The Swell Plein Jeu was lowered significantly in pitch and now cleverly works as both the expected “crown” of the division as well as providing a much more useful substitute principal chorus in combination with the Swell foundations.

Installation of the organ was completed in autumn of 2016, the final stage of which was a comprehensive tonal finishing of the organ in the superb and lively acoustic of the new church. The end result is a still-bright but much warmer sound, which fills the handsome new sanctuary admirably. The organ can lead the congregation in hymns and liturgy, accompany choral anthems, and serve as a convincing vehicle for a wide range of solo organ repertoire. The sound of the instrument is by no means typical of the sound of a new Buzard instrument, but we are proud to have been able to make this instrument much more versatile and put it into as-new condition for the Holy Spirit congregation. 

The organ was dedicated in a worship service and recital by Stephen Buzard on Sunday, February 12. A dinner and introduction to the organ was held at the church for the local American Guild of Organists chapter the following evening.

The organ as rebuilt comprises 26 independent stops, 37 ranks, and 1,853 pipes.

—Keith Williams

 

Buzard staff that were involved in the Holy Spirit project included:

John-Paul Buzard, President & Artistic Director

Charles Eames, Vice-President & General Manager

Brian Davis, Tonal Director

Keith Williams, Service Director

David Brown, Service Foreman

Shane Rhoades, Production Department Foreman

Mark Dirksen, Business Manager

Riley Ano, Tonal Assistant

Trevor Dodd, Service Technician

Viktoria Franken, Tonal Associate

Christopher Goodnight, Cabinetmaker

Max Konrad, Service Technician

Michael Meyer, Cabinetmaker

Dennis Northway, Service & Sales Associate

Jeremy Taylor, Cabinetmaker

Stuart Weber, Senior Service Technician

John Wiegand, Service Technician

 

Bibliography

Schnurr, Stephen J., Jr., and Dennis E. Northway. Pipe Organs of Chicago, Volume II. Oak Park, IL, Chauncey Park Press, 2009, pp. 109–111.

Houghton, Richard. “The Organs of Robert Noehren—Simplicity, practicality and economy.” Journal of American Organbuilding, Vol. 10, No. 3 (September 2015), pp. 8–14.

 

Original (1963) stoplist

GREAT (21⁄2″ w.p.)

16′ Quintadena (TC) 44

8′ Principal (1–12 Pedal) 44

8′ Rohrfloete 56

4′ Octave (1–12 from 8′) 44 

4′ Spitzfloete (1–12 from 8′) 44 

22⁄3′ Nasat (TC, Positiv Larigot)

2′ Octave (1–12 from 4′) 44

2′ Spillfloete (1–12 from Fl 4′) 44 

13⁄5′ Terz (TG) 37

III–V Mixture 244

16′ Dulzian (TC, Pos. Cromhorne) 

8′ Trumpet 56

SWELL (21⁄2″ w.p.)

8′ Bourdon 56

8′ Gamba 56

8′ Voix Celeste (TC) 44

4′ Flute Octaviante (1–12 Bdn) 44 

2′ Octavin (ext 4′) 12 

III–V Plein Jeu 244

8′ Trompette 56

4′ Clairon (ext) 12

Tremulant 

POSITIV (21⁄2″ w.p.)

8′ Gedeckt (1–12 Gt Rohrfloete) 44 

4′ Rohrfloete (Gt) 12

2′ Principal 56

11⁄3′ Larigot 56 

III–V Scharff 244

8′ Cromhorne 56

PEDAL (21⁄2″ w.p.)

16′ Subbass 32

8′ Principal 32

4′ Octave 32

2′ Octave (ext) 12

V Mixture 128

16′ Posaune (ext) 12

8′ Trumpet (Gt)

4′ Trumpet (Gt) 

 

Couplers

Sw/Gt

Pos/Gt

Sw/Pos

Sw/Gt 16

Gt/Ped

Pos/Ped

Sw/Ped

 

Setterboard pistons 1–4 all divisions and generals

 

34 stops

42 ranks

1,885 pipes

 

2017 stoplist

GREAT (21⁄2″ w.p.)

