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Spivey Hall, Clayton State 

University, Morrow, Georgia

The Albert Schweitzer 

Memorial Organ

Fratelli Ruffatti, Padua, Italy

Organ Curator: Widener and Company, Inc., Grayson, Georgia

 

Spivey Hall’s Albert Schweitzer Memorial Organ Reflects Founders’ Vision of Artistic Excellence

Spivey Hall in Morrow, Georgia, is lauded internationally for its stunning architecture and extraordinary acoustics. Spivey Hall marked its 25th season last year, and this year will celebrate another significant milestone in its history—the silver anniversary of the majestic Albert Schweitzer Memorial Organ, the 4,413-pipe organ that for the past 25 years has filled the auditorium with awe-inspiring sound. 

Spivey Hall and the organ were the vision of Emilie Spivey and her dentist husband Walter, successful south Atlanta real estate developers who wanted to construct a small, elegant concert hall as a gift to Clayton State University and the surrounding community. The couple established the Walter and Emilie Spivey Foundation and led the $4.5 million fundraising with an initial $1 million challenge gift. In 1991, Spivey Hall opened to the public, and a year later, the Foundation donated an additional $800,000 for the design, construction, and installation of the organ. Neither Walter nor Emilie lived to see the completion of the hall, but Emilie’s dream lived on in its reputation for attracting the finest international artists, many of whom praised Spivey Hall as a favorite performance venue and would return again and again. The 400-seat hall’s success relied on a simple thesis—people love to hear timeless music played by great musicians in a beautiful setting.

The organ was not in place when Spivey Hall presented its first concerts, but was well under construction several thousand miles away in Padua, Italy. Emilie, an accomplished church organist, was enamored by the instruments created by Italian organ builders Fratelli Ruffatti, and early in the hall’s design phase had commissioned the firm to design an organ that would be the crowning masterpiece.

The Albert Schweitzer Memorial Organ pays tribute to the organist, Bach scholar, theologian, philosopher, physician, and humanist Dr. Albert Schweitzer (1875–1965), who in 1953 became the first professional musician to be awarded the Nobel Peace Prize. Schweitzer was interested in the historic organs of France and Germany and in organbuilding itself. His extensive writings praised the correctness of earlier approaches and eschewed many of the late 19th- and 20th-century changes to the “King of Instruments”; his ideas contributed decisively to the revival of classical techniques in building and voicing organs. Schweitzer had a direct influence on the emergence of comprehensive (rather than heavily Romantic) instruments built in recent decades, by such organbuilders as the Ruffattis. 

To carry out Emilie’s vison of the tonal scheme, specifications were selected by a team of consultants, including Ted Alan Worth of the Ruffatti organization, as well as trusted colleagues Joyce Jones, John Weaver, and Richard Morris. The selection of registers was made with the primary objective of creating a versatile instrument, capable of performing music from all periods and styles of organ composition—the modest, straightforward tunes of the great Baroque masters, flamboyant colors favored by 19th-century French organists, and the subtle shadings of the modern repertoire.

Francesco Ruffatti took personal responsibility for realizing the tonal design—the choice of shapes, dimensions, and a myriad of other variables in the construction of the pipes. Electronic stops were commissioned from Walker Technical Company of Zionsville, Pennsylvania. Piero Ruffatti, who worked closely with Spivey Hall architect B. Randall Smith of Gardner Spencer Smith and Associates in Atlanta and acoustician Rein Pirn of Acentech in Boston, designed the faux marble and gold leaf casework to ensure it would complement the architecture, acoustics, and décor of the hall. Indeed, the height of the organ pipes and their place in the design of the auditorium play a major role in its world-class acoustical properties that inspire artists and audiences alike.

The instrument was disassembled and shipped piece by piece from Padua to Atlanta in January 1992, in two shipments totaling 80,000 pounds. The case was shipped unfinished and decorated by Spivey Hall interior designer Gerald Underwood. The casework, 50 feet high and 37 feet wide, encloses a total volume of 14,800 cubic feet. The entire process of creating the organ, from the crafting of pipes in the Ruffatti factory in Italy and the shipments across the ocean to Atlanta to the complex stages of installation at the Hall, was documented in a 1992 Georgia Public Television production, Architects of Sound.

