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Central Arizona Chapter Completes its Pipe Organ Encounter, Opus 2

After a 15 year hiatus, the Central Arizona Chapter of the AGO held its second Pipe Organ Encounter from June 17-22, 2018.  Sixteen students from Metro Phoenix, Texas, Kansas, Las Vegas, Kentucky, and Idaho enjoyed significant instruments throughout the Phoenix metropolitan area.  Some were talented pianists who had never played the organ, and some were in their second or third POE.  Local faculty were mainly from the graduate program at Arizona State University with Prof. Kimberley Marshall as their primary instructor.  Amanda Mole, laureate of several national and international competitions and in her final stages of doctoral work at the Eastman School of music, was the featured recitalist for the week.

The week began Sunday evening with a barbecue where the students could meet the faculty and play harpsichord and piano for each other.  Thanks to dedicated volunteer drivers and a fantastic line-up of caterers, students enjoyed more time at the console than is usually the case in a POE.   Each student was at the console for three hours, enjoying 90 minutes of instruction and 90 minutes of practice.  There was open console time every afternoon or evening.  We were fortunate in using churches that had smaller tracker instruments in chapels in addition to larger instruments in their sanctuaries.  Arizona State University was extremely generous in making available not only their practice rooms, but also the Organ Hall with the “Fabulous Fritts.”

Staff, faculty, and students in front of the Casavant, American Lutheran Church, Sun City, Arizona.

The first workshop was by Dr. Guy Whatley on articulation, using the Richards and Fowkes organ at Pinnacle Presbyterian Church in Scottsdale, AZ.  Dr. Whatley relied on primary sources and covered a wide range of repertoire from the 16th through the 19th centuries.  The faculty presented an extremely colorful and well registered recital on the Sipe organ at First United Methodist Church, Phoenix, AZ, that evening.  Tuesday’s presentation was done by Brian Berghaus of Berghaus Pipe Organ Builders on the genesis and construction of his organ at La Casa de Cristo Lutheran Church, Scottsdale, AZ, with a large number of the congregation also in attendance.  This was followed by a registration demonstration by chief voicer Jonathon Oblander with carefully selected repertoire.  On Wednesday the students visited the world class Musical Instrument Museum in Scottsdale, and the day closed with a powerful recital by Amanda Mole back at La Casa de Cristo.  Thursday was the high point for many of the students, as we enjoyed lunch with Lew Williams playing the awesomely massive Wurlitzer.  The staff was gracious enough to allow the students some console time on this singularly amazing instrument.  Dr. Skye Hart gave two sessions on improvisation and hymn playing, with even beginners discovering something new in themselves.  Friday was dedicated to the student recital on the Casavant organ at American Lutheran Church in Sun City, AZ.

The students were housed at Arizona Christian University in Phoenix.  The rooms were amazingly large with full size stoves and refrigerators.  Needless to say, no one went hungry.  Large common rooms allowed evening practice on digital pianos with headphones, as well as an acoustic upright piano.

The entire week was gratifying for all.  All the students rated the faculty as one of the best aspects of the month.  Several students committed to auditioning for the local scholarship program, brand new organists found a whole new realm of expression, and the veterans who were driving and chaperoning also came away with new insights.

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August 2018 TAO Cover Feature

Sewickley Presbyterian Church
Sewickley, Pennsylvania
Bedient Pipe Organ Company • Lincoln, Nebraska
by Ryan Luckey
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View the Stop List

The town of Sewickley, Pennsylvania, is located a short distance northwest of Pittsburgh along the Ohio River. Although the town was officially incorporated in 1853, Presbyterians had been meeting for worship in the area since the early 1800s. Worship services were held first in a log cabin and then in a brick church until the present stone building was completed in 1861. A chapel was added in 1953. The church remains a vibrant part of life in the community.

The small chapel is Gothic in design and seats 80 worshipers. Although the central aisle is carpeted, the high ceiling and plaster walls create a good acoustic environment. The furnishings are richly carved with liturgical themes. Jewel-toned stained glass windows adorn the right side of the chapel. A small balcony is located over the rear of the nave.

During the academic year, traditional worship services are conducted in the chapel each Sunday. A small group of singers or an instrumental soloist joins the organist in the balcony from time to time. The chapel is also used for small  weddings and funerals.

The musicians and leadership had long dreamed of commissioning a pipe organ to lead worship in the chapel. R. Craig Dobbins, director of music ministries, first contacted our firm in 2003. Discussions were enthusiastic, but a number of factors prevented the project from materializing at that time. The conversation resumed in 2016. With preliminary funding in place, the organ committee was seeking proposals for the new organ.