16′ Quintade (rescaled, in Sw box) 56 

8′ Principal (1–24 new, 1–21 façade) 56

8′ Rohrfloete 56

4′ Octave (1–12 new) 56

4′ Spitzfloete (1–12 new) 68

22⁄3′ Nasat (TC, Positiv Larigot)

2′ Octave (1–12 new) 56

2′ Spillfloete (ext)

13⁄5′ Terz (TG) 37

IV Mixture (11⁄3′) 224

16′ Dulzian (TC, Pos. Cromorne)

8′ Trumpet 56

SWELL (3″ w.p.)

8′ Bourdon 56

8′ Gamba 56

8′ Voix Celeste (TC) 44

4′ Flute Octaviante (1–12 Bdn) 56

2′ Octavin (ext 4′)

IV Plein Jeu 224

8′ Oboe (new) 68

4′ Clairon (ext)

Tremulant

POSITIV (21⁄2″ w.p.)

8′ Gedeckt (1–12 new) 56

4′ Floete (new, wood & metal) 56

2′ Principal  56

11⁄3′ Larigot 56

III Scharf 168

8′ Cromorne 56

Zimbelstern

Chimes (new)

PEDAL (21⁄2″ w.p., 4″ Subbass)

32′ Resultant (Subbass & Quintade)

16′ Subbass (new, larger scale) 32

16′ Quintade (Gt)

8′ Principal (1–21 new in façade) 32

8′ Quintade (Gt)

4′ Octave 44

2′ Octave (ext)

IV Mixture 128

16′ Posaune (ext, 1–12 1/2-length) 12

8′ Trumpet (Gt)

4′ Trumpet (Gt)

 

Couplers

Great to Pedal

Swell to Pedal

Positiv to Pedal

Swell to Great 16

Swell to Great

Positiv to Great

Swell to Positiv

 

Accessories

General Cancel (thumb)

Combination adjuster (thumb)

Memory Lock (key)

Balanced Swell expression shoe

Zimbelstern volume adjustment knob

 

26 independent stops

37 ranks

1,853 pipes

Juget-Sinclair Organbuilders,

Montréal, Québec, Opus 42

Christ the King Catholic Church,

Dallas, Texas

During a visit to his hometown of Winston-Salem, North Carolina, Henry McDowell, director of music at Christ the King Catholic Church in Dallas, visited Jack Mitchener and played his two-stop Juget-Sinclair practice organ. This piqued McDowell’s interest in the organbuilders. Shortly thereafter, he visited the workshop with Jesse Eschbach, and the ensuing dialogue began the process of commissioning the largest Juget-Sinclair organ built to date. Involved in the project were Monsignor Donald Zimmerman, pastor at Christ the King, Henry McDowell, and Jesse Eschbach, as consultant.

Envisioned was an instrument of fifty-eight stops across three manuals and pedal with mechanical action and an aesthetic of French Romantic inspiration. From the outset, there were a few design challenges that needed to be addressed. The west gallery could not support the weight of the instrument and space for the choir could not be reduced. There was ample room in the chambers alongside the gallery, but it was desired that the organ sound as directly as possibly into the nave and not as though it was speaking from
the chambers.

The plan took shape along the following lines: the Grand-Orgue and Pédale divisions would be placed on the back wall on a steel frame whose weight was not supported by the gallery. Furthermore, both the Positif and Récit divisions would be enclosed symmetrically, situated partially in the chambers, on either side of the loft. These divisions, however, were extended beyond the chambers and angled to speak more directly into the nave, the space deeper inside the chambers being reserved for the lowest octaves of the 32′ ranks. The windchests are placed on one level (with the exception of the offset chests of the Grand-Orgue), promoting more stable intonation. The console would be detached with carbon-fiber trackers running to all divisions on each of the three walls under a newly built oak floor.