Spivey Hall closed for six months between 1991 and 1992 while the instrument was installed under the supervision of Piero Ruffatti. Among the installation team was Thomas J. McCook, Jr. of Widener and Company, who remains curator of the organ to this day. Tonal finishing—adjusting the quality and intonation of each pipe individually—was begun during the installation process and continued right up until its official dedication in May of 1992 with three concerts: two by the acclaimed British organist Gillian Weir, and the finale, which joined the talents of Robert Shaw and his Festival Singers with organist Norman Mackenzie. The hall’s stature in the organ world fully came to prominence in 1998, when the Royal Bank Calgary International Organ Festival & Competition chose Spivey Hall as the site for its North American selection rounds; the quadrennial event returned there in May of 2002.

In Spivey Hall’s 26th season (2016–17), the Albert Schweitzer Memorial Organ takes pride of place on its 25th anniversary, which coincides with the launch of the five-season McGehee Family Organist Residency held by Alan Morrison, who in 2015 added Spivey Hall Organist-in-Residence to his distinguished appointments as Haas Charitable Trust Chair in Organ Studies at the Curtis Institute of Music, faculty member of Westminster Choir College of Rider University, and college organist at Ursinus College. The anniversary celebrations begin with an “Organ Discovery Day” on September 10, which includes a performance by Morrison, audience Q&A, and the chance to come on stage to see the organ console up close. Morrison is also featured with Thomas McCook of Widener and Company and Dwight Jones, founding president of Integrated Organ Technologies, Inc. (IOTI), in the public premiere of Spivey Hall Education’s award-winning new video, The King of Instruments: History, Science and Music of the Pipe Organ, written and directed by Marshall Peterson. 

Spivey Hall’s Organ Series includes recitals from Morrison, Stephen Tharp, and Hector Olivera. Steven Ball, organist of Atlantic City’s Boardwalk Hall (one of the world’s largest pipe organs), will pair with mime Dan Kamin in a special silent-film-and-organ presentation of Funny Bones: The Comedy of Charlie Chaplin

The series concludes on May 13 with the Albert Schweitzer Memorial Organ 25th Anniversary Celebration, showcasing the mastery of three extraordinary organists: Morrison, Ken Cowan, and Cherry Rhodes. American Public Media host Michael Barone will join Morrison in a pre-concert talk; Spivey Hall organ performances featured on Barone’s radio program Pipedreams have brought the music of the Schweitzer Memorial Organ to millions of listeners nationwide and around the world. 

Details and tickets to all Spivey Hall Season 26 concerts and events, including the Albert Schweitzer Memorial Organ 25th Anniversary Celebration, can be found at spiveyhall.org.

— Samuel C. Dixon

 

From the Organbuilder

The Ruffatti organ at Spivey Hall holds a special place in our hearts. Although we have crafted a number of much larger instruments in North America, this three-manual beauty represents the perfect combination of well-balanced tonal resources, blending of sound with room acoustics, and integration of case design with surrounding architecture. It is impossible to enter Spivey Hall and not be impressed by the magnitude of the instrument’s physical presence and beauty; likewise, it is impossible to imagine the hall without it. The auditorium acoustics blend and amplify the tonal properties of the instrument to provide a natural presence of sound and reverberation. This rare combination has greatly contributed to the fame of the instrument and its success over the years.

Twenty-five years represent a small period of time in the life of a pipe organ: a high number of instruments survive that count several centuries of life and use. If well built, with high-quality materials and a good technical and tonal masterplan in mind, the instrument will continue to deliver satisfying and inspiring tonal resources to the artist with long-lasting top technical performance, and such is the case with the Spivey Hall organ. Fratelli Ruffatti (Ruffatti Brothers) is and has always been structured as a family business, where every detail is made from scratch with traditional methods, and where strict quality control is the routine. Inside this organ, one finds pipes, windchests, and even walkboards made of solid Sipo mahogany for stability. Metal pipes are made from a variety of alloys that we mix and pour in our factory, tailored to produce the best sound from each stop. For tonal finishing, we have revisited and adapted ancient Italian voicing techniques to contemporary organbuilding. This practice preserves the widest range of harmonics that favor perfect blending of sounds. The resulting versatility allows the performer to create countless combinations of voices for the performance of organ literature from any era.