Pipe organs are designed and crafted to meet the unique needs of each client. Through discussions with the organ committee and the musicians, we are able to gain a sense of the role the organ must fulfill. By visiting the church and spending time in the space, we come to understand the particular acoustic qualities and visual characteristics of the room. We then develop a concept for the instrument—drawing from our own experience as organ builders and church musicians—that meets or exceeds the requirements of the client.

Inspiration for the organ was found in instruments designed by English builders in the 18th and 19th centuries. These small organs served the needs of their congregations well, being designed and used primarily for accompanying congregational and liturgical singing. Organs were kept physically small in order to fit in the relatively small English parish churches. The voicing of these organs is gentle yet colorful. Each stop has its own character and beauty, yet they combine seamlessly to create rich choruses. We wanted to incorporate that sound quality into this new organ.

The new organ was to be located in the balcony of the chapel and this presented our design team with a number of challenges. The chapel is very symmetrical and we wanted the organ to maintain that symmetry and carry it into the balcony; however, the available space was limited by a hallway wall now protruding into the balcony following remodeling in the space adjacent to the chapel. Our solution was to build the case over and around the wall. Essentially, the lower case has two sides and the upper case has three sides. The organ is attached to the back wall, so there are no rear case panels. The original door to the balcony was retained to provide access to the mechanical components in the lower case and a new door was constructed for the musicians to enter the balcony.

In-shop assembly of the key action

Service access is another priority in any new instrument we design. A rear walk-board provides the best access, but it would have occupied precious space so we considered several alternatives. We settled on arranging the windchests in an “A” layout with the largest pipes at the center, increasing in pitch diatonically on either side. This allowed us to place access doors on either side of the case so the pipes can be tuned by reaching in toward the center. The windchests are of traditional pallet and slider construction.

A new organ should look like it was designed as an integral part of the space in which it resides. In a traditional, historic chapel, this is especially true. Again we looked to the English organ for inspiration. Often in these instruments we find three towers with three to five pipes in each, connected by flats of smaller pipes. This arrangement was ideal for the chapel, taking full advantage of the height in the ceiling and echoing three stained glass windows at the front of the chancel. The chapel’s existing furnishings are made of oak, but bear various finishes. We chose to build the case of American red oak to compliment the other furnishings while providing its own warmth and character. The organ committee requested that the case be kept relatively simple with no elaborate carvings or ornamentation. We were happy to fulfill this request but decided to add polychrome accents to the cornices for a touch of elegance. The music desk is redwood burl with holly accents.

The key action and stop action are entirely mechanical. A well-regulated mechanical playing action offers the organist unparalleled sensitivity and musical expression. Bedient’s suspended key action and the especially short tracker runs in this organ give it a responsiveness unique among other organs in the greater Pittsburgh area. The natural keys are covered in cow bone and the sharps are ebony. Although traditional wood trackers would have served admirably in this small organ, we decided to take this opportunity to explore carbon fiber. We made several experimental models and tested them for strength and durability. We were very pleased with the final results and we look forward to using the material on future projects! The mechanical stop action (with no combination action) simplifies the design and increases the instrument’s reliability. Drawknobs feature hand-lettered porcelain stop faces.

Our process of selecting and recommending particular voices was closely guided by the preliminary stoplists provided to us by the organ committee. The organ had to be relatively small in consideration of the space available, but that does not mean the organ lacks tonal resources

Great Pipework

The Great division is a complete Principal chorus. It is based on an 8´ Open Diapason, whose largest pipes form the organ’s facade. This is voiced with the richness and warmth for which Bedient Principals are known. It is able to lead a small congregation in song just by itself. It can also serve as a solo voice against one of the softer stops in the Swell. The 4´ Principal and 2´ Fifteenth are lighter in their voicing, adding depth and clarity to the chorus. The 2 ⅔´ Twelfth is gently voiced so it can be used with the Principal chorus and be effective when coupled to the flutes in the Swell. Although the organ committee’s initial stoplist had no flute in the Great, we felt it was extremely important for the organ to have an accompanimental stop in that division. Space in the case was at a premium and there was no room for an additional stop. Our solution was to duplex the Stopped Diapason to both the Great and Swell manuals. The duplex is entirely mechanical using check valves inside the windchest.

The Swell division has the 8´ Stopped Diapason as its foundation. This wood flute stop has a smooth, velvety color, enabling it to blend very well and enhance the other stops in the organ. This was the first full-compass wood manual stop to be built by our firm in many years and it was quite successful. The Salicional is mild and rich, and possesses an Echo Diapason quality. In keeping with English nomenclature, we have included a 4´ Flute. This rank is actually a Chimney Flute, designed for clarity and brightness when added to the Stopped Diapason or for its delicate color as a solo voice. Finally, the 8´ Oboe is the classic English Swell reed, full of dark richness and fundamental tone. It is useful as either a chorus or solo voice.