The tonal aesthetic is inspired by the French Romantic tradition, but adapted for modern North American liturgical requirements, for the specific culture of the parish, and for the acoustics of the building. The reeds are brilliant, yet not overwhelming. The flues are vivid and clear, with a variety of colors, yet their power on the whole is not excessive. With reeds drawn in all divisions, the instrument delivers a French symphonic sound with glorious power and richness, profoundly undergirded by a 32′ Bombarde. Yet, for choral accompaniment, the instrument has a wide palette of rich colors and dynamics.

The church requested that the project include both a continuo organ and an antiphonal division meant to accompany the cantor. The workshop proposed that these two be combined such that the continuo organ (with flutes 8′ and 4′ and a doublette) could be playable from the main console and function as the antiphonal division. The continuo organ is softer than the gallery organ, to be certain, but it provides a delightful and effective foil to the main instrument nevertheless.  

There were three further challenges to overcome for which a common solution was found: how to render the continuo instrument playable from the loft, how to lighten the key action on a rather large instrument, and how to isolate the wind supply for the bass extensions in the Pédale division. For each of these challenges electricity was the solution. The continuo organ can be connected to the Positif manual by outlets in the chancel. On the manual divisions, the lowest octaves of the 8′ and 16′ stops are winded on electro-pneumatic motors based on the nineteenth-century French Schmoll et Moll system. In the Pédale division, pipes of the extended stops are winded electro-pneumatically on individual pallets.

There was another challenge foreseen for the instrument’s installation: the sag in the steel beams that would occur once the weight of the instrument was placed on it. So, once the frame was in place, cables were anchored to the floor and the beams and brought under a tension equivalent to the weight of the instrument. Everything above the beams—casework, windchest, pipes, and wind system—was installed first, and when the beams were supporting their full weight, the cable tension was released. Once the cables were removed, everything below the beams—lower casework, trackers, and risers—was installed.

In addition to being the largest instrument built by Juget-Sinclair to date, Opus 42 is also their first instrument with three manuals, the first to have a 16′ façade, the first to use electro-pneumatic offsets in the lowest octaves, the first to be built on a steel frame, and the first new instrument to use carbon-fiber trackers. It is also the first instrument to be built with Robin Côté as a full one-third partner in the firm. Working at the shop for almost 15 years, he shared fully in the project at all levels—concept, design work, and voicing.

—David Szanto

Montréal, Québec, Canada

 

Grand-Orgue (Manual I)

16′ Montre 

16′ Bourdon 

8′ Montre 

8′ Salicional 

8′ Bourdon 

8′ Flute harmonique 

4′ Prestant 

4′ Flûte ouverte 

22⁄3′ Quinte 

2′ Doublette 

Fourniture IV

Cymballe III

Cornet V

16′ Bombarde 

8′ Trompette 

8′ Trompette en chamade 

4′ Clairon 

Positif expressif (Manual II)

8′ Principal 

8′ Bourdon 

8′ Dulciane 

8′ Unda Maris 

4′ Prestant 

4′ Flûte à cheminée 

22⁄3′ Nazard 

2′ Doublette 

13⁄5′ Tierce 

11⁄3′ Larigot 

Fourniture V

16′ Clarinette basse 

8′ Trompette 

8′ Cromorne 

4′ Clairon

Tremulant 

Récit expressif (Manual III)

16′ Bourdon 

8′ Flûte traversière 

8′ Cor de nuit 

8′ Viole de gambe 

8′ Voix céleste 

4′ Prestant 

4′ Flûte octaviante 

22⁄3′ Nazard 

2′ Octavin 

13⁄5′ Tierce 

Plein Jeu III–V

16′ Basson 

8′ Trompette 

8′ Basson-Hautbois 

8′ Voix Humaine 

4′ Clairon

Tremulant 

Pédale

32′ Bourdon 

16′ Contrebasse 

16′ Soubasse 

8′ Principal 

8′ Bourdon 

4′ Prestant 

4′ Flûte 

32′ Bombarde 

16′ Bombarde 

8′ Trompette

Couplers

II/I – III/I – III/II

I/P – II/P – III/P

 

Clochettes

58-note keyboards

30-note pedalboard

Mechanical action

Electric stop action

400 memory levels

Continuo organ

8′ Bourdon 

4′ Flûte 

2′ Doublette

The Reuter Organ Company 

Lawrence, Kansas

 

A profile of three recent 

projects honoring the 

company’s centennial 

In April 1917, a short article appeared in The Diapason announcing the founding of the Reuter Organ Company. Adolph Reuter, with years of experience gained from his employment at several North American organ builders, had assembled a team of workers to start his own company in Trenton, Illinois, and to begin building organs “second to none.” By November, the first organ had been installed at Trinity Episcopal Church, in Mattoon, Illinois, where it continues to be in regular use and to enhance the life of the parish and community.