We are delighted to join with Spivey Hall in celebrating the Albert Schweitzer Memorial Organ. As it began its life in the 20th century, we look forward to continuing to hear and celebrate it throughout the 21st century and beyond.

—Fratelli Ruffatti

Padua, Italy

 

 

GREAT (II, unenclosed)

16 Montre 61 pipes

16 Bourdon 61 pipes

8 Montre 61 pipes

8 Bourdon 61 pipes

8 Flûte Harmonique 61 pipes

4 Prestant 61 pipes

4 Flûte Octaviante 61 pipes

223 Quinte 61 pipes

2 Doublette 61 pipes

135 Tierce 61 pipes

113 Fourniture IV 244 pipes

12 Cymbale III 183 pipes

16 Bombarde 61 pipes

8 Trompette 61 pipes

8 Trompette-en-Chamade 61 pipes

Chimes 

Tremulant 

Great 16

Unison Off 

Great 4

SWELL (III, expressive) 

16 Gedeckt 61 pipes

8 Principal 61 pipes

8 Viole de Gambe 61 pipes

8 Viole Céleste 61 pipes

8 Flûte a Cheminée 61 pipes

8 Flauto Dolce 61 pipes

8 Flûte Céleste (TC) 49 pipes

4 Principal 61 pipes

4 Flûte Venetienne 61 pipes

223 Nazard 61 pipes

2 Flûte a Bec 61 pipes

135 Tierce 61 pipes

2 Plein Jeu III 183 pipes

12 Cymbale II 122 pipes

16 Petite Bombarde 61 pipes

8 Trompette 61 pipes

8 Hautbois 61 pipes

8 Voix Humaine 61 pipes

8 Echo Voix Humaine †

4 Clairon 61 pipes

8 Trompette-en-Chamade (Great)

Tremulant

Voix Humaine Tremulant

Swell 16

Unison Off

Swell 4

CHOIR/POSITIF (I, expressive) 

16 Dulciana 61 pipes

8 Viola Pomposa 61 pipes

8 Viola Celeste 61 pipes

8 Holzgedackt 61 pipes

8 Erzähler 61 pipes

8 Erzähler Celeste 61 pipes

4 Ottava 61 pipes

4 Koppelflöte 61 pipes

223 Nazard 61 pipes

2 Fifteenth 61 pipes

2 Flute 61 pipes

135 Tierce 61 pipes

113 Larigot 61 pipes

1 Sifflöte 61 pipes

1 Ripieno IV 244 pipes

16 Basson 61 pipes

8 Trompette Harmonique 61 pipes

8 Cromorne 61 pipes

8 English Horn 61 pipes

4 Chalumeau 61 pipes

8 Trompette-en-Chamade (Great) 

8 Harp 

4 Celesta 

Chimes (Great)

Zymbelstern 11 bells

Tremulant

Choir/Positif 16

Unison Off 

Choir/Positif 4

PEDAL (unenclosed)

32 Contra Principal * 

32 Contre Bourdon * 

16 Principal 32 pipes

16 Montre (Great) 

16 Soubasse 32 pipes

16 Bourdon (Great) 

16 Gedeckt (Swell) 

16 Dulciana (Choir/Positif) 

8 Octave 32 pipes

8 Flute 32 pipes

8 Gedeckt (Swell) 

4 Prestant 32 pipes

4 Nachthorn 32 pipes 

2 Piccolo (extension) 12 pipes

223 Mixture IV 128 pipes

32 Contre Bombarde 32 pipes

16 Bombarde 32 pipes

16 Bombarde (Great) 

16 Petite Bombarde (Swell) 

16 Basson (Choir/Positif) 

8 Trompette 32 pipes

4 Clairon 32 pipes

4 Chalumeau (Choir/Positif) 

8 Trompette-en-Chamade (Great) 

4 Clairon-en-Chamade (Great) 

Chimes (Great)

 

Inter-Manual Couplers

Swell to Great 16, 8, 4

Choir/Positif to Great 16, 8, 4

Swell to Choir/Positif 16, 8, 4

Choir/Positif to Swell 8

Great to Choir/Positif 8

Great to Pedal 8, 4

Swell to Pedal 8, 4

Choir/Positif to Pedal 8, 4

 