The Pedal is the simplest division with only one stop, a 16´ Bourdon providing clear bass tone to the ensemble. The organ features the typical couplers found on a mechanical action organ.

Sewickley Presbyterian Church

The pipes give the organ its voice and we give great care to their construction and voicing. All the metal flue pipes are made of 98% hammered lead alloy for its richness of tone. The Oboe is spotted metal (52% tin) for the brightness afforded by the higher tin content. Wood pipes are made of poplar. The organ committee was especially interested in using an unequal temperament for this instrument. We agreed to tune the organ in the temperament devised by Bradley Lehman based on the ornament at the top of the title page of Bach’s Well-Tempered Clavier. It has proven to be musically satisfying in all keys. The pipes are cone-tuned in the traditional manner.

The chapel organ was dedicated in September 2017. The celebratory recital was played by R. Craig Dobbins and highlighted the many tonal colors of the organ. It featured works by Lübeck, Bach, and Mozart, as well as contemporary composers Andrew Clarke, Piet Post, and Myron Roberts. The Roberts piece offered a Nebraska connection, as Roberts taught organ and music theory at the University of Nebraska for 34 years.

We would like to offer our sincerest thanks to the organ committee members, musicians, and leadership of Sewickley Presbyterian Church for entrusting us with this important project. Many thanks are also due to each of the Bedient crew members for all their contributions to making this project a success. Finally, our appreciation goes out to several of our colleagues for their collaboration. Our entire team takes pride in knowing that this organ will be leading people in worship for generations to come.

Ryan Luckey is vice president and project manager of Bedient Pipe Organ Company. Website

Bedient crew: Jasmine Beach, Todd Brueckner, Matt Bukrey, Guy Davenport, Ian Fralick,Joseph Holmes, Chad Johnson, Ryan Luckey, Mark Miller, Fred Zander

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Thanks to Our 2018 Silent Auction Bidders

We extend our heartfelt gratitude to the donors of more than 160 unique and interesting auction items and the 193 bidders who placed 749 bids. The online auction raised approximately $20,000 for the AGO Annual Fund.  As we close out the auction, we are putting winning bidders and donors in touch with each other, as appropriate, and sending auction items to winning bidders. Please be patient as we complete this process. For further information or assistance, please e-mail fathurman@agohq.org.

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Vox Humana Completes its First Season

Our affiliate journal Vox Humana has just concluded its first season, and now has 20 articles online. With over 800 subscribers and 1,000+ followers on social media, this new project presents current ideas, trends, and research about the organ in a contemporary format, and is becoming a respected and valued resource about every aspect of organ art worldwide.

Read Vox Humana

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July 2018 TAO Cover Feature

Christ the King Chapel
St. John Vianney Theological Seminary
Denver, Colorado
Kegg Pipe Organ Builders • Hartville, Ohio
By Charles Kegg

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View the Mixture Compositions

Facade and Pontifical Trumpet

Every new pipe organ project, large or small, has a unique sense of importance. Rarely are we afforded the opportunity to build an instrument that will inspire generations of clergy to high ideals. Our new organ at St. John Vianney Theological Seminary is a rare honor for an organbuilder. The goal we shared with associate professor of sacred music Mark Lawlor was to build an instrument suited primarily to the multiple daily Masses of the seminarians.

The failing electronic organ from 20 years ago had “replaced” the original 1931 Kilgen pipe organ. Heavily damaged first by modifications to the stoplist with foreign pipes installed by lesser hands, then with loud speakers among and largely on the pipes, the original pipe organ was assumed destroyed. When Kegg representative Dwayne Short first crawled into the crowded, dark, and dirty space, he made his way into the furthest reaches where few had ventured in years, to discover that many of the Kilgen Swell stops had survived in reasonable condition. These along with one Pedal stop and an orphan Great Clarinet gave us some original pipes to consider retaining in the new organ.

The tuner’s view from the Pontifical Trumpet

Christ the King Chapel is a handsome room built in 1931. Beautiful to look at with masonry walls and terrazzo floors, it is a child of its time, apparent when one looks up. The coffered ceiling panels are elaborately painted acoustic tile, rendering only about one second of reverberation when the room is empty. The organ is at the rear of the room, in a shallow chamber over the main door. The robust all-male congregation is mostly at the front of the nave and in the crossing. All these elements dictate a rich, strong, and dark organ to meet the voices at their pitch and location. There is an Antiphonal that is prepared in the console. Until it is installed, the main organ will have to fill the room from the rear with the singers up front.