We are pleased to mark our centennial year with this Diapason cover feature, which illustrates three of our recent projects as described in detail by our clients. Although each story is unique, each also has a recurring theme—the challenge of taking an existing instrument in need of renewal and with a complex history of previous work and additions, carefully evaluating its existing resources in conjunction with the needs of the church, and then renovating its best elements and incorporating them with custom-designed pipework and components to create a new musical instrument.

After one hundred years, our files are full of similar stories about both new and renovated organs at churches, universities, concert halls, and residences throughout the United States and beyond. We are so grateful for our clients and their support over the years. We believe that there will always be a place for the King of Instruments, and we renew our commitment to continue to build pipe organs that are “second to none” for another century!

—Ronald Krebs

Vice President

Reuter Organ Company

 

Trinity Lutheran Church

Houston, Texas

By the summer of 2014, it had become evident that the Holtkamp organ at Trinity Lutheran Church in Houston, Texas, was in desperate need of refurbishment. The organ was installed with the building of a new sanctuary in 1954 and had been a continual part of the music program of the downtown congregation.

The three-manual, 40-stop organ was typical of the period, as well as the tonal philosophy of the people responsible for its design. Mostly unenclosed, and with many independent principal and flue voices on low pressure, it was best at playing contrapuntal organ literature with clarity.

In 1978, extensive altering of mixture stops and preparations for additions were made by a local Houston firm, which also provided the church with a new console. However, many of the altered stops proved unusable in the ensemble, the console was unreliable, and the wind system was drawing in unconditioned outside air, which took its toll on the instrument.

A team of people including Mary Voigt (director of music and worship), Carla Barrows (principal organist), Vince Parks (consultant), and myself, along with a committee of lay people from the congregation, solicited proposals for work on the organ. While a number of proposals were received for the project, none approached the project with an eye toward a comprehensive musical enhancement. Our team at Trinity Downtown was focused on a vision of a superior musical instrument that could offer a wider color palette, more possibilities for accompanying the choir, greater power throughout the length of the nave, and reliability that would serve the congregation well for another 50 years or more.

After discarding various partial approaches that the congregation had been considering, three organbuilders of national reputation were asked to provide creative proposals. Following a thorough examination of the proposals, the Reuter Organ Company was entrusted with the work.

As enthusiasm and support for the project grew within the congregation, Trinity’s leadership ultimately decided on a renovation plan that would significantly enhance the original instrument. The plans for the new instrument envisioned the organ as primarily an inspiring leader of congregational singing and a useful accompaniment for all periods of choral repertoire. The new organ would be expected to have an expanded dynamic range with effective expression, fundamental tone that would energize the room, and sufficient color to capture the interest of every listener. It would need to render literature with integrity, but more importantly, this would be an organ for worship!

Trinity signed the contract with Reuter in June 2015. Four weeks later, the organ was completely removed with the goal of having it returned and ready for Christmas. This was an aggressive undertaking, as the work would include the installation of an antiphonal division in the chancel area that had not been part of the original organ. The Reuter Company delivered. The organ was dedicated on December 24, 2015. The congregation celebrated this special gift to herald the birth of Jesus Christ with a commanding new Trompette en Chamade.

The refurbished and enhanced Trinity Downtown organ is now a 50-rank, three-manual and pedal organ. The striking flamed copper façade pipes of the new instrument add to the beauty of the sanctuary that is graced by huge stained-glass windows and wood accents. Today, the organ continues to bless the congregation with wonderful music. The creativity, artistry, and craftsmanship of J. R. Neutel and the fine team from Reuter have exceeded our expectations.