Combination Pistons

Generals 10

Great 8 + Cancel

Swell 8 + Cancel

Choir/Positif 8 + Cancel

Pedal 8 + Cancel

General Cancel

Tutti (Full Organ)

64-level Memory (Solid-State Logic Limited)

Adjustable Crescendo Pedal Settings 4

 

Statistics

Pipes 4,413

Ranks 79

Electronic Ranks 2

Speaking Stops 88

 

† The Voix Humaine has 61 pipes, enclosed in a dedicated box, with a hinged lid. When the Voix Humaine stop knob is drawn, the lid is open, when the Echo Voix Humaine stop is drawn the lid is closed. 

 

* Electronic: custom built by Walker Technical Services of Zionsville, Pennsylvania

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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 (113 Nasat, 45 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 41x 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

223 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

223 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

223 Nasat 61

2 Blockflote 61

135 Terz 61

113 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 113 122

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

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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 13 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 1023 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 223 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

113 Fourniture IV 244 pipes

13 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 312 wind 

8 Italian Principal 61 pipes

8 Singendgedeckt 61 pipes

4 Principal 61 pipes

4 Gedeckt (ext) 12 pipes

2 Blockflote 61 pipes

113 Larigot 61 pipes

223 Sesquialtera II 122 pipes

13 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

223 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)

223 Twelfth (Mixture extract)

2 Doublette 61 pipes

223 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 312 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

223 Quinte 61 pipes

2 Doublette 61 pipes

113 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

223 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

      1023 4 pipes

16 Contrebasse 32 pipes

16 Bourdon 32 pipes

16 Violone (Great)

16 Bass Gedeckt (Swell)

1023 Quint (from Bourdon)

8 Principal 12 pipes

8 Geigen (Swell)

8 Bourdon 12 pipes

8 Cello (Great) 

8 Gedeckt (Swell)

513 Twelfth (from Bourdon) 7 pipes 

4 Choral Bass 32 pipes

4 Flute 32 pipes

223 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)

New Organs

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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 

223 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 

223 Nazard 

2 Doublette 

135 Tierce 

113 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 

223 Nazard 

2 Octavin 

135 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

Cover Feature

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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*

223 Nazard 61 pipes

2 Flageolet 61 pipes* 

135 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 113 281 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*

223 Nasat (TC) 49 pipes 

2 Flautino 61 pipes*

135 Terz (TC) 49 pipes

113 Quint 12 pipes

IV Scharf-Zimbel 23 244 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*

223 Nazard (TC) 49 pipes

2 Flageolet  24 pipes*

135 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 223 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

 

Cover Feature

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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 223 Quint and 135 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 512 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

513 Gros Nasard 61 pipes new

4 Octave 61 pipes rescaled Casavant

4 Open Flute 61 pipes rescaled Casavant

315 Grosse Tierce 61 pipes new

223 Quint 61 pipes new

2 Super Octave 61 pipes new

135 Tierce 61 pipes new

113 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

223 Nasard 61 pipes Casavant

2 Flûte à bec 61 pipes Casavant

135 Tierce 61 pipes Casavant

113 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

1023 Grosse Quinte 12 pipes ext Great 513 Gros Nasard

8 Principal 32 pipes new (façade)

8 Violoncello Great

8 Bourdon 32 pipes Skinner

8 Lieblich Gedeckt Choir

625 Grosse Tierce 12 pipes ext Great 315 Grosse Tierce

4 Choral Bass 32 pipes new (façade)

4 Flute 32 pipes Casavant

223 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 16Trombone

8 Bombarde Swell

4 Tromba Clarion 12 pipes ext 16Trombone

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

 

Cover Feature

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Mander Organs, 

London, England

Church of St. Ignatius Loyola, New York, New York

25th anniversary of the organ

 

From the Director of Music 

Ministries

Much has been written about the propensity of music to expand the mind and heart beyond the world of active consciousness into a realm that renders language impotent. We musicians have an unshakeable faith in the power of the music we make—given the right frame of mind on the part of performer and listener, our own thorough preparation, and the adequacy of the instrument at hand—to break open facets of mystery heretofore undisclosed. The very sound of the instruments we play can get under our skin and show us new ways of being, giving us previously undiscovered avenues for experiencing the world and each other.