Dr. Lawlor specifically requested that all manual divisions be enclosed to afford him and future musicians maximum musical flexibility with regard to accompaniment. Vocal accompaniment is always a priority in Kegg instruments, but here this element is paramount. It seems most organists prefer a three-manual organ to two, which we frequently offer in organs of this size. The new organ is 19 stops and 25 ranks dispersed over three manuals and pedal. The only unenclosed stops are the Pedal Principal 16′, from which the facade pipes are drawn, and the horizontal Pontifical Trumpet, in polished brass with flared bells. This last stop was also a specific request. Because the room is not excessively tall, these pipes are placed as high as possible. The large scale, tapered shallots and 7˝ wind pressure give these pipes a round, Tuba-like quality which is commanding and attractive. It has a limited compass, beginning at C13 for 39 notes to D51.

The Great/Choir and Swell are enclosed in separate expression boxes. The stoplist is not unusual, but the execution of the Principal choruses is. Both choruses have mixtures based at 2′. This allows them to couple to the Pedal without a noticeable pitch gap in the bottom octave sometimes heard with 1⅓’ mixtures. The breaks of these two mixtures are different (as seen in Fig. 1). The Swell Mixture breaks before the Great, bringing in the 2⅔’ pitch early. This gives the Swell Mixture a rich texture, particularly helpful in choral work. Emphasis in finishing is on unison and octave pitches when present. The first break in the Great Mixture is at C♯26 and from C♯14 is one pitch higher than the Swell, making it relatively normal. For the Great Mixture, the upper pitches are given more prominence during finishing. The two choruses complement and contrast well in this intimate space, without excessive brightness.

Swell pipework

Many of the flutes and strings were retained from the original Kilgen organ. With some attention in the voicing room, these work well within the Kegg tonal family. Having heard other examples of our work, there was a keen desire by Dr. Lawlor for a new Kegg Harmonic Flute. To make this happen within the budget and space available, we used an existing wood Kilgen 8′ Concert Flute for notes 1–32. At note 33, this stop changes to new Kegg metal harmonic pipes. The stop increases in volume dramatically as you ascend the scale. Available at 8′ and 4′ on both the Great and Choir manuals, the 8′ stop is nicely textured and mezzo forte. The treble of the 4′ morphs into a soaring forte voice, made even more alluring by the tremulant.

With the exception of the Clarinet, all the reeds are new Kegg stops and typical of our work. The Trumpet has a bright treble and a darker, larger bass extending into the Pedal at 16′. The Oboe is capped and modeled after an E.M. Skinner Flügelhorn. The lovely Kilgen Clarinet fits nicely into the Kegg design.

The Pedal has the foundation needed for the organ. The 16′ Principal unit of 56 pipes provides stops at 16′, 8′, and 4′. This is the only flue stop that is not under expression. It grows in volume as you ascend the scale and does so more than its manual counterparts. Because of this, it is easy to have the Pedal be independent and prominent when needed for polyphonic music. This stop joins the Great Principal and Octave, all playing at 8′ pitch, to make the 8′ Solo Diapason III, a Kegg exclusive. With three 8′ diapasons at one time, it is similar in effect to a First Open for both solo and chorus work where a firm 8′ line is required.

Organ bench with cup holder

The console provides all the features expected in a first- class instrument today including unlimited combination memory, multiple Next/Previous pistons, bone and rosewood keys, and, of course, the Kegg signature pencil drawer and cup holder.
The original 1931 organ was covered by a gray painted wood and cloth grille. The new organ facade design was inspired by the building’s age and funds, but mostly by the significant stone door that dominates the rear wall. This is not a formal case, but it is more than a simple fence row. The stone door is massive and will always be visually dominating, so it was natural to acknowledge it and build from it. The center facade section pipe toes sit atop the lintel with the tops dipping down to mirror the brick arch above, making space for the Pontifical Trumpet to seemingly float. The center section sits 5˝ behind the side bass sections, giving more depth to the visual effect. Viewing the facade from any angle other than head-on, it becomes sculptural.

This was an exceptionally exciting and enjoyable project for us. The enthusiasm, interest, and complete cooperation from the seminarians and staff were a daily spiritual boost for the entire Kegg team. This organ was installed in nine days, ready to be voiced, due largely to the excellent working conditions. Many thanks to Cardinal James Francis Stafford, the Most Reverend Samuel J. Aquila, archbishop of Denver, Mark Lawlor, and all our new friends at St. John Vianney.

Console

Charles Kegg is president and artistic director of Kegg Pipe Organ Builders, which he established in 1985. The Kegg Company is a member of the Associated Pipe Organ Builders of America and Charles is a past president of the American Institute of Organbuilders.

The Kegg team:
Philip Brown
Michael Carden
Cameron Couch
Joyce Harper
Charles Kegg
Philip Laakso
Bruce Schutrum
Ben Schreckengost
Dwayne Short

Kegg Organ Company