—Michael Dorn

Senior Pastor

 

Trinity Lutheran Church

Houston, Texas

3 manuals, 50 ranks (2015)

GREAT

16′ Prestant** (1–12 existing, 13–61 Sw)

8′ Diapason* 61 pipes

8′ Harmonic Flute* 49 pipes

    (1–12 Pos Spitzflute)

8′ Singend Gedeckt 61 pipes

4′ Octave* 61 pipes

4′ Spillflute* 61 pipes

2′ Super Octave* 61 pipes

IV Mixture* 244 pipes

8′ Trumpet* 61 pipes 

8′ Oboe (Sw)

8′ Trompette en Chamade* 61 pipes

Tremolo

Chimes (console prep)

Mohnke Carillon (25 bells in tower)

Mohnke Cymbelstern (6 bells)

MIDI

SWELL (enclosed)

16′ Lieblich Flute 61 pipes

8′ Prestant** 61 pipes

8′ Rohrflute 61 pipes

8′ Gambe 61 pipes

8′ Gambe Celeste (low F) 56 pipes

4′ Principal** 61 pipes

4′ Nachthorn 61 pipes

4′ Lieblich Flute** (ext 16′) 24 pipes

22⁄3′ Nazard** 61 pipes

2′ Blockflute** 61 pipes

13⁄5′ Tierce** 61 pipes

III Plein Jeu* 183 pipes

16′ Oboe (TC, from 8′)

8′ Trompette* 61 pipes

8′ Oboe* 61 pipes

Tremolo

MIDI

POSITIV

16′ Lieblich Flute (Sw)

8′ Prestant (Sw)

8′ Copula 61 pipes

8′ Spitzflute** 61 pipes

4′ Principal** 61 pipes

4′ Harmonic Flute* 61 pipes

2′ Doublette 61 pipes

11⁄3′ Quinte** 61 pipes

II Sesquialtera** 122 pipes

8′ Cromorne* 61 pipes

8′ Oboe (Sw)

16′ Trompette en Chamade (TC, Gt)

8′ Trompette en Chamade (Gt)

Tremolo

MIDI

PEDAL

32′ Resultant

16′ Principal* 32 pipes

16′ Prestant (Gt)

16′ Subbass 32 pipes

16′ Lieblich Flute (Sw)

8′ Octave** 32 pipes

8′ Prestant (Sw)

8′ Bourdon 32 pipes

8′ Spitzflute (Pos)

8′ Lieblich Flute (Sw)

4′ Choral Bass 32 pipes

4′ Rohrflute** 32 pipes

4′ Spitzflute (Pos)

16′ Double Trumpet (ext Gt)* 12 pipes

8′ Trumpet 32 pipes

8′ Oboe (Sw)

4′ Schalmey 32 pipes

8′ Trompette en Chamade (Gt)

MIDI

KRAKOSKY ANTIPHONAL (enclosed)

8′ Principal* 61 pipes

8′ Gedeckt* 61 pipes

8′ Gemshorn* 61 pipes

8′ Gemshorn Celeste (TC)* 49 pipes

4′ Spitz Principal* 61 pipes

4′ Gedeckt (ext 8′)* 12 pipes

22⁄3′ Quinte* 61 pipes

2′ Spitz Principal (ext 4′) 12 pipes

11⁄3′ Quinte (ext 22⁄3′, top repeats)

8′ Fagotto* 61 pipes

Tremolo

ANTIPHONAL PEDAL

16′ Gedeckt (ext Ant 8′)* 12 pipes

8′ Principal (Ant)

8′ Gedeckt (Ant)

4′ Octave (Ant 8′)

16′ Fagotto (ext Ant 8′)* 12 pipes

 

*New pipework

**Repurposed pipework

 

Central United Methodist Church

Traverse City, Michigan

Organ music and robust congregational singing has been a defining characteristic of worship at Central United Methodist Church (CUMC) for generations, largely due to the talent, charisma, and dedication of Robert Murphy, organist and music director from 1963 until his death in 2001. He left a sizable part of his estate to CUMC for the continued improvement of the organ. Mr. Murphy’s gift had been left largely untouched for 15 years during a time marked by transition, most notably the establishment of a praise band service as a primary part of the church’s identity. During this time, the congregation was aware that organ repairs were needed—there was damage from water leaks and falling plaster, failing leather, and collapsed bass pipes—but waited for direction from me. I wanted to improve the sound of the organ, not just fix broken items, so I advised that we hold tight while we figured out the best course of action.