We have all trained our minds and our techniques. We are aware of our limitations and try to live within them while wisely and carefully pushing back, improving our craft bit by bit. What we don’t always have control over is, as I said above, the “adequacy of the instrument at hand.” At some point, all organists have to make the best of impossible instruments and acoustics, creating beauty from the most improbable circumstances. At the Church of St. Ignatius Loyola in New York City—a city full of landmark pipe organs—we are fortunate enough to experience the opposite.

The Church of St. Ignatius Loyola was founded in 1851 and entrusted to the Jesuits in 1866. Our present edifice, built in 1898 at the corner of Park Avenue and 84th Street, housed a magnificent 3-manual Hook & Hastings pipe organ of 51 registers, which was expanded in 1913 to 80 stops. At some point prior to 1950, a subsequent rebuild yielded an instrument of 3 manuals and 44 stops. The organ eventually fell into disrepair and was replaced by a hybrid pipe/electronic instrument in 1975, which, by the late 1980s, was also in need of replacement. Also requiring attention was the deteriorating physical plant of the church, housing a rather small local congregation, which itself was running annual budget deficits.

In 1986, the Reverend Walter F. Modrys, S.J., became pastor of the church. Recognizing the long-standing importance of music to the parish, he hired Kent Tritle, a young and dynamic organist and choral conductor, to serve as the church’s music director. But given the significant financial needs of the parish at the time, it was difficult to justify spending enormous sums of money on a pipe organ. In 1990, an anonymous donor stepped forward with a gift of $750,000, insisting that it be used to purchase the finest new organ money could buy. A second donor supplemented with a gift of $250,000, which the parish matched to renovate the organ loft and install the necessary additional electrical components and lighting. An organ committee was assembled and Mr. Tritle spent the next several months visiting organbuilders both in the United States and Europe. It became clear that the London firm N. P. Mander should build the new organ, and that it would be the largest mechanical action organ ever built in the New York metropolitan area.

Designed and constructed at the Mander workshops in England during 1991–1992, the first shipment of materials arrived at the church in November 1992. Over the next several months, a large contingent of craftsmen and technicians from Mander assembled the 4-manual, 68-rank, 91-stop, 5,000-pipe, 30-ton, 45-foot-high instrument. The organ’s debut recital on April 27, 1993, with David Higgs was a historic event, packing nearly 1,800 people into a church that sat 1,200 at Easter. At the time, historian Barbara Owen noted to the New York Times that it should become an organ of choice for concerts and recordings. Indeed it has.

The organ’s discography includes recordings by ensembles such as the Pittsburgh Symphony and the Westminster Choir, as well as renowned organists John Scott, David Liddle, Anthony Newman, Andrew Shenton, Harry Huff, David Enlow, long-time associate organist (now organist emerita) Nancianne Parrella, and two solo discs by Mr. Tritle. Through solo recitals by John Scott, Marie-Claire Alain, David Hurd, Simon Preston, Joan Lippincott, David Hill, Anthony Newman, Dame Gilliam Weir, Stephen Tharp, Philippe Lefebvre, Gerre Hancock, Thomas Murray, Sophie-Véronique Cauchefer-Choplin, John Grew, Martin Baker, David Briggs, Ken Cowan, Paul Jacobs, Christopher Houlihan, and staff organists Renée Anne Louprette, Andrew Henderson, Robert McDermitt, Mrs. Parrella, and Mr. Tritle, the warmth, brilliance, and majesty of the Mander organ have thrilled and delighted audiences. No stranger to St. Ignatius, the great Olivier Latry personally chose this organ and church as the American site for his acclaimed millennial cycle of Messiaen’s complete works for organ.

In addition to recitals, the organ is an invaluable partner to the incomparable Choir and Orchestra of St. Ignatius Loyola in our Sacred Music in a Sacred Space concert series. Over the years, Lincoln Center has presented many artists in concert, including Yo-Yo Ma, Dawn Upshaw, Ton Koopman, the Hilliard Ensemble, the London Symphony Chorus, the Kirov Opera Chorus, Les Arts Florissants, the late John Tavener, and a host of others. This past spring, the renowned Estonian Philharmonic Chamber Choir gave us a beautifully transcendent evening of works by Arvo Pärt, and I was fortunate enough to accompany them at the organ, as well as play a solo work by the venerable Mr. Pärt. A few months later, Carnegie Hall presented The Tallis Scholars at St. Ignatius with Daniel Hyde, organist and director of music at St. Thomas Church, Fifth Avenue, at the organ. 

In addition to its well-documented presence on New York’s concert scene, the Mander organ is a spiritual partner to the 4,400 families of our parish. At over 400 liturgies per year, this organ enriches and enlarges the prayers of our community, rejoices with brides and grooms, gives comfort to grieving families, and uplifts the intercessions of our children from the St. Ignatius Loyola grammar school and our Interparish Religious Education Program, all at the hands of our esteemed principal organist, Daniel Beckwith. It also serves as accompanist for three of our four adult choirs and our three children’s choirs.

For me personally, the Mander has been an endless wellspring of inspiration. The tonal palette, encompassing the warmth of the diapasons, the gentle silver crowning of the mixtures, the breadth and lushness of the strings, the varied shadings of the reeds—from dark richness to brilliant fire—and the liquid flutes, sparks my imagination as few instruments can. Every style of repertoire from every school of organbuilding and composition excels here with panache.

Now in its 25th year, the Mander has proven itself as a more-than-worthy investment of parish resources, reaching vast audiences and touching the lives of tens of thousands. The 29th season of Sacred Music in a Sacred Space opened on October 6 with an astonishing concert by the Philippine Madrigal Singers and a brilliant solo organ recital on October 22 by former St. Ignatius music director, now director of cathedral music at the Cathedral Church of St. John the Divine, Kent Tritle. The organ remains at center stage as we celebrate its silver anniversary throughout the 2017–2018 season.

It is my hope that if you haven’t experienced the ravishing beauty of this landmark instrument, you will join us at some point, either in liturgy or concert. A feast for the ear and eye alike, it will stir your heart and mind. You will be changed.

—K. Scott Warren

Director of Music Ministries, Church of St. Ignatius Loyola

Artistic Director, Sacred Music in a Sacred Space

Organist/Choirmaster, Congregation Emanu-El

 

From the Builder

It is not every day that an organbuilder is asked to build an instrument of the size and significance of that at the Church of St. Ignatius Loyola in New York. As the specification indicates, the organ draws on the French Romantic era for inspiration. But it also goes much further in its development to provide an instrument of versatility and integrity matching both the musical demands of the church’s liturgy and the wide-ranging requirements of St. Ignatius Loyola’s extensive Sacred Music in a Sacred Space concert series. However, the organ at St. Ignatius Loyola is not a slavish copy of a mid-nineteenth century French organ, let alone a copy of a Cavaillé-Coll. The style was used as a starting point rather than an end in itself.

The mid-nineteenth century French organ has an obvious relationship to the liturgy of a Jesuit church with an active music program. But to have restricted the style to that would have placed too many limitations on the general versatility of the organ. Attempts have been made to mitigate the limitations inevitably inherent in copying a particular style by the introduction of elements from different and often disparate schools. The consequential lack of blend has sometimes given rise to what is in essence a number of smaller organs masquerading as a large one.

How then to satisfy the requirements of a modern instrument to perform musically, if not strictly authentically, a large part of the rich repertoire for the organ? How could the request to provide an instrument with a French romantic flavor be acceded to without excluding the repertoire of the earlier French eras, not to mention the non-French literature? How could it be made sufficiently true to the chosen genre to afford players in the New York area a unique opportunity to gain a deeper understanding of the music of Franck, Duruflé, Messiaen, and later? How could we ensure that the liturgical requirements were satisfied first and foremost but still afford sufficient character to provide an exciting concert instrument?

The combination of the varied requirements led to much discussion during the initial planning stages, among Kent Tritle, at the time director of music ministries at St. Ignatius Loyola, the consultants, and ourselves. Our main objective was to ensure that the whole instrument had integrity and a feeling of oneness. For this reason, we decided that rather than attempting to incorporate different styles in the one organ, we would approach the problem from the other end and develop the core style sympathetically, while staying true to the core itself.