As background, in 1969 the church remodeled its chancel area to its current configuration and purchased a new Möller organ, Opus 10419. This organ had 26 ranks of pipes distributed over three manuals and pedal. Very much a product of its time, the organ was small scaled by today’s standards, with an abundance of upperwork. (The only 8′ Principal, located on the Great, was particularly thin, with 2/9 mouth widths.) The organ underwent many alterations over its life, presumably to make it more flexible for worship. Two sets of celestes were added, along with three color reeds. The Great was re-scaled, which ultimately gave the chorus a flutey character. The most recent modification was the replacement of the three-manual console with a refurbished four-manual console and solid-state control system. Though taken individually, these alterations were arguably successful and well received by the congregation; yet I found the overall sound of the organ to be hollow and anemic, lacking vibrant, eight-foot tone. There were parts of the organ I did like, however—the Swell reeds and the effective swell boxes, in particular.

In 2016, we were finally ready to act! We put together a collaboration to repair the pipe chambers, design and implement an HVAC system to maintain a constant temperature in the chambers, replace aging leather, and expand and improve the sound of the organ. Because our funds were limited and we wanted to honor as much of the previous stewardship as possible, we kept the console, control system, chests, and much of the existing engineering. Swem Organ Company of Grand Rapids releathered all of the reservoirs, swell motors, and octave shifters locally.

We selected Reuter to fashion a new tonal scheme for the organ. This is my second project with Reuter. Interlochen Center for the Arts, where I am the organ instructor and assistant director of music, chose Reuter to build its concert instrument, Opus 2227, using as much of the existing Aeolian-Skinner organ as possible. This project was remarkably successful and gave me confidence to go to the well a second time for the CUMC project. I like Reuter because they are willing to take risks in reusing and reworking existing components, and they stand behind their promises. For example, the Trompette en Chamade, completely renovated with new tongues and shallots, playing on new chest action with increased wind pressure, is just one of the stops totally transformed at the Reuter shop. It is now a stately, heralding voice that truly crowns the whole ensemble. I was also eager to work with Bill Klimas again. I trust his ears and like his taste in voicing.

The results are absolutely stunning. I am thrilled, as is our congregation.

—Thomas Bara

Organist

 

Central United Methodist Church

Traverse City, Michigan

4 manuals, 42 ranks (2017)

GREAT

16′ Geigen (Sw) (1–12 Sw Rohrflute)

16′ Rohrflute (Sw)

8′ Diapason* 61 pipes

8′ Harmonic Flute* 61 pipes

8′ Bourdon** 61 pipes

4′ Octave* 61 pipes

4′ Spillflute* 61 pipes

2′ Fifteenth* 61 pipes

IV Fourniture* 244 pipes

8′ Tromba (Ch)

Chimes (21 tubes)

Tremolo

SWELL

16′ Rohrflute* (1–24 wood) 61 pipes

8′ Geigen* 61 pipes

8′ Rohrflute (ext 16′)* 12 pipes

8′ Viole 61 pipes

8′ Viole Celeste (TC) 49 pipes

8′ Salicional 61 pipes

8′ Voix Celeste (TC) 49 pipes

4′ Geigen Octave (ext 8′) 12 pipes

4′ Waldflute* 61 pipes

22⁄3′ Nazard* 61 pipes

2′ Piccolo 61 pipes

13⁄5′ Tierce* (TC) 49 pipes

III Plein Jeu* 183 pipes

16′ Bombarde 61 pipes

8′ Trompette (ext 16′) 12 pipes

8′ Oboe 61 pipes

4′ Clarion (ext 16′) 12 pipes

Tremolo

CHOIR

8′ Principal** 61 pipes

8′ Gedeckt 61 pipes

8′ Gemshorn Celeste II 110 pipes

4′ Octave* 61 pipes

4′ Koppel Flute (ext Gedeckt) 12 pipes

2′ Super Octave 61 pipes

11⁄3′ Larigot 61 pipes

II Sesquialtera** 122 pipes

16′ English Horn 73 pipes

8′ Corno di Bassetto 61 pipes

8′ Tromba* 61 pipes

16′ Trumpet en Chamade (Solo)