At an early stage in the planning, we visited a number of appropriate instruments of Cavaillé-Coll (being the obvious candidate for investigation of the French organ of the nineteenth century), intentionally spreading the selection over as wide a period of his work as possible. Our first discovery was that it is very difficult to define the Cavaillé-Coll organ at all. There are wide variations in style, from the almost Dutch classical at St. Omer (1855) to the high symphonic of Rouen (1890). Our perception of the Cavaillé-Coll organ is, perhaps, influenced too heavily by the Parisian instruments in general and that of St. Sulpice in particular.

However, the study of these instruments actually gave us the clue as to the best way forward. In particular, we were able to appreciate the way Cavaillé-Coll could base a new instrument around existing pipework and cases, yet still produce an exciting and interesting result with the integrity essential to any good instrument. It was especially instructive to see how he could achieve this and still create an organ that bore his own unmistakable stamp.

With this appreciation, we decided to base the new organ for St. Ignatius on the middle period of Cavaillé-Coll’s own work, developing it, while remaining true to our chosen starting point. For example, a Positif de Dos was included, but the pipework was scaled and voiced in the same style as the rest of the organ. Very few, if any new organs of the mid-nineteenth century in France had a Positif de Dos, as the Positif was usually incorporated within the main case. The Grand Récit was developed to provide the grand Swell Organ effect demanded of an instrument of the late twentieth century.

The important requirements of a Franck-style Récit, which could not have been realized in a large enclosed department, were satisfied by the Petit Récit on the fourth manual, also the home of some of the important Solo elements. The Pedal was developed to be as complete and independent as possible. Finally, some registers, which would have been foreign to a true mid-nineteenth century French organ, were incorporated, but these were always scaled and voiced in a style firmly in keeping with the rest of the instrument.

Without proper attention to the starting point, the result could well have turned out to be bland and of indeterminate character. However, while voicing the organ, we continually ensured we were staying faithful to our model. As we progressed with the voicing, we had pieces of the French repertoire played on the organ to ensure we were neither straying too far away from our inspiration nor missing important details in our attempt to develop the overall style.

The result, we hope, is an organ with a voice of its own, perhaps an English organ speaking with a strong French accent. Our aim was an instrument capable of producing a musical result, accepting that the gain in character might to some degree limit true authenticity. Above all, however, we wanted to create an instrument that is unashamedly of our own era, one which can stand proudly as a representation of late twentieth-century craftsmanship.

No organ is the product of one person, and this one drew on some people who really need to be acknowledged as significant contributors to the project. The case design was conceived by Diddier Grassin, now president of the Noack Organ Company. He also advised us and arranged our study tour in France. The late Stephen Bicknell did the technical design as well as the realization of Didier’s design. The Mander team really pulled together to make this challenging dream a reality, not least Michael Blighton, the voicer. Fr. Walter Modrys, pastor at the time, gave unstinting support and encouragement to us all. But, above all, it was Kent Tritle’s vision, encouragement, trust, advice, and great friendship that bound us all together and made his dream possible.

—John Pike Mander

 

Concerts celebrating the 25th anniversary of the N. P. Mander organ, 2017–2018 season

 

Maurice Duruflé, Requiem and other works

Thursday, November 2, 2017, 8 p.m.

Choir of St. Ignatius Loyola

K. Scott Warren, conductor

David Enlow, organ 

Messe “Cum jubilo”

Four Motets on Gregorian Themes

Our Father

 

Love’s Pure Light: Annual Christmas Concert

Sunday, December 10, 2017, 3 p.m.

Sunday, December 17, 2017, 3 p.m.

Choirs & Orchestra of St. Ignatius Loyola

Daniel Beckwith, organ

J. S. Bach, Wachet auf, ruft uns die Stimme

Handel, “Hallelujah” from Messiah

Popular carols

 

N. P. Mander Organ Recital

Sunday, January 14, 2018, 3 p.m.

Simon Johnson

 

N. P. Mander Organ Recital

Sunday, February 18, 2018, 3 p.m.

Reneé Anne Louprette 

 

J. S. Bach: Visions of Eternity

Wednesday, March 21, 2018, 8 p.m.