8′ Trumpet en Chamade (Solo)

Tremolo (flues)

SOLO

16′ Rohrflute (Sw)

8′ Geigen (Sw)

8′ Harmonic Flute (Gt)

8′ Rohrflute (Sw)

16′ Trombone (Ch)

8′ Tromba (Ch)

8′ Corno di Bassetto (Ch)

8′ English Horn (Ch)

16′ Trumpet en Chamade (TC)

8′ Trumpet en Chamade 61 pipes

Tremolo (Choir reeds)

CELESTIAL 

Swell stops designated “Celestial” include:

8′ Salicional

8′ Voix Celeste

8′ Viole

8′ Viole Celeste

22⁄3′ Nazard

13⁄5′ Tierce

Zimbelstern (5 bells)

Swell Celestial Off

Celestial on Choir

Celestial on Great

PEDAL

32′ Bourdon (ext Sw 16′ Rohrflute, 

    1–12 electronic)

16′ Contrabass 32 pipes

16′ Subbass* (ext 8′ Subbass, 

    1–12 electronic)

16′ Rohrflute (Sw)

8′ Principal (ext Contrabass) 12 pipes

8′ Subbass** 32 pipes

8′ Rohrflute (Sw)

8′ Open Flute (Gt)

4′ Choral Bass (ext Contrabass) 12 pipes

4′ Subbass (ext 8′) 12 pipes

II Mixture  64 pipes

16′ Trombone (ext Ch Tromba) 12 pipes

16′ Bombarde (Sw)

16′ English Horn (Ch)

8′ Tromba (Gt)

8′ Trompette (Sw)

4′ Clarion (Sw)

4′ English Horn (Ch)

8′ Trumpet en Chamade (So)

 

*New pipework

**Repurposed pipework

 

St. John’s United Church of Christ

Lansdale, Pennsylvania

St. John’s United Church of Christ was founded in 1876, and the church’s current spacious Norman Gothic sanctuary was built in 1952. The sanctuary’s first pipe organ was installed in 1977 by the Fritzsche Organ Company. Because the congregation desired an economical initial purchase price, they obtained a used Aeolian-Skinner console from Holy Trinity Lutheran Church on Central Park West in New York City. Thirty-three ranks of Skinner, Aeolian-Skinner, and new Stinkens pipes were assembled with used chests in the existing pipe chamber to create an organ that was functional for worship. The warm acoustic of the 500-seat worship space gave the organ a satisfyingly sweet and mellow sound.

When I began my tenure as St. John’s United Church of Christ’s minister of music in 1987, it was clear that music had long been a vital part of the worship life of the congregation. Since that time, the music ministry has expanded in its diversity, with the organ always at the core of its leadership. St. John’s Artist Series included numerous performances by guest organists until 2010 when the console’s gradual deterioration limited the flexibility of the organ for performing organ repertoire.

The limitations of the console were the initial reasons for considering a renovation project. While a new state-of-the-art console would solve many issues, the need to address tonal and design issues became an equally important aspect of the project. In 2011, the church’s organ committee, chaired by Steven Hendricks, began serious conversations with four organ companies. Bill Klimas, artistic director of the Reuter Organ Company, dialogued with us in detail about his clear vision for the organ’s future, agreeing to incorporate the vast majority of existing pipes, revoiced, along with several new ranks of pipes in a totally redesigned pipe chamber. Reuter proposed a tonal concept that would appropriately fill the room and complement its beautiful architecture and acoustics. The design included a new tone opening for the pipe chamber with grillework custom made to match the existing tone openings.

Once the contract with Reuter was signed, things happened very quickly. Within two months the entire organ was removed and on its way to the Reuter shop in Lawrence, Kansas. One of Reuter’s design engineers, John Deahl, carefully worked out a detailed plan for the arrangement of the pipes in the chamber, maximizing egress of sound from the new tone opening along with the existing openings. Three and a half months after its removal, the newly renovated organ arrived at St. John’s Church. Several weeks later, the organ was voiced and tuned, ready for its debut!

Musicians and non-musicians alike have been excited about the new sounds of the organ. Most noticeable is the fuller base of support for congregational singing. The new tone opening greatly benefits the choir’s ability to hear the organ for accompaniment of anthems. The new state-of-the-art moveable console provides the opportunity to host organ concerts once again, beginning with the dedication concert in November played by Nathan Laube. Generations to come will enjoy the music provided by this very successful organ installation.

—David L. Furniss

Minister of Music

 

St. John’s United Church of Christ

Lansdale, Pennsylvania

3 manuals, 40 ranks (2017)

GREAT

16′ Geigen (Sw) (1–12 Sw Rohrflute)

8′ Principal* 61 pipes

8′ Harmonic Flute* 49 pipes

    (1–12 Choir Open Flute)

8′ Bourdon 61 pipes

4′ Octave* 61 pipes

4′ Koppelflute** 61 pipes

2′ Super Octave* 61 pipes

IV Fourniture* 244 pipes

16′ Oboe (Sw)

8′ Tromba*** 61 pipes

    (1–32 existing, 33–61 new)

Chimes (21 tubes)

Tower Chimes (amplified in tower)

Tremolo 

SWELL

16′ Rohrflute*** 61 pipes

    (1–24 existing, 25–73 new)

8′ Geigen* 61 pipes

8′ Viole 61 pipes

8′ Viole Celeste 61 pipes

8′ Rohrflute (ext 16′) 12 pipes

4′ Geigen Octave* 61 pipes

4′ Hohlflute*** 61 pipes

    (1–20 existing, 21–61 new)

22⁄3′ Nazard** 61 pipes

2′ Blockflute** 61 pipes

13⁄5′ Tierce** 61 pipes

III–IV Plein Jeu**  231 pipes

16′ Oboe (ext 8′)*** 12 pipes

8′ Trumpet 61 pipes

8′ Oboe 61 pipes

Tremolo

CHOIR

8′ Prestant** 61 pipes

8′ Open Flute** 61 pipes

8′ Gedeckt** 61 pipes

8′ Erzahler 61 pipes

8′ Erzahler Celeste (TC) 49 pipes

4′ Principal** 61 pipes

4′ Mystical Flute** 61 pipes

4′ Open Flute (ext 8′) 12 pipes

2′ Doublette** 61 pipes

11⁄3′ Quinte** 61 pipes

8′ Fagotto* 61 pipes

8′ Krummhorn 61 pipes

Tremolo 

PEDAL

32′ Resultant

16′ Open Wood 32 pipes

16′ Subbass 32 pipes

16′ Geigen (Gt)

16′ Rohrflute (Sw)

8′ Octave* 32 pipes

8′ Subbass (ext 16′) 12 pipes

8′ Geigen (Sw)

8′ Rohrflute (Sw)

8′ Open Flute (Ch)

4′ Super Octave (ext 8′) 12 pipes

4′ Subbass (ext 16′) 12 pipes

4′ Open Flute (Ch)

16′ Trombone 32 pipes

    (1–12 existing, 13–32 Gt Tromba) 

16′ Oboe (Sw)

8′ Tromba (Gt)

8′ Oboe (Sw)

4′ Oboe (Sw)

4′ Krummhorn (Ch)

*New pipework

**Repurposed pipework

***Combination of both

 

Reuter Organ Company website: 

www.reuterorgan.com

Trinity Lutheran Church, Houston, Texas, website: www.trinitydt.org

Central United Methodist Church, Traverse City, Michigan, website: 

www.tccentralumc.org

St. John’s United Church of Christ, Lansdale, Pennsylvania, website:

http://st-johns-ucc.org