Choir & Orchestra of St. Ignatius Loyola

K. Scott Warren, conductor

Andrew Henderson, organ

Chorales, motets, and arias

 

N. P. Mander Organ Recital

Sunday, April 15, 2018, 3 p.m

David Higgs

 

Francis Poulenc, Gloria, Organ Concerto, and Mass in G Major

Wednesday, May 23, 2018, 8 p.m.

Choir & Orchestra of St. Ignatius Loyola

K. Scott Warren, conductor

Reneé Anne Louprette, organ

 

Photo credits: 

Joshua South Photography

 

Builder’s website: 

https://mander-organs.com

Church website: 

www.stignatiusloyola.org

 

Concerts website:

www.smssconcerts.org

Church of St. Ignatius Loyola

980 Park Avenue

New York, New York 10028

 

Phone: 212/288-3588

 

GRAND ORGUE (85 mm w.p.)

16 Montre 61 pipes

8 Montre 61 pipes

8 Flûte harmonique 61 pipes

8 Violoncelle 61 pipes

8 Bourdon 61 pipes

4 Prestant 61 pipes

4 Flûte à fuseau 61 pipes

223 Quinte 61 pipes

2 Doublette 61 pipes

135 Tierce 61 pipes

2 Fourniture V 305 pipes

23 Cymbale IV 244 pipes

8 Cornet V (from g0) 270 pipes

16 Bombarde 61 pipes

8 Trompette 64 pipes

4 Clairon 76 pipes

Tremblant

Récit–G.O.

Positif–G.O.

IVe Clav.–G.O.

POSITIF (75 mm w.p.)

8 Montre 61 pipes

8 Flûte à cheminée 61 pipes

4 Prestant 61 pipes

4 Flûte douce 61 pipes

223 Nazard 61 pipes

2 Doublette 61 pipes

2 Quarte de Nazard 61 pipes

135 Tierce 61 pipes

113 Larigot 61 pipes

113 Plein jeu V 305 pipes

8 Trompette 61 pipes

8 Cromorne 61 pipes

Tremblant

IVe Clav.–Positif

Récit–Positif

RÉCIT EXPRESSIF (85 mm w.p.)

16 Bourdon 61 pipes

8 Diapason 61 pipes

8 Salicional 61 pipes

8 Unda Maris 61 pipes

8 Cor de nuit 61 pipes

4 Octave 61 pipes

4 Flûte ouverte 61 pipes

2 Doublette 61 pipes

223 Cornet III 183 pipes

113 Plein jeu IV 244 pipes

16 Basson 61 pipes

8 Trompette harmonique 64 pipes

8 Clarinette 61 pipes

4 Clairon harmonique 76 pipes

Tremblant 

IVe Clav.–Récit

IVe CLAVIER 

PETIT RÉCIT EXPRESSIF
(90 mm w.p.)

8 Flûte traversière 61 pipes

8 Viole de Gambe 61 pipes

8 Voix céleste 61 pipes

8 Bourdon 61 pipes

4 Flûte octaviante 61 pipes

2 Octavin 61 pipes

16 Cor anglais 61 pipes

8 Trompette 61 pipes

8 Basson-hautbois 61 pipes

8 Voix humaine 61 pipes

Tremblant

BOMBARDE (140 mm w.p.)

16 Bombarde 61 pipes

8 Trompette en chamade 64 pipes

4 Clairon en chamade 76 pipes

PEDALE (95 & 110 mm w.p.)

32 Soubasse (ext 16) 12 pipes

16 Montre 32 pipes

16 Contrebasse 32 pipes

16 Soubasse 32 pipes

8 Principal 32 pipes

8 Flûte bouchée 32 pipes

4 Octave 32 pipes

315 Mixture V 160 pipes

32 Contre Bombarde (ext 16

12 pipes

16 Bombarde 32 pipes

16 Basson 32 pipes

8 Trompette 32 pipes

4 Clairon 32 pipes

G.O.–Pédale

Récit–Pédale

Positif–Pédale

IVe Clav.–Pédale

 

Etoile (in memory of Bridie Callahan by The Mary Duke Biddle Foundation)

 

Orage

 

256 memory level capture action system. 

Keys of bone, sharps of ebony. 

Case of French oak. 

Interior supports of American oak. 

Stop jambs of bur walnut, maple inlay. 

Stops of rosewood.

 

All couplers are purely mechanical; there is no electric assist. 

 

5,196 pipes